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{The tweak command},
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}.
356 @ref{Invisible rests},
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 r128
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).
604 @node Invisible rests
605 @subsubsection Invisible rests
608 @cindex invisible rest
609 @cindex rest, invisible
614 An invisible rest (also called a @q{spacer rest}) can be entered
615 like a note with the note name@tie{}@code{s}:
617 @lilypond[verbatim,quote,relative=2]
624 Spacer rests are available only in note mode and chord mode. In
625 other situations, for example, when entering lyrics, @code{\skip}
626 is used to skip a musical moment. @code{\skip} requires an
629 @lilypond[quote,ragged-right,verbatim,relative=2]
642 A spacer rest implicitly causes @code{Staff} and @code{Voice}
643 contexts to be created if none exist, just like notes and rests
646 @lilypond[quote,verbatim,fragment]
650 @code{\skip} simply skips musical time; it creates no output of
653 @lilypond[quote,verbatim,fragment]
654 % This is valid input, but does nothing
655 \skip 1 \skip1 \skip 1
663 Internals Reference: @rinternals{SkipMusic}
666 @node Full measure rests
667 @subsubsection Full measure rests
669 @cindex multi-measure rests
670 @cindex full-measure rests
671 @cindex rest, multi-measure
672 @cindex rest, full-measure
673 @cindex whole rest for a full measure
676 Rests for one or more full measures are entered like notes with
677 the note name uppercase @code{R}:
679 @lilypond[quote,fragment,verbatim,relative=2]
680 % Rest measures contracted to single measure
681 \compressFullBarRests
688 The duration of full-measure rests is identical to the duration notation
689 used for notes. The duration in a multi-measure rest must always be an
690 integral number of measure-lengths, so augmentation
691 dots or fractions must often be used:
693 @lilypond[quote,ragged-right,fragment,verbatim]
694 \compressFullBarRests
700 R1*13/8 | R1*13/8*12 |
705 A full-measure rest is printed as either a whole
706 or breve rest, centered in the measure, depending on the time
709 @lilypond[quote,ragged-right,fragment,verbatim]
717 @funindex \expandFullBarRests
718 @funindex \compressFullBarRests
719 @cindex multi-measure rest, expanding
720 @cindex multi-measure rest, contracting
722 By default a multi-measure rest is expanded in the printed score
723 to show all the rest measures explicitly.
724 Alternatively, a mult-measure rest can be shown as a single measure
725 containing a multi-measure rest symbol, with the number of measures of rest
726 printed above the measure:
728 @lilypond[quote,ragged-right,fragment,verbatim]
730 \time 3/4 r2. | R2.*2 |
733 % Rest measures contracted to single measure
734 \compressFullBarRests
736 % Rest measures expanded
743 @cindex text on multi-measure rest
744 @cindex multi-measure rest, attaching text
745 @cindex script on multi-measure rest
746 @cindex multi-measure rest, script
747 @cindex fermata on multi-measure rest
748 @cindex multi-measure rest, attaching fermata
750 Markups can be added to multi-measure rests.
751 The predefined command @code{\fermataMarkup}
752 is provided for adding fermatas.
754 @lilypond[quote,ragged-right,verbatim,fragment]
755 \compressFullBarRests
757 R2.*10^\markup { \italic "ad lib." }
762 Markups attached to a multi-measure rest are
763 objects of type @code{MultiMeasureRestText}, not
764 @code{TextScript}. Overrides must be directed to the correct
765 object, or they will be ignored. See the following example.
768 @lilypond[quote,ragged-right,verbatim,fragment]
769 % This fails, as the wrong object name is specified
770 \override TextScript #'padding = #5
772 % This is correct and works
773 \override MultiMeasureRestText #'padding = #5
777 When a multi-measure rest immediately follows a @code{\partial}
778 setting, resulting bar-check warnings may not be displayed.
781 @code{\textLengthOn},
782 @code{\textLengthOff},
783 @code{\fermataMarkup},
784 @code{\compressFullBarRests},
785 @code{\expandFullBarRests}.
791 @cindex kirchenpausen
793 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
794 {changing-form-of-multi--measure-rests.ly}
796 @cindex multi-measure rests, positioning
797 @cindex positioning multi-measure rests
799 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
800 {positioning-multi--measure-rests.ly}
802 @c TODO -- convert to snippet -- submitted to Neil
803 Markups attached to a multi-measure rest will be centered above or
804 below it. Long markups attached to multi-measure rests do not cause
805 the measure to expand. To expand a multi-measure rest to fit the markup,
806 use a spacer rest with an attached markup before the multi-measure rest:
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.
830 @rglos{multi-measure rest}.
835 @ref{Formatting text},
842 @rinternals{MultiMeasureRest},
843 @rinternals{MultiMeasureRestNumber},
844 @rinternals{MultiMeasureRestText}.
849 If an attempt is made to use fingerings (e.g.,
850 @code{R1*10-4}) to put numbers over multi-measure rests, the
851 fingering numeral (4) may collide with the bar counter
854 @cindex condensing rests
855 @cindex rest, condensing ordinary
857 There is no way to automatically condense multiple ordinary rests
858 into a single multi-measure rest.
860 @cindex rest, collisions of
862 Multi-measure rests do not take part in rest collisions.
864 @node Displaying rhythms
865 @subsection Displaying rhythms
871 * Polymetric notation::
872 * Automatic note splitting::
873 * Showing melody rhythms::
877 @subsubsection Time signature
879 @cindex time signature
883 The time signature is set as follows:
885 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
890 @cindex Time signature, visibility of
892 Time signatures are printed at the beginning of a piece
893 and whenever the time signature changes. If a change takes place
894 at the end of a line a warning time signature sign is printed
895 there. This default behavior may be changed, see
896 @ref{Controlling visibility of objects}.
898 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
908 @funindex \numericTimeSignature
909 @funindex \defaultTimeSignature
910 @cindex time signature style
912 The time signature symbol that is used in 2/2 and 4/4 time can be
913 changed to a numeric style:
915 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
919 % Change to numeric style
920 \numericTimeSignature
923 % Revert to default style
924 \defaultTimeSignature
930 Ancient time signatures are covered in
931 @ref{Ancient time signatures}.
935 @code{\numericTimeSignature},
936 @code{\defaultTimeSignature}.
940 @c TODO Send as snippet called "setting measure and beat lengths"
941 @c when example is added
942 @code{\time} sets the properties @code{timeSignatureFraction},
943 @code{beatLength}, and @code{measureLength} in the @code{Timing}
944 context, which is normally aliased to @code{Score}. Changing the
945 value of @code{timeSignatureFraction} causes the new time
946 signature symbol to be printed without changing the other
947 properties. The property @code{measureLength} determines where
948 bar lines should be inserted and, with @code{beatLength}, how
949 automatic beams should be generated.
951 TODO Add example of using beatLength.
952 @c beatLength is broken - see bug 511
956 @cindex measure groupings
957 @cindex beats, grouping
958 @cindex grouping beats
959 @cindex measure sub-grouping
961 @c TODO Sent as snippet called "grouping beats" 25 Mar 08
962 Options to group beats within a bar are available through the
963 Scheme function @code{set-time-signature}, which takes three
964 arguments: the number of beats, the beat length, and the internal
965 grouping of beats in the measure. If the
966 @rinternals{Measure_grouping_engraver} is included, the function
967 will also create @rinternals{MeasureGrouping} signs. Such signs
968 ease reading rhythmically complex modern music. In the example,
969 the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
970 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
972 @lilypond[quote,ragged-right,verbatim]
975 #(set-time-signature 9 8 '(2 2 2 3))
976 g8[ g] d[ d] g[ g] a8[( bes g]) |
977 #(set-time-signature 5 8 '(3 2))
983 \consists "Measure_grouping_engraver"
988 @c TODO End of snippet called "grouping beats"
990 @cindex compound time signatures
991 @cindex time signature, compound
993 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
994 {compound-time-signatures.ly}
1000 @rglos{time signature}
1003 @ref{Ancient time signatures},
1004 @ref{Time administration}.
1009 Internals Reference:
1010 @rinternals{TimeSignature},
1011 @rinternals{Timing_translator}.
1016 Automatic beaming does not use the measure grouping specified with
1017 @code{set-time-signature}.
1021 @subsubsection Upbeats
1025 @cindex partial measure
1026 @cindex measure, partial
1027 @cindex pickup measure
1028 @cindex measure, change length
1029 @cindex measurePosition
1032 Partial or pick-up measures, such as an anacrusis or upbeat, are
1033 entered using the @code{\partial} command, with the syntax
1036 \partial @var{duration}
1039 where @code{duration} is the rhythmic length of the interval
1040 before the start of the first complete measure:
1042 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1047 The partial measure can be any duration less than a full measure:
1049 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1050 \partial 8*3 c8 d e |
1054 Internally, this is translated into
1057 \set Timing.measurePosition = -@var{duration}
1060 The property @code{measurePosition} contains a rational number
1061 indicating how much of the measure has passed at this point. Note
1062 that this is set to a negative number by the @code{\partial}
1063 command: i.e., @code{\partial 4} is internally translated to
1064 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1068 Music Glossary: @rglos{anacrusis}
1070 Notation Reference: @ref{Grace notes}
1076 @rinternals{Timing_translator}
1080 @cindex grace notes, in anacruses
1082 The @code{\partial} command is intended to be used only at the
1083 beginning of a piece. If you use it after the beginning, some
1084 odd warnings may occur.
1086 @node Unmetered music
1087 @subsubsection Unmetered music
1089 @funindex \cadenzaOn
1090 @funindex \cadenzaOff
1091 @cindex bar lines, turning off
1092 @cindex bar numbering, turning off
1094 @cindex unmetered music
1096 Bar lines and bar numbers are calculated automatically. For
1097 unmetered music (some cadenzas, for example), this is not desirable.
1098 To turn off automatic calculation of bar lines and bar numbers,
1099 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1100 to turn them on again.
1102 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1111 Bar numbering is resumed at the end of the cadenza as if the
1112 cadenza were not there:
1114 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1115 % Show all bar numbers
1116 \override Score.BarNumber #'break-visibility = #all-visible
1136 @ref{Controlling visibility of objects}
1143 LilyPond will insert line breaks and page breaks only at a
1144 bar line. Unless the unmetered music ends before the end of the
1145 staff line, you will need to insert invisible bar lines with
1152 to indicate where breaks can occur.
1155 @node Polymetric notation
1156 @subsubsection Polymetric notation
1158 @cindex double time signatures
1159 @cindex signatures, polymetric
1160 @cindex polymetric signatures
1161 @cindex meter, polymetric
1163 Polymetric notation is supported, either explicitly or through
1164 clever use of markup features.
1166 @strong{Staves with different time signatures, equal measure lengths}
1168 This notation can be created by setting a common time signature
1169 for each staff but replacing the symbol manually by setting
1170 @code{timeSignatureFraction} to the desired fraction and scaling
1171 the printed durations in each staff to the common time
1172 signature. This is done with @code{\scaleDurations}, which
1173 is used in a similar way to @code{\times}, but does not create
1174 a tuplet bracket, see @ref{Scaling durations}.
1176 In this example, music with the time signatures of 3/4, 9/8, and
1177 10/8 are used in parallel. In the second staff, shown durations
1178 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1179 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1181 @lilypond[quote,ragged-right,verbatim,fragment]
1190 \set Staff.timeSignatureFraction = #'(9 . 8)
1191 \scaleDurations #'(2 . 3)
1192 \repeat unfold 6 { c8[ c c] }
1196 \set Staff.timeSignatureFraction = #'(10 . 8)
1197 \scaleDurations #'(3 . 5) {
1198 \repeat unfold 2 { c8[ c c] }
1199 \repeat unfold 2 { c8[ c] } |
1200 c4. c4. \times 2/3 { c8 c c } c4
1206 @strong{Staves with different time signatures, unequal bar lengths}
1208 Each staff can be given its own independent time signature by
1209 moving the @code{Timing_translator} to the @code{Staff} context.
1211 @lilypond[quote,verbatim,ragged-right]
1215 \remove "Timing_translator"
1216 \remove "Default_bar_line_engraver"
1220 \consists "Timing_translator"
1221 \consists "Default_bar_line_engraver"
1225 % Now each staff has its own time signature.
1251 @c TODO -- Convert to snippet. -- Sent to Neil 8/14/08
1253 @strong{Alternating time signatures}
1255 Regularly alternating double time signatures are not supported
1256 explicitly, but they can be faked. In the next example, the
1257 double time signature is created with markup text, while the
1258 real time signature is set in the usual way with @code{\time}.
1260 @lilypond[verbatim,ragged-right]
1261 % Create 9/8 split into 2/4 + 5/8
1262 tsMarkup = \markup {
1263 \override #'(baseline-skip . 2) \number {
1266 \bracket \column { "5" "8" }
1271 \override Staff.TimeSignature #'stencil =
1272 #ly:text-interface::print
1273 \override Staff.TimeSignature #'text = #tsMarkup
1275 c'2 \bar ":" c'4 c'4.
1276 c'2 \bar ":" c'4 c'4.
1285 @rglos{polymetric time signature},
1288 Notation Reference: @ref{Scaling durations}
1292 @c Is this still permitted?
1293 @c @lsr{contemporary,compound-time-signature}
1295 Internals Reference:
1296 @rinternals{TimeSignature},
1297 @rinternals{Timing_translator},
1302 When using different time signatures in parallel, notes
1303 at the same moment will be be placed at the same horizontal
1304 location. However, the bar lines in the different staves
1305 will cause the note spacing to be less regular in each of the
1306 individual staves than would be normal without the different
1309 @node Automatic note splitting
1310 @subsubsection Automatic note splitting
1312 @cindex notes, splitting
1313 @cindex splitting notes
1315 Long notes which overrun bar lines can be converted automatically
1316 to tied notes. This is done by replacing the
1317 @code{Note_heads_engraver} with the
1318 @code{Completion_heads_engraver}. In the following
1319 example, notes crossing the bar lines are split and tied.
1321 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1323 \remove "Note_heads_engraver"
1324 \consists "Completion_heads_engraver"
1327 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1330 This engraver splits all running notes at the bar line, and
1331 inserts ties. One of its uses is to debug complex scores: if the
1332 measures are not entirely filled, then the ties show exactly how
1333 much each measure is off.
1337 Music Glossary: @rglos{tie}
1340 @rlearning{Engravers explained},
1341 @rlearning{Adding and removing engravers}.
1346 Internals Reference:
1347 @rinternals{Note_heads_engraver},
1348 @rinternals{Completion_heads_engraver},
1349 @rinternals{Forbid_line_break_engraver}.
1354 Not all durations (especially those containing tuplets) can be
1355 represented exactly with normal notes and dots, but the
1356 @code{Completion_heads_engraver} will not insert tuplets.
1358 The @code{Completion_heads_engraver} only affects notes; it does not
1362 @node Showing melody rhythms
1363 @subsubsection Showing melody rhythms
1365 Sometimes you might want to show only the rhythm of a melody. This
1366 can be done with the rhythmic staff. All pitches of notes on such a
1367 staff are squashed, and the staff itself has a single line
1369 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1371 \new RhythmicStaff {
1372 \new Voice = "myRhythm" {
1380 \lyricsto "myRhythm" {
1388 Guitar chord charts often show the strumming rhythms. This can
1389 be done with the @code{Pitch_squash_engraver} and
1390 @code{\improvisationOn}.
1393 @lilypond[quote,verbatim]
1402 \consists Pitch_squash_engraver
1414 @code{\improvisationOn},
1415 @code{\improvisationOff}.
1418 @c TODO -- Convert to snippet;
1419 @c tag for both Rhythms and Guitar? Move to @seealso?
1421 For guitar music, it is possible to show strum rhythms, along
1422 with melody notes, chord names, and fret diagrams.
1425 @lilypond[quote,verbatim]
1426 \include "predefined-guitar-fretboards.ly"
1442 \consists Pitch_squash_engraver
1452 \new Voice = "melody" {
1463 \lyricsto "melody" {
1476 Internals Reference:
1477 @rinternals{RhythmicStaff},
1478 @rinternals{Pitch_squash_engraver}.
1485 * Setting automatic beam behavior::
1490 @node Automatic beams
1491 @subsubsection Automatic beams
1493 By default, beams are inserted automatically:
1495 @cindex beams, manual
1496 @cindex manual beams
1498 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1500 \time 6/8 c c c c8. c16 c8
1503 If these automatic decisions are not satisfactory, beaming can be
1504 entered explicitly; see @ref{Manual beams}. It is also possible
1505 to define beaming patterns that differ from the defaults; see
1506 @ref{Setting automatic beam behavior}. The default beaming rules
1507 are defined in @file{scm/@/auto@/-beam@/.scm}.
1513 Automatic beaming may be turned off and on with
1514 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1516 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1517 c4 c8 c8. c16 c8. c16 c8
1525 @code{\autoBeamOff},
1530 @c TODO -- convert to snippet
1531 Beaming patterns may be altered with the @code{beatGrouping} property,
1533 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1535 \set beatGrouping = #'(2 3)
1537 \set beatGrouping = #'(3 2)
1541 @c TODO convert to snippet
1542 The beams of consecutive 16th (or shorter) notes are, by default,
1543 not sub-divided. That is, the three (or more) beams stretch
1544 unbroken over entire groups of notes. This behavior can
1545 be modified to sub-divide the beams into sub-groups by setting
1546 the property @code{subdivideBeams}. When set, multiple beams
1547 will be sub-divided at intervals defined by the current value of
1548 @code{beatLength} by reducing the multiple beams to just one beam
1549 between the sub-groups. Note that @code{beatLength} lives in the
1550 @code{Score} context and defaults to a quarter note. It must be
1551 set to a fraction giving the duration of the beam sub-group
1552 using the @code{make-moment} function, as shown here:
1554 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1556 \set subdivideBeams = ##t
1558 % Set beam sub-group length to an eighth note
1559 \set Score.beatLength = #(ly:make-moment 1 8)
1561 % Set beam sub-group length to a sixteenth note
1562 \set Score.beatLength = #(ly:make-moment 1 16)
1565 @funindex subdivideBeams
1568 For more information about @code{make-moment}, see
1569 @ref{Time administration}.
1575 @c TODO convert to snippet
1576 Line breaks are normally forbidden when beams cross bar lines.
1577 This behavior can be changed by setting the @code{breakable}
1578 property: @code{\override Beam #'breakable = ##t}.
1580 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1581 \override Beam #'breakable = ##t
1582 c8 \repeat unfold 15 { c[ c] } c
1585 @cindex beams and line breaks
1586 @cindex beams, kneed
1588 @cindex auto-knee-gap
1590 @c TODO convert to snippet
1591 Kneed beams are inserted automatically when a large gap is
1592 detected between the note heads. This behavior can be tuned
1593 through the @code{auto-knee-gap} property. A kneed beam is
1594 drawn if the gap is larger than the value of
1595 @code{auto-knee-gap} plus the width of the beam object (which
1596 depends on the duration of the notes and the slope of the beam).
1597 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1599 @lilypond[fragment,ragged-right,quote,verbatim]
1601 \override Beam #'auto-knee-gap = #6
1610 @ref{Setting automatic beam behavior}.
1613 @file{scm/auto-beam.scm}.
1618 Internals Reference: @rinternals{Beam}.
1623 Automatically kneed cross-staff beams cannot be used together with
1624 hidden staves. See @ref{Hiding staves}.
1626 Beams can collide with note heads and accidentals in other voices
1629 @node Setting automatic beam behavior
1630 @subsubsection Setting automatic beam behavior
1632 @funindex autoBeamSettings
1633 @funindex (end * * * *)
1634 @funindex (begin * * * *)
1635 @cindex automatic beams, tuning
1636 @cindex tuning automatic beaming
1638 @c [TODO: use \applyContext]
1640 In normal time signatures, automatic beams can start on any note
1641 but can end in only a few positions within the measure: beams can
1642 end on a beat, or at durations specified by the properties in
1643 @code{autoBeamSettings}. The properties in
1644 @code{autoBeamSettings} consist of a list of rules for where beams
1645 can begin and end. The default @code{autoBeamSettings} rules are
1646 defined in @file{scm/@/auto@/-beam@/.scm}.
1648 In order to add a rule to the list, use
1650 #(override-auto-beam-setting
1651 '(beam-limit beam-numerator beam-denominator
1652 time-signature-numerator time-signature-denominator)
1653 moment-numerator moment-denominator [context])
1658 @item @code{beam-limit} is the type of automatic beam limit
1659 defined, either @code{begin} or @code{end}.
1661 @item @code{beam-numerator/beam-denominator} is the beam duration
1662 for which you want to add a rule. A beam is considered to have
1663 the duration of its shortest note. Set @code{beam-numerator} and
1664 @code{beam-denominator} to @code{'*'} to
1665 have this rule apply beams of any duration.
1667 @item @code{time-signature-numerator/time-signature-denominator}
1668 is the time signature to which
1669 this rule should apply. Set @code{time-signature-numerator} and
1670 @code{time-signature-denominator} to @code{'*'}
1671 to have this rule apply in any time signature.
1673 @item @code{monent-numerator/moment-denominator} is the position
1674 in the bar at which the beam should
1677 @item @code{context} is optional, and it specifies the context at which
1678 the change should be made. The default is @code{'Voice}.
1680 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1681 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1685 TODO -- convert to music example
1686 For example, if automatic beams should always end on the first quarter
1690 #(override-auto-beam-setting '(end * * * *) 1 4)
1693 You can force the beam settings to only take effect on beams whose shortest
1694 note is a certain duration
1696 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1698 % end 1/16 beams for all time signatures at the 1/16 moment
1699 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1701 a32 a a a a16 a a a a a |
1702 % end 1/32 beams for all time signatures at the 1/16 moment
1703 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1704 a32 a a a a16 a a a a a |
1707 You can force the beam settings to only take effect in certain time
1710 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1712 % end beams of all durations in 5/8 time signature at the 2/8 moment
1713 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1721 Existing auto-beam rules are removed by using
1724 #(revert-auto-beam-setting
1725 '(beam-limit beam-numerator beam-denominator
1726 time-signature-numerator time-signature-denominator)
1727 moment-numerator moment-denominator [context])
1731 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1732 @code{time-signature-numerator}, @code{time-signature-denominator},
1733 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1734 are the same as above. Note that the default auto-beaming rules are
1735 specified in @file{scm/@/auto@/-beam@/.scm},
1736 so you can revert rules that you did not explicitly create.
1738 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1740 a16 a a a a a a a a a a a a a a a
1741 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1742 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1743 a16 a a a a a a a a a a a a a a a
1746 The rule in a @code{revert-auto-beam-setting} statement must exactly
1747 match the original rule. That is, no wildcard expansion is taken into
1750 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1752 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1754 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1756 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1762 @c TODO: old material -- not covered by above stuff, I think.
1763 If automatic beams should end on every quarter in 5/4 time, specify
1766 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1767 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1768 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1769 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1773 The same syntax can be used to specify beam starting points. In this
1774 example, automatic beams can only end on a dotted quarter note
1776 #(override-auto-beam-setting '(end * * * *) 3 8)
1777 #(override-auto-beam-setting '(end * * * *) 1 2)
1778 #(override-auto-beam-setting '(end * * * *) 7 8)
1780 In 4/4 time signature, this means that automatic beams could end only on
1781 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1782 3/8, has passed within the measure).
1784 If any unexpected beam behavior occurs, check the default automatic beam
1785 settings in @file{scm/@/auto@/-beam@/.scm}
1786 for possible interference, because the beam
1787 endings defined there will still apply on top of your own overrides. Any
1788 unwanted endings in the default vales must be reverted for your time
1791 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1795 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1796 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1797 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1798 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1801 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1802 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1803 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1806 @cindex automatic beam generation
1808 @funindex autoBeaming
1811 If beams are used to indicate melismata in songs, then automatic
1812 beaming should be switched off with @code{\autoBeamOff}.
1817 @funindex \autoBeamOff
1818 @code{\autoBeamOff},
1819 @funindex \autoBeamOn
1825 If a score ends while an automatic beam has not been ended and is
1826 still accepting notes, this last beam will not be typeset at all.
1827 The same holds for polyphonic voices, entered with @code{<<
1828 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1829 automatic beam is still accepting notes, it is not typeset.
1838 @subsubsection Manual beams
1840 @cindex beams, manual
1844 In some cases it may be necessary to override the automatic
1845 beaming algorithm. For example, the autobeamer will not put beams
1846 over rests or bar lines, and in choral scores the beaming is
1847 often set to follow the meter of the lyrics rather than the
1848 notes. Such beams can be specified manually by
1849 marking the begin and end point with @code{[} and @code{]}
1851 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1853 r4 r8[ g' a r8] r8 g[ | a] r8
1858 Individual notes may be marked with @code{\noBeam} to prevent them
1861 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1862 \time 2/4 c8 c\noBeam c c
1865 @funindex stemLeftBeamCount
1866 @funindex stemRightBeamCount
1868 Even more strict manual control with the beams can be achieved by
1869 setting the properties @code{stemLeftBeamCount} and
1870 @code{stemRightBeamCount}. They specify the number of beams to
1871 draw on the left and right side, respectively, of the next note.
1872 If either property is set, its value will be used only once, and
1873 then it is erased. In this example, the last @code{f} is printed
1874 with only one beam on the left side, i.e., the eighth-note beam of
1875 the group as a whole.
1877 TODO -- no difference based on stemLeftBeamCount in this example
1878 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1882 \set stemLeftBeamCount = #1
1890 @node Feathered beams
1891 @subsubsection Feathered beams
1893 @cindex beams, feathered
1894 @funindex \featherDurations
1896 TODO -- this section relies on overrides. We need to either add
1897 a predefined, move this to snippets (whole section), or violate
1898 policy for this section.
1900 Feathered beams are used to indicate that a small group of notes
1901 should be played at an increasing (or decreasing) tempo, without
1902 changing the overall tempo of the piece. The extent of the
1903 feathered beam must be indicated manually using @code{[} and
1904 @code{]}, and the beam feathering is turned on by specifying a
1905 direction to the @code{Beam} property @code{grow-direction}.
1907 If the placement of the notes and the sound in the MIDI output
1908 is to reflect the ritardando or accelerando indicated by the
1909 feathered beam the notes must be grouped as a
1910 music expression delimited by braces and preceded by a
1911 @code{featheredDurations} command which specifies the ratio
1912 between the durations of the first and last notes in the group.
1915 show the extent of the beam and the braces show
1916 which notes are to have their durations modified. Normally
1917 these would delimit the same group of notes, but this is not
1918 required: the two commands are independent.
1920 @c TODO -- eliminate "Talking through code"
1922 In the following example the eight 16th notes occupy exactly the
1923 same time as a half note, but the first note is one half as long
1924 as the last one, with the intermediate notes gradually
1925 lengthening. The first four 32nd notes gradually speed up, while
1926 the last four 32nd notes are at a constant tempo.
1928 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1929 \override Beam #'grow-direction = #LEFT
1930 \featherDurations #(ly:make-moment 2 1)
1931 { c16[ c c c c c c c] }
1932 \override Beam #'grow-direction = #RIGHT
1933 \featherDurations #(ly:make-moment 2 3)
1935 % revert to non-feathered beams
1936 \override Beam #'grow-direction = #'()
1941 The spacing in the printed output represents the
1942 note durations only approximately, but the midi output is exact.
1944 @c TODO -- resolve whether or not midi is capitalized -- policy
1949 The @code{\featherDurations} command only works with very short
1950 music snippets, and when numbers in the fraction are small.
1966 * Bar and bar number checks::
1971 @subsubsection Bar lines
1975 @cindex measure lines
1978 Bar lines delimit measures, and are also used to indicate
1979 repeats. Normally, simple bar lines are automatically inserted
1980 into the printed output at places based on the current time
1983 The simple bar lines inserted automatically can be changed to
1984 other types with the @code{\bar} command. For example, a closing
1985 double bar line is usually placed at the end of a piece:
1987 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1991 @c TODO -- make this warning more clear. What does it mean?
1992 @warning{An incorrect duration can lead to poorly formatted
1995 @c TODO -- check this. I think this behavior no longer happens
1996 @c with completion_heads_engraver, but it may with note_heads_engraver
1997 @c Make an example showing the problem
1999 It is not invalid if the final note in a measure does not
2000 end on the automatically entered bar line: the note is assumed
2001 to carry over into the next measure. But if a long sequence
2002 of such carry-over measures appears the music can appear compressed
2003 or even flowing off the page. This is because automatic line
2004 breaks happen only at the end of complete measures, i.e., where
2005 the end of a note coincides with the end of a measure.
2008 @cindex bar lines, invisible
2009 @cindex measure lines, invisible
2011 Line breaks are also permitted at manually inserted bar lines
2012 even within incomplete measures. To allow a line break without
2013 printing a bar line, use
2020 This will insert an invisible bar line and allow (but not
2021 force) a line break to occur at this point. The bar number
2022 counter is not increased. To force a line break see
2023 @ref{Line breaking}.
2025 This and other special bar lines may be inserted manually at any
2026 point. When they coincide with the end of a measure they replace
2027 the simple bar line which would have been inserted there
2028 automatically. When they do not coincide
2029 with the end of a measure the specified bar line is inserted at that
2030 point in the printed output. Such insertions do not affect
2031 the calculation and placement of subsequent automatic bar lines.
2033 The simple bar line and four types of double bar line are available
2034 for manual insertion:
2036 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2037 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
2041 together with dotted and dashed bar lines:
2043 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2044 f1 \bar ":" g \bar "dashed" a
2048 and three types of repeat bar line:
2050 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
2051 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
2056 Although the bar line types signifying repeats may be inserted
2057 manually they do not in themselves cause LilyPond to recognize
2058 a repeated section. Such repeated sections are better entered
2059 using the various repeat commands (see @ref{Repeats}), which
2060 automatically print the appropriate bar lines.
2062 In addition, you can specify @code{"||:"}, which is equivalent to
2063 @code{"|:"} except at line breaks, where it gives a double bar
2064 line at the end of the line and a start repeat at the beginning of
2067 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
2068 \override Score.RehearsalMark #'padding = #3
2076 In scores with many staves, a @code{\bar} command in one staff is
2077 automatically applied to all staves. The resulting bar lines are
2078 connected between different staves of a @code{StaffGroup},
2079 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
2081 @lilypond[quote,ragged-right,fragment,verbatim]
2089 \new Staff { \clef bass c4 g e g }
2091 \new Staff { \clef bass c2 c2 }
2099 @funindex defaultBarType
2101 The command @code{\bar }@var{bartype} is a shortcut for
2102 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2103 created whenever the @code{whichBar} property is
2106 The default bar type used for automatically inserted bar lines is
2107 @code{"|"}. This may be changed at any time
2108 with @code{\set Timing.defaultBarType = }@var{bartype}.
2112 Notation Reference: @ref{Line breaking}, @ref{Repeats},
2113 @c FIXME: node name changed, but is subject to further changes.
2114 @c @ref{System start delimiters}.
2119 Internals Reference: @rinternals{BarLine} (created at
2120 @rinternals{Staff} level), @rinternals{SpanBar} (across
2121 staves), @rinternals{Timing_translator} (for Timing
2126 @subsubsection Bar numbers
2129 @cindex measure numbers
2130 @funindex currentBarNumber
2132 Bar numbers are typeset by default at the start of every line except
2133 the first line. The number itself is stored in the
2134 @code{currentBarNumber} property, which is normally updated
2135 automatically for every measure. It may also be set manually:
2137 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2140 \set Score.currentBarNumber = #50
2147 @funindex barNumberVisibility
2148 @cindex bar numbers, regular spacing
2150 Bar numbers can be typeset at regular intervals instead of just at
2151 the beginning of every line. To do this the default behavior
2152 must be overridden to permit bar numbers to be printed at places
2153 other than the start of a line. This is controlled by the
2154 @code{break-visibility} property of @code{BarNumber}. This takes
2155 three values which may be set to @code{#t} or @code{#f} to specify
2156 whether the corresponding bar number is visible or not. The order
2157 of the three values is @code{end of line visible}, @code{middle of
2158 line visible}, @code{beginning of line visible}. In the following
2159 example bar numbers are printed at all possible places:
2161 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2162 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2163 \set Score.currentBarNumber = #11
2164 \bar "" % Permit first bar number to be printed
2170 @c All the rest of these examples will be added to LSR
2171 @c and moved into the Snippets. -gp
2174 and here the bar numbers are printed every two measures
2175 except at the end of the line:
2177 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2178 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2179 \set Score.currentBarNumber = #11
2180 \bar "" % Permit first bar number to be printed
2181 % Print a bar number every second measure
2182 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2188 @cindex measure number, format
2189 @cindex bar number, format
2191 The size of the bar number may be changed. This is illustrated
2192 in the following example, which also shows how to enclose bar
2193 numbers in boxes and circles, and shows an alternative way
2194 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2196 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2197 % Prevent bar numbers at the end of a line and permit them elsewhere
2198 \override Score.BarNumber #'break-visibility
2199 = #end-of-line-invisible
2201 % Increase the size of the bar number by 2
2202 \override Score.BarNumber #'font-size = #2
2203 \repeat unfold 3 { c1 } \bar "|"
2205 % Draw a box round the following bar number(s)
2206 \override Score.BarNumber #'stencil
2207 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2208 \repeat unfold 3 { c1 } \bar "|"
2210 % Draw a circle round the following bar number(s)
2211 \override Score.BarNumber #'stencil
2212 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2213 \repeat unfold 4 { c1 } \bar "|."
2216 @cindex bar number alignment
2218 Bar numbers by default are left-aligned to their parent object.
2219 This is usually the left edge of a line or, if numbers are printed
2220 within a line, the left bar line of the measure. The numbers may also
2221 be positioned directly on the bar line or right-aligned to the
2224 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2225 \set Score.currentBarNumber = #111
2226 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2227 % Increase the size of the bar number by 2
2228 \override Score.BarNumber #'font-size = #2
2229 % Print a bar number every second measure
2230 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2232 % Center-align bar numbers
2233 \override Score.BarNumber #'self-alignment-X = #0
2235 % Right-align bar numbers
2236 \override Score.BarNumber #'self-alignment-X = #-1
2240 Bar numbers can be removed entirely by removing the
2241 @code{Bar_number_engraver} from the @code{Score} context.
2243 @lilypond[verbatim,ragged-right,quote]
2247 \remove "Bar_number_engraver"
2262 Internals Reference: @rinternals{BarNumber}.
2267 Bar numbers may collide with the top of the
2268 @rinternals{StaffGroup} bracket, if there is one. To solve
2269 this, the @code{padding} property of @rinternals{BarNumber} can
2270 be used to position the number correctly.
2272 Bar numbers may only be printed at bar lines; to print a bar
2273 number at the beginning of a piece, an empty bar line must be
2274 inserted there, and a value other than @code{1} must be placed
2275 in @code{currentBarNumber}:
2277 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2278 \set Score.currentBarNumber = #50
2287 @node Bar and bar number checks
2288 @subsubsection Bar and bar number checks
2291 @funindex barCheckSynchronize
2294 Bar checks help detect errors in the entered durations.
2295 A bar check may be entered using the bar symbol, @code{|},
2296 at any place where a bar line is expected to fall.
2297 If bar check lines are encountered at other places,
2298 a list of warnings is printed in the log file,
2299 showing the line numbers and lines
2300 in which the bar checks failed. In the next
2301 example, the second bar check will signal an error.
2304 \time 3/4 c2 e4 | g2 |
2307 Bar checks can also be used in lyrics, for example
2312 Twin -- kle | Twin -- kle |
2316 An incorrect duration can result in a completely garbled score,
2317 especially if the score is polyphonic, so a good place to start
2318 correcting input is by scanning for failed bar checks and
2319 incorrect durations.
2321 If successive bar checks are off by the same musical interval,
2322 only the first warning message is displayed. This allows the
2323 warning to focus on the source of the timing error.
2327 @funindex pipeSymbol
2329 It is also possible to redefine the action taken when a bar check
2330 or pipe symbol, @code{|}, is encountered in the input, so that
2331 it does something other than a bar check. This is done by
2332 assigning a music expression to @code{pipeSymbol}.
2333 In the following example @code{|} is set to insert a double bar
2334 line wherever it appears in the input, rather than checking
2337 @lilypond[quote,ragged-right,verbatim]
2338 pipeSymbol = \bar "||"
2347 When copying large pieces of music, it can be helpful to check
2348 that the LilyPond bar number corresponds to the original that you
2349 are entering from. This can be checked with
2350 @code{\barNumberCheck}, for example,
2353 \barNumberCheck #123
2357 will print a warning if the @code{currentBarNumber} is not 123
2358 when it is processed.
2366 @node Rehearsal marks
2367 @subsubsection Rehearsal marks
2369 @cindex rehearsal marks
2370 @cindex mark, rehearsal
2373 To print a rehearsal mark, use the @code{\mark} command
2375 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2384 The letter@tie{}@q{I} is skipped in accordance with engraving
2385 traditions. If you wish to include the letter @q{I}, then use
2388 \set Score.markFormatter = #format-mark-alphabet
2391 The mark is incremented automatically if you use @code{\mark
2392 \default}, but you can also use an integer argument to set the
2393 mark manually. The value to use is stored in the property
2394 @code{rehearsalMark}.
2396 @cindex rehearsal mark format
2397 @cindex rehearsal mark style
2398 @cindex style, rehearsal mark
2399 @cindex format, rehearsal mark
2400 @cindex mark, rehearsal, style
2401 @cindex mark, rehearsal, format
2403 The style is defined by the property @code{markFormatter}. It is
2404 a function taking the current mark (an integer) and the current
2405 context as argument. It should return a markup object. In the
2406 following example, @code{markFormatter} is set to a pre-defined
2407 procedure. After a few measures, it is set to a procedure that
2408 produces a boxed number.
2410 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2411 \set Score.markFormatter = #format-mark-numbers
2414 \set Score.markFormatter = #format-mark-box-numbers
2420 The file @file{scm/@/translation@/-functions@/.scm} contains the
2421 definitions of @code{format-mark-numbers} (the default format),
2422 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2423 @code{format-mark-box-letters}. These can be used as inspiration
2424 for other formatting functions.
2426 You may use @code{format-mark-barnumbers},
2427 @code{format-mark-box-barnumbers}, and
2428 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2429 incremented numbers or letters.
2431 Other styles of rehearsal mark can be specified manually
2438 @code{Score.markFormatter} does not affect marks specified in this
2439 manner. However, it is possible to apply a @code{\markup} to the
2443 \mark \markup@{ \box A1 @}
2450 Music glyphs (such as the segno sign) may be printed inside a
2453 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2454 c1 \mark \markup { \musicglyph #"scripts.segno" }
2455 c1 \mark \markup { \musicglyph #"scripts.coda" }
2456 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2461 See @ref{The Feta font}, for a list of symbols which may be
2462 printed with @code{\musicglyph}.
2464 For common tweaks to the positioning of rehearsal marks, see
2465 @ref{Formatting text}.
2470 @ref{The Feta font},
2471 @ref{Formatting text}.
2474 @file{scm/@/translation@/-functions@/.scm} contains
2475 the definition of @code{format-mark-numbers} and
2476 @code{format-mark-letters}. They can be used as inspiration for
2477 other formatting functions.
2482 Internals Reference: @rinternals{RehearsalMark}.
2484 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2486 @node Special rhythmic concerns
2487 @subsection Special rhythmic concerns
2492 * Aligning to cadenzas::
2493 * Time administration::
2497 @subsubsection Grace notes
2502 @cindex appoggiatura
2503 @cindex acciaccatura
2505 Grace notes are ornaments that are written out. Grace notes
2506 are printed in a smaller font and take up no logical time
2509 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2511 \grace { c16[ d16] } c2
2514 Lilypond also supports two special types of grace notes, the
2515 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2516 small note with a slashed stem--and the @emph{appoggiatura}, which
2517 takes a fixed fraction of the main note and appears in small print
2520 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2524 \acciaccatura { g16[ f] } e4
2527 The placement of grace notes is synchronized between different
2528 staves. In the following example, there are two sixteenth grace
2529 notes for every eighth grace note
2531 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2532 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2533 \new Staff { c2 \grace { g8[ b] } c2 } >>
2536 @funindex \afterGrace
2538 @cindex grace notes, following
2540 If you want to end a note with a grace, use the @code{\afterGrace}
2541 command. It takes two arguments: the main note, and the grace
2542 notes following the main note.
2544 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2545 c1 \afterGrace d1 { c16[ d] } c1
2548 This will put the grace notes after a space lasting 3/4 of the
2549 length of the main note. The default fraction 3/4 can be changed by
2550 setting @code{afterGraceFraction}. The following example shows
2551 the results from setting the space at the default, at 15/16, and
2552 finally at 1/2 of the main note.
2554 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2557 c1 \afterGrace d1 { c16[ d] } c1
2560 #(define afterGraceFraction (cons 15 16))
2561 c1 \afterGrace d1 { c16[ d] } c1
2564 #(define afterGraceFraction (cons 1 2))
2565 c1 \afterGrace d1 { c16[ d] } c1
2570 The space between the main note and the grace note may also be
2571 specified using spacers. The following example places the grace
2572 note after a space lasting 7/8 of the main note.
2574 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2577 { s2 s4. \grace { c16[ d] } } >>
2582 A @code{\grace} music expression will introduce special
2583 typesetting settings, for example, to produce smaller type, and
2584 set directions. Hence, when introducing layout tweaks to
2585 override the special settings, they should be placed inside
2586 the grace expression. The overrides should also be reverted
2587 inside the grace expression. Here, the grace note's default stem
2588 direction is overriden and then reverted.
2590 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2602 @cindex stem, with slash
2607 The slash through the stem found in @emph{acciaccatura}s can be applied
2608 in other situations:
2610 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2612 \override Stem #'stroke-style = #"grace"
2617 The layout of grace expressions can be changed throughout the
2618 music using the function @code{add-grace-property}. The following
2619 example undefines the @code{Stem} direction for this grace, so
2620 that stems do not always point up.
2622 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2625 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2626 #(remove-grace-property 'Voice 'Stem 'direction)
2628 \acciaccatura { f16 } g4
2629 \grace { d16[ e] } f4
2630 \appoggiatura { a,32[ b c d] } e2
2636 Another option is to change the variables @code{startGraceMusic},
2637 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2638 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2639 @code{stopAppoggiaturaMusic}. The default values of these can be
2640 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2641 them other effects may be obtained.
2643 Grace notes may be forced to align with regular notes
2646 @lilypond[verbatim,quote,ragged-right]
2649 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2652 \afterGrace c4 { c16[ c8 c16] }
2656 c16 c c c c c c c c4 r
2666 @rglos{grace notes},
2667 @rglos{acciaccatura},
2668 @rglos{appoggiatura}.
2670 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2672 Snippets: @rlsr{Rhythms}.
2674 Internals Reference: @rinternals{GraceMusic}.
2679 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2680 and looks exactly the same as a multi-note beamed
2681 @emph{appoggiatura}.
2682 @c TODO Add link to LSR snippet to add slash when available
2684 Grace note synchronization can also lead to surprises. Staff
2685 notation, such as key signatures, bar lines, etc., are also
2686 synchronized. Take care when you mix staves with grace notes and
2687 staves without, for example,
2689 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2690 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2691 \new Staff { c4 \bar "|:" d2. } >>
2695 This can be remedied by inserting grace skips of the corresponding
2696 durations in the other staves. For the above example
2698 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2699 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2700 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2703 Grace sections should only be used within sequential music
2704 expressions. Nesting or juxtaposing grace sections is not
2705 supported, and might produce crashes or other errors.
2707 @node Aligning to cadenzas
2708 @subsubsection Aligning to cadenzas
2711 @cindex cadenza, aligning to
2712 @cindex aligning to cadenza
2714 In an orchestral context, cadenzas present a special problem: when
2715 constructing a score that includes a measured cadenza or other solo
2716 passage, all other instruments should skip just as many notes as the
2717 length of the cadenza, otherwise they will start too soon or too late.
2719 One solution to this problem is to use the functions
2720 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2721 functions take a defined piece of music as an argument and generate a
2722 multi-measure rest or @code{\skip} exactly as long as the piece.
2724 @lilypond[verbatim,ragged-right,quote]
2725 MyCadenza = \relative c' {
2736 #(ly:export (mmrest-of-length MyCadenza))
2738 #(ly:export (skip-of-length MyCadenza))
2753 @node Time administration
2754 @subsubsection Time administration
2756 @cindex time administration
2757 @cindex timing (within the score)
2758 @cindex music, unmetered
2759 @cindex unmetered music
2761 @funindex currentBarNumber
2762 @funindex measurePosition
2763 @funindex measureLength
2765 Time is administered by the @code{Timing_translator}, which by
2766 default is to be found in the @code{Score} context. An alias,
2767 @code{Timing}, is added to the context in which the
2768 @code{Timing_translator} is placed.
2770 The following properties of @code{Timing} are used
2771 to keep track of timing within the score.
2774 @cindex measure number
2777 @item currentBarNumber
2778 The current measure number. For an example showing the
2779 use of this property see @ref{Bar numbers}.
2782 The length of the measures in the current time signature. For a
2783 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2784 determines when bar lines are inserted and how automatic beams
2785 should be generated.
2787 @item measurePosition
2788 The point within the measure where we currently are. This
2789 quantity is reset by subtracting @code{measureLength} whenever
2790 @code{measureLength} is reached or exceeded. When that happens,
2791 @code{currentBarNumber} is incremented.
2794 If set to true, the above variables are updated for every time
2795 step. When set to false, the engraver stays in the current
2796 measure indefinitely.
2800 Timing can be changed by setting any of these variables
2801 explicitly. In the next example, the default 4/4 time
2802 signature is printed, but @code{measureLength} is set to 5/4.
2803 At 4/8 through the third measure, the @code{measurePosition} is
2804 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2805 The next bar line then falls at 9/8 rather than 5/4.
2807 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2808 \set Score.measureLength = #(ly:make-moment 5 4)
2812 \set Score.measurePosition = #(ly:make-moment 5 8)
2818 As the example illustrates, @code{ly:make-moment n m} constructs a
2819 duration of n/m of a whole note. For example,
2820 @code{ly:make-moment 1 8} is an eighth note duration and
2821 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2827 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2832 Internals Reference: @rinternals{Timing_translator},