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}.
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
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 @c -- music is somewhat compressed vertically. I thought it
809 @c was good because the emphasis is not on the content
810 @c of the markup, but on the place the markup was attached -cs
811 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
812 \compressFullBarRests
814 s1*0^\markup { [MAJOR GENERAL] }
816 s1*0_\markup { \italic { Cue: ... it is yours } }
818 R1*30^\markup { [MABEL] }
820 c4^\markup { CHORUS } d f c
824 Note that the spacer rest causes a bar to be inserted.
825 Text attached to a spacer rest in this way is left-aligned to the
826 position where the note would be placed in the measure, but if the
827 measure length is determined by the length of the text, the text will
828 appear to be centered.
833 @rglos{multi-measure rest}.
838 @ref{Formatting text},
845 @rinternals{MultiMeasureRest},
846 @rinternals{MultiMeasureRestNumber},
847 @rinternals{MultiMeasureRestText}.
852 If an attempt is made to use fingerings (e.g.,
853 @code{R1*10-4}) to put numbers over multi-measure rests, the
854 fingering numeral (4) may collide with the bar counter
857 @cindex condensing rests
858 @cindex rest, condensing ordinary
860 There is no way to automatically condense multiple ordinary rests
861 into a single multi-measure rest.
863 @cindex rest, collisions of
865 Multi-measure rests do not take part in rest collisions.
867 @node Displaying rhythms
868 @subsection Displaying rhythms
874 * Polymetric notation::
875 * Automatic note splitting::
876 * Showing melody rhythms::
880 @subsubsection Time signature
882 @cindex time signature
886 The time signature is set as follows:
888 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
893 @cindex Time signature, visibility of
895 Time signatures are printed at the beginning of a piece
896 and whenever the time signature changes. If a change takes place
897 at the end of a line a warning time signature sign is printed
898 there. This default behavior may be changed, see
899 @ref{Controlling visibility of objects}.
901 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
911 @funindex \numericTimeSignature
912 @funindex \defaultTimeSignature
913 @cindex time signature style
915 The time signature symbol that is used in 2/2 and 4/4 time can be
916 changed to a numeric style:
918 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
922 % Change to numeric style
923 \numericTimeSignature
926 % Revert to default style
927 \defaultTimeSignature
933 Ancient time signatures are covered in
934 @ref{Ancient time signatures}.
938 @code{\numericTimeSignature},
939 @code{\defaultTimeSignature}.
943 @c TODO Send as snippet called "setting measure and beat lengths"
944 @c when example is added
945 @code{\time} sets the properties @code{timeSignatureFraction},
946 @code{beatLength}, and @code{measureLength} in the @code{Timing}
947 context, which is normally aliased to @code{Score}. Changing the
948 value of @code{timeSignatureFraction} causes the new time
949 signature symbol to be printed without changing the other
950 properties. The property @code{measureLength} determines where
951 bar lines should be inserted and, with @code{beatLength}, how
952 automatic beams should be generated.
954 TODO Add example of using beatLength.
955 @c beatLength is broken - see bug 511
959 @cindex measure groupings
960 @cindex beats, grouping
961 @cindex grouping beats
962 @cindex measure sub-grouping
964 @c TODO Sent as snippet called "grouping beats" 25 Mar 08
965 Options to group beats within a bar are available through the
966 Scheme function @code{set-time-signature}, which takes three
967 arguments: the number of beats, the beat length, and the internal
968 grouping of beats in the measure. If the
969 @rinternals{Measure_grouping_engraver} is included, the function
970 will also create @rinternals{MeasureGrouping} signs. Such signs
971 ease reading rhythmically complex modern music. In the example,
972 the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
973 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
975 @lilypond[quote,ragged-right,verbatim]
978 #(set-time-signature 9 8 '(2 2 2 3))
979 g8[ g] d[ d] g[ g] a8[( bes g]) |
980 #(set-time-signature 5 8 '(3 2))
986 \consists "Measure_grouping_engraver"
991 @c TODO End of snippet called "grouping beats"
993 @cindex compound time signatures
994 @cindex time signature, compound
996 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
997 {compound-time-signatures.ly}
1003 @rglos{time signature}
1006 @ref{Ancient time signatures},
1007 @ref{Time administration}.
1012 Internals Reference:
1013 @rinternals{TimeSignature},
1014 @rinternals{Timing_translator}.
1019 Automatic beaming does not use the measure grouping specified with
1020 @code{set-time-signature}.
1024 @subsubsection Upbeats
1028 @cindex partial measure
1029 @cindex measure, partial
1030 @cindex pickup measure
1031 @cindex measure, change length
1032 @cindex measurePosition
1035 Partial or pick-up measures, such as an anacrusis or upbeat, are
1036 entered using the @code{\partial} command, with the syntax
1039 \partial @var{duration} @emph{notes}
1042 where @code{duration} is the rhythmic length of the interval
1043 before the start of the first complete measure:
1045 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1050 The partial measure can be any duration less than a full measure:
1052 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1053 \partial 8*3 c8 d e |
1057 Internally, this is translated into
1060 \set Timing.measurePosition = -@var{duration}
1063 The property @code{measurePosition} contains a rational number
1064 indicating how much of the measure has passed at this point. Note
1065 that this is set to a negative number by the @code{\partial}
1066 command: i.e., @code{\partial 4} is internally translated to
1067 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1071 Music Glossary: @rglos{anacrusis}
1073 Notation Reference: @ref{Grace notes}
1079 @rinternals{Timing_translator}
1083 @cindex grace notes, in anacruses
1085 This command does not take into account grace notes at the start
1086 of the music. If the pick-up starts with one or more grace
1087 notes, then the @code{\partial} should follow the grace note(s):
1089 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1096 The @code{\partial} command is intended to be used only at the
1097 beginning of a piece. If you use it after the beginning, some
1098 odd warnings may occur.
1100 @node Unmetered music
1101 @subsubsection Unmetered music
1103 @funindex \cadenzaOn
1104 @funindex \cadenzaOff
1105 @cindex bar lines, turning off
1106 @cindex bar numbering, turning off
1108 @cindex unmetered music
1110 Bar lines and bar numbers are calculated automatically. For
1111 unmetered music (cadenzas, for example), this is not desirable.
1112 To turn off automatic calculation of bar lines and bar numbers,
1113 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1114 to turn them on again.
1116 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1125 Bar numbering is resumed at the end of the cadenza as if the
1126 cadenza were not there:
1128 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1129 % Show all bar numbers
1130 \override Score.BarNumber #'break-visibility = #all-visible
1150 @ref{Controlling visibility of objects}
1157 LilyPond will insert line breaks and page breaks only at a
1158 bar line. Unless the unmetered music ends before the end of the
1159 staff line, you will need to insert invisible bar lines with
1166 to indicate where breaks can occur.
1169 @node Polymetric notation
1170 @subsubsection Polymetric notation
1172 @cindex double time signatures
1173 @cindex signatures, polymetric
1174 @cindex polymetric signatures
1175 @cindex meter, polymetric
1177 Polymetric notation is supported, either explicitly or through
1178 clever use of markup features.
1180 @c Each of these examples uses \set or \override, and therefore
1181 @c by policy should be converted to a snippet.
1182 @c Do we want to have a section with a very brief (two-line
1183 @c introduction, and have most of the content be in snippets?
1185 @strong{Alternating time signatures}
1187 Regularly alternating double time signatures are not supported
1188 explicitly, but they can be faked. In the next example, the
1189 double time signature is created with markup text, while the
1190 real time signature is set in the usual way with @code{\time}.
1192 @lilypond[verbatim,ragged-right]
1193 % Create 9/8 split into 2/4 + 5/8
1194 tsMarkup = \markup {
1195 \override #'(baseline-skip . 2) \number {
1198 \bracket \column { "5" "8" }
1203 \override Staff.TimeSignature #'stencil =
1204 #ly:text-interface::print
1205 \override Staff.TimeSignature #'text = #tsMarkup
1207 c'2 \bar ":" c'4 c'4.
1208 c'2 \bar ":" c'4 c'4.
1212 @strong{Staves with different time signatures, equal measure lengths}
1214 This notation can be created by setting a common time signature
1215 for each staff but replacing the symbol manually by setting
1216 @code{timeSignatureFraction} to the desired fraction and scaling
1217 the printed durations in each staff to the common time
1218 signature. This is done with @code{\scaleDurations}, which
1219 is used in a similar way to @code{\times}, but does not create
1220 a tuplet bracket, see @ref{Scaling durations}.
1222 In this example, music with the time signatures of 3/4, 9/8, and
1223 10/8 are used in parallel. In the second staff, shown durations
1224 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1225 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1227 @lilypond[quote,ragged-right,verbatim,fragment]
1236 \set Staff.timeSignatureFraction = #'(9 . 8)
1237 \scaleDurations #'(2 . 3)
1238 \repeat unfold 6 { c8[ c c] }
1242 \set Staff.timeSignatureFraction = #'(10 . 8)
1243 \scaleDurations #'(3 . 5) {
1244 \repeat unfold 2 { c8[ c c] }
1245 \repeat unfold 2 { c8[ c] } |
1246 c4. c4. \times 2/3 { c8 c c } c4
1252 @c I guess this example doesn't use \set or \override, and so
1253 @c could stay in the manual.
1255 @strong{Staves with different time signatures, unequal bar lengths}
1257 Each staff can be given its own independent time signature by
1258 moving the @code{Timing_translator} to the @code{Staff} context.
1260 @lilypond[quote,verbatim,ragged-right]
1264 \remove "Timing_translator"
1265 \remove "Default_bar_line_engraver"
1269 \consists "Timing_translator"
1270 \consists "Default_bar_line_engraver"
1274 % Now each staff has its own time signature.
1303 @rglos{polymetric time signature},
1306 Notation Reference: @ref{Scaling durations}
1310 @c Is this still permitted?
1311 @c @lsr{contemporary,compound-time-signature}
1313 Internals Reference:
1314 @rinternals{TimeSignature},
1315 @rinternals{Timing-translator},
1320 When using different time signatures in parallel, the spacing is
1321 aligned vertically, but bar lines distort the regular spacing.
1324 @node Automatic note splitting
1325 @subsubsection Automatic note splitting
1327 @cindex notes, splitting
1328 @cindex splitting notes
1330 Long notes which overrun bar lines can be converted automatically
1331 to tied notes. This is done by replacing the
1332 @code{Note_heads_engraver} by the
1333 @code{Completion_heads_engraver}. In the following
1334 example, notes crossing the bar lines are split and tied.
1336 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1338 \remove "Note_heads_engraver"
1339 \consists "Completion_heads_engraver"
1342 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1345 This engraver splits all running notes at the bar line, and
1346 inserts ties. One of its uses is to debug complex scores: if the
1347 measures are not entirely filled, then the ties show exactly how
1348 much each measure is off.
1350 To allow line breaking on the bar lines where the
1351 @code{Completion_heads_engraver} has inserted a split note, remove
1352 the @code{Forbid_line_break_engraver} too.
1357 Music Glossary: @rglos{tie}
1360 @rlearning{Engravers explained},
1361 @rlearning{Adding and removing engravers}.
1366 Internals Reference:
1367 @rinternals{Note_heads_engraver},
1368 @rinternals{Completion_heads_engraver},
1369 @rinternals{Forbid_line_break_engraver}.
1374 Not all durations (especially those containing tuplets) can be
1375 represented exactly with normal notes and dots, but the engraver
1376 will not insert tuplets.
1378 The @code{Completion_heads_engraver} only affects notes; it does not
1382 @node Showing melody rhythms
1383 @subsubsection Showing melody rhythms
1385 Sometimes you might want to show only the rhythm of a melody. This
1386 can be done with the rhythmic staff. All pitches of notes on such a
1387 staff are squashed, and the staff itself has a single line
1389 @c TODO Devise a more realistic example, perhaps with lyrics -td
1390 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1391 \new RhythmicStaff {
1393 c4 e8 f g2 | r4 g r2 | g1 | r1 |
1403 * Setting automatic beam behavior::
1408 @node Automatic beams
1409 @subsubsection Automatic beams
1411 By default, beams are inserted automatically:
1413 @cindex beams, manual
1414 @cindex manual beams
1416 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1418 \time 6/8 c c c c8. c16 c8
1421 If these automatic decisions are not satisfactory, beaming can be
1422 entered explicitly; see @ref{Manual beams}. It is also possible
1423 to define beaming patterns that differ from the defaults; see
1424 @ref{Setting automatic beam behavior}. The default beaming rules
1425 are defined in @file{scm/@/auto@/-beam@/.scm}.
1431 Automatic beaming may be turned off and on with
1432 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1434 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1435 c4 c8 c8. c16 c8. c16 c8
1445 Beaming patterns may be altered with the @code{beatGrouping} property,
1447 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1449 \set beatGrouping = #'(2 3)
1451 \set beatGrouping = #'(3 2)
1455 The beams of consecutive 16th (or shorter) notes are, by default,
1456 not sub-divided. That is, the three (or more) beams stretch
1457 unbroken over entire groups of notes. This behavior can
1458 be modified to sub-divide the beams into sub-groups by setting
1459 the property @code{subdivideBeams}. When set, multiple beams
1460 will be sub-divided at intervals defined by the current value of
1461 @code{beatLength} by reducing the multiple beams to just one beam
1462 between the sub-groups. Note that @code{beatLength} lives in the
1463 @code{Score} context and defaults to a quarter note. It must be
1464 set to a fraction giving the duration of the beam sub-group
1465 using the @code{make-moment} function, as shown here:
1467 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1469 \set subdivideBeams = ##t
1471 % Set beam sub-group length to an eighth note
1472 \set Score.beatLength = #(ly:make-moment 1 8)
1474 % Set beam sub-group length to a sixteenth note
1475 \set Score.beatLength = #(ly:make-moment 1 16)
1478 @funindex subdivideBeams
1481 For more information about @code{make-moment}, see
1482 @ref{Time administration}.
1488 Line breaks are normally forbidden when beams cross bar lines.
1489 This behavior can be changed by setting the @code{breakable}
1490 property: @code{\override Beam #'breakable = ##t}.
1492 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1493 \override Beam #'breakable = ##t
1494 c8 \repeat unfold 15 { c[ c] } c
1497 @cindex beams and line breaks
1498 @cindex beams, kneed
1500 @cindex auto-knee-gap
1502 Kneed beams are inserted automatically when a large gap is
1503 detected between the note heads. This behavior can be tuned
1504 through the @code{auto-knee-gap} property. A kneed beam is
1505 drawn if the gap is larger than the value of
1506 @code{auto-knee-gap} plus the width of the beam object (which
1507 depends on the duration of the notes and the slope of the beam).
1508 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1510 @lilypond[fragment,ragged-right,quote,verbatim]
1512 \override Beam #'auto-knee-gap = #6
1519 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1524 Internals Reference: @rinternals{Beam}.
1529 Automatically kneed cross-staff beams cannot be used together with
1530 hidden staves. See @ref{Hiding staves}.
1532 Beams can collide with note heads and accidentals in other voices
1535 @node Setting automatic beam behavior
1536 @subsubsection Setting automatic beam behavior
1538 @funindex autoBeamSettings
1539 @funindex (end * * * *)
1540 @funindex (begin * * * *)
1541 @cindex automatic beams, tuning
1542 @cindex tuning automatic beaming
1544 @c [TODO: use \applyContext]
1546 In normal time signatures, automatic beams can start on any note
1547 but can end in only a few positions within the measure: beams can
1548 end on a beat, or at durations specified by the properties in
1549 @code{autoBeamSettings}. The properties in
1550 @code{autoBeamSettings} consist of a list of rules for where beams
1551 can begin and end. The default @code{autoBeamSettings} rules are
1552 defined in @file{scm/@/auto@/-beam@/.scm}.
1554 In order to add a rule to the list, use
1556 #(override-auto-beam-setting '(be p q n m) a b [context])
1561 @item @code{be} is either @code{begin} or @code{end}.
1563 @item @code{p/q} is the duration of the note for which you want
1564 to add a rule. A beam is considered to have the duration of its
1565 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1566 have this apply to any beam.
1568 @item @code{n/m} is the time signature to which
1569 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1570 to have this apply in any time signature.
1572 @item @code{a/b} is the position in the bar at which the beam should
1575 @item @code{context} is optional, and it specifies the context at which
1576 the change should be made. The default is @code{'Voice}.
1578 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1579 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1583 For example, if automatic beams should always end on the first quarter
1587 #(override-auto-beam-setting '(end * * * *) 1 4)
1590 You can force the beam settings to only take effect on beams whose shortest
1591 note is a certain duration
1593 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1595 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1597 a32 a a a a16 a a a a a |
1598 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1599 a32 a a a a16 a a a a a |
1602 You can force the beam settings to only take effect in certain time
1605 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1607 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1615 You can also remove a previously set beam-ending rule by using
1618 #(revert-auto-beam-setting '(be p q n m) a b [context])
1622 @code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
1623 @code{b} and @code{context} are the same as above. Note that the
1624 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1625 so you can revert rules that you did not explicitly create.
1627 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1629 a16 a a a a a a a a a a a a a a a
1630 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1631 a16 a a a a a a a a a a a a a a a
1634 The rule in a @code{revert-auto-beam-setting} statement must exactly
1635 match the original rule. That is, no wildcard expansion is taken into
1638 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1640 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1642 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1644 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1650 @c TODO: old material -- not covered by above stuff, I think.
1651 If automatic beams should end on every quarter in 5/4 time, specify
1654 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1655 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1656 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1657 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1661 The same syntax can be used to specify beam starting points. In this
1662 example, automatic beams can only end on a dotted quarter note
1664 #(override-auto-beam-setting '(end * * * *) 3 8)
1665 #(override-auto-beam-setting '(end * * * *) 1 2)
1666 #(override-auto-beam-setting '(end * * * *) 7 8)
1668 In 4/4 time signature, this means that automatic beams could end only on
1669 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1670 3/8, has passed within the measure).
1672 If any unexpected beam behavior occurs, check the default automatic beam
1673 settings in @file{scm/@/auto@/-beam@/.scm}
1674 for possible interference, because the beam
1675 endings defined there will still apply on top of your own overrides. Any
1676 unwanted endings in the default vales must be reverted for your time
1679 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1683 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1684 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1685 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1686 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1689 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1690 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1691 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1694 @cindex automatic beam generation
1696 @funindex autoBeaming
1699 If beams are used to indicate melismata in songs, then automatic
1700 beaming should be switched off with @code{\autoBeamOff}.
1705 @funindex \autoBeamOff
1706 @code{\autoBeamOff},
1707 @funindex \autoBeamOn
1713 If a score ends while an automatic beam has not been ended and is
1714 still accepting notes, this last beam will not be typeset at all.
1715 The same holds for polyphonic voices, entered with @code{<<
1716 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1717 automatic beam is still accepting notes, it is not typeset.
1726 @subsubsection Manual beams
1728 @cindex beams, manual
1730 In some cases it may be necessary to override the automatic
1731 beaming algorithm. For example, the autobeamer will not put beams
1732 over rests or bar lines, and in choral scores the beaming is
1733 often set to follow the meter of the lyrics rather than the
1734 notes. Such beams can be specified manually by
1735 marking the begin and end point with @code{[} and @code{]}
1737 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1739 r4 r8[ g' a r8] r8 g[ | a] r8
1744 Individual notes may be marked with @code{\noBeam} to prevent them
1747 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1748 \time 2/4 c8 c\noBeam c c
1754 @funindex stemLeftBeamCount
1755 @funindex stemRightBeamCount
1757 Even more strict manual control with the beams can be achieved by
1758 setting the properties @code{stemLeftBeamCount} and
1759 @code{stemRightBeamCount}. They specify the number of beams to
1760 draw on the left and right side, respectively, of the next note.
1761 If either property is set, its value will be used only once, and
1762 then it is erased. In this example, the last @code{f} is printed
1763 with only one beam on the left side, i.e., the eighth-note beam of
1764 the group as a whole.
1766 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1770 \set stemLeftBeamCount = #1
1778 @node Feathered beams
1779 @subsubsection Feathered beams
1781 @cindex beams, feathered
1782 @funindex \featherDurations
1784 Feathered beams are used to indicate that a small group of notes
1785 should be played at an increasing (or decreasing) tempo, without
1786 changing the overall tempo of the piece. The extent of the
1787 feathered beam must be indicated manually using @code{[} and
1788 @code{]}, and the beam feathering is turned on by specifying a
1789 direction to the @code{Beam} property @code{grow-direction}.
1791 If the placement of the notes and the sound in the MIDI output
1792 is to reflect the ritardando or accelerando indicated by the
1793 feathered beam the notes must be grouped as a
1794 music expression delimited by braces and preceded by a
1795 @code{featheredDurations} command which specifies the ratio
1796 between the durations of the first and last notes in the group.
1799 show the extent of the beam and the braces show
1800 which notes are to have their durations modified. Normally
1801 these would delimit the same group of notes, but this is not
1802 required: the two commands are independent.
1804 In the following example the eight 16th notes occupy exactly the
1805 same time as a half note, but the first note is one half as long
1806 as the last one, with the intermediate notes gradually
1807 lengthening. The first four 32nd notes gradually speed up, while
1808 the last four 32nd notes are at a constant tempo.
1810 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1811 \override Beam #'grow-direction = #LEFT
1812 \featherDurations #(ly:make-moment 2 1)
1813 { c16[ c c c c c c c] }
1814 \override Beam #'grow-direction = #RIGHT
1815 \featherDurations #(ly:make-moment 2 3)
1817 % revert to non-feathered beams
1818 \override Beam #'grow-direction = #'()
1823 The spacing in the printed output represents the
1824 note durations only approximately, but the midi output is exact.
1828 The @code{\featherDurations} command only works with very short
1829 music snippets, and when numbers in the fraction are small.
1845 * Bar and bar number checks::
1850 @subsubsection Bar lines
1854 @cindex measure lines
1857 Bar lines delimit measures, and are also used to indicate
1858 repeats. Normally, simple bar lines are automatically inserted
1859 into the printed output at places based on the current time
1862 The simple bar lines inserted automatically can be changed to
1863 other types with the @code{\bar} command. For example, a closing
1864 double bar line is usually placed at the end of a piece:
1866 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1870 @warning{An incorrect duration can lead to poorly formatted
1873 It is not invalid if the final note in a measure does not
1874 end on the automatically entered bar line: the note is assumed
1875 to carry over into the next measure. But if a long sequence
1876 of such carry-over measures appears the music can appear compressed
1877 or even flowing off the page. This is because automatic line
1878 breaks happen only at the end of complete measures, i.e., where
1879 the end of a note coincides with the end of a measure.
1882 @cindex bar lines, invisible
1883 @cindex measure lines, invisible
1885 Line breaks are also permitted at manually inserted bar lines
1886 even within incomplete measures. To allow a line break without
1887 printing a bar line, use
1894 This will insert an invisible bar line and allow (but not
1895 force) a line break to occur at this point. The bar number
1896 counter is not increased. To force a line break see
1897 @ref{Line breaking}.
1899 This and other special bar lines may be inserted manually at any
1900 point. When they coincide with the end of a measure they replace
1901 the simple bar line which would have been inserted there
1902 automatically. When they do not coincide
1903 with the end of a measure the specified bar line is inserted at that
1904 point in the printed output. Such insertions do not affect
1905 the calculation and placement of subsequent automatic bar lines.
1907 The simple bar line and four types of double bar line are available
1908 for manual insertion:
1910 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1911 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1915 together with dotted and dashed bar lines:
1917 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1918 f1 \bar ":" g \bar "dashed" a
1922 and three types of repeat bar line:
1924 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1925 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1930 Although the bar line types signifying repeats may be inserted
1931 manually they do not in themselves cause LilyPond to recognize
1932 a repeated section. Such repeated sections are better entered
1933 using the various repeat commands (see @ref{Repeats}), which
1934 automatically print the appropriate bar lines.
1936 In addition, you can specify @code{"||:"}, which is equivalent to
1937 @code{"|:"} except at line breaks, where it gives a double bar
1938 line at the end of the line and a start repeat at the beginning of
1941 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1942 \override Score.RehearsalMark #'padding = #3
1950 In scores with many staves, a @code{\bar} command in one staff is
1951 automatically applied to all staves. The resulting bar lines are
1952 connected between different staves of a @code{StaffGroup},
1953 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
1955 @lilypond[quote,ragged-right,fragment,verbatim]
1963 \new Staff { \clef bass c4 g e g }
1965 \new Staff { \clef bass c2 c2 }
1973 @funindex defaultBarType
1975 The command @code{\bar }@var{bartype} is a shortcut for
1976 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1977 created whenever the @code{whichBar} property is
1980 The default bar type used for automatically inserted bar lines is
1981 @code{"|"}. This may be changed at any time
1982 with @code{\set Timing.defaultBarType = }@var{bartype}.
1986 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1987 @c FIXME: node name changed, but is subject to further changes.
1988 @c @ref{System start delimiters}.
1993 Internals Reference: @rinternals{BarLine} (created at
1994 @rinternals{Staff} level), @rinternals{SpanBar} (across
1995 staves), @rinternals{Timing_translator} (for Timing
2000 @subsubsection Bar numbers
2003 @cindex measure numbers
2004 @funindex currentBarNumber
2006 Bar numbers are typeset by default at the start of every line except
2007 the first line. The number itself is stored in the
2008 @code{currentBarNumber} property, which is normally updated
2009 automatically for every measure. It may also be set manually:
2011 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2014 \set Score.currentBarNumber = #50
2021 @funindex barNumberVisibility
2022 @cindex bar numbers, regular spacing
2024 Bar numbers can be typeset at regular intervals instead of just at
2025 the beginning of every line. To do this the default behavior
2026 must be overridden to permit bar numbers to be printed at places
2027 other than the start of a line. This is controlled by the
2028 @code{break-visibility} property of @code{BarNumber}. This takes
2029 three values which may be set to @code{#t} or @code{#f} to specify
2030 whether the corresponding bar number is visible or not. The order
2031 of the three values is @code{end of line visible}, @code{middle of
2032 line visible}, @code{beginning of line visible}. In the following
2033 example bar numbers are printed at all possible places:
2035 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2036 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2037 \set Score.currentBarNumber = #11
2038 \bar "" % Permit first bar number to be printed
2044 @c All the rest of these examples will be added to LSR
2045 @c and moved into the Snippets. -gp
2048 and here the bar numbers are printed every two measures
2049 except at the end of the line:
2051 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2052 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2053 \set Score.currentBarNumber = #11
2054 \bar "" % Permit first bar number to be printed
2055 % Print a bar number every second measure
2056 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2062 @cindex measure number, format
2063 @cindex bar number, format
2065 The size of the bar number may be changed. This is illustrated
2066 in the following example, which also shows how to enclose bar
2067 numbers in boxes and circles, and shows an alternative way
2068 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2070 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2071 % Prevent bar numbers at the end of a line and permit them elsewhere
2072 \override Score.BarNumber #'break-visibility
2073 = #end-of-line-invisible
2075 % Increase the size of the bar number by 2
2076 \override Score.BarNumber #'font-size = #2
2077 \repeat unfold 3 { c1 } \bar "|"
2079 % Draw a box round the following bar number(s)
2080 \override Score.BarNumber #'stencil
2081 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2082 \repeat unfold 3 { c1 } \bar "|"
2084 % Draw a circle round the following bar number(s)
2085 \override Score.BarNumber #'stencil
2086 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2087 \repeat unfold 4 { c1 } \bar "|."
2090 @cindex bar number alignment
2092 Bar numbers by default are left-aligned to their parent object.
2093 This is usually the left edge of a line or, if numbers are printed
2094 within a line, the left bar line of the measure. The numbers may also
2095 be positioned directly on the bar line or right-aligned to the
2098 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2099 \set Score.currentBarNumber = #111
2100 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2101 % Increase the size of the bar number by 2
2102 \override Score.BarNumber #'font-size = #2
2103 % Print a bar number every second measure
2104 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2106 % Center-align bar numbers
2107 \override Score.BarNumber #'self-alignment-X = #0
2109 % Right-align bar numbers
2110 \override Score.BarNumber #'self-alignment-X = #-1
2114 Bar numbers can be removed entirely by removing the
2115 @code{Bar_number_engraver} from the @code{Score} context.
2117 @lilypond[verbatim,ragged-right,quote]
2121 \remove "Bar_number_engraver"
2136 Internals Reference: @rinternals{BarNumber}.
2141 Bar numbers may collide with the top of the
2142 @rinternals{StaffGroup} bracket, if there is one. To solve
2143 this, the @code{padding} property of @rinternals{BarNumber} can
2144 be used to position the number correctly.
2146 Bar numbers may only be printed at bar lines; to print a bar
2147 number at the beginning of a piece, an empty bar line must be
2148 inserted there, and a value other than @code{1} must be placed
2149 in @code{currentBarNumber}:
2151 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2152 \set Score.currentBarNumber = #50
2161 @node Bar and bar number checks
2162 @subsubsection Bar and bar number checks
2165 @funindex barCheckSynchronize
2168 Bar checks help detect errors in the entered durations.
2169 A bar check may be entered using the bar symbol, @code{|},
2170 at any place where a bar line is expected to fall.
2171 If bar check lines are encountered at other places,
2172 a list of warnings is printed in the log file,
2173 showing the line numbers and lines
2174 in which the bar checks failed. In the next
2175 example, the second bar check will signal an error.
2178 \time 3/4 c2 e4 | g2 |
2181 Bar checks can also be used in lyrics, for example
2186 Twin -- kle | Twin -- kle |
2190 An incorrect duration can result in a completely garbled score,
2191 especially if the score is polyphonic, so a good place to start
2192 correcting input is by scanning for failed bar checks and
2193 incorrect durations.
2195 If successive bar checks are off by the same musical interval,
2196 only the first warning message is displayed. This allows the
2197 warning to focus on the source of the timing error.
2201 @funindex pipeSymbol
2203 It is also possible to redefine the action taken when a bar check
2204 or pipe symbol, @code{|}, is encountered in the input, so that
2205 it does something other than a bar check. This is done by
2206 assigning a music expression to @code{pipeSymbol}.
2207 In the following example @code{|} is set to insert a double bar
2208 line wherever it appears in the input, rather than checking
2211 @lilypond[quote,ragged-right,verbatim]
2212 pipeSymbol = \bar "||"
2221 When copying large pieces of music, it can be helpful to check
2222 that the LilyPond bar number corresponds to the original that you
2223 are entering from. This can be checked with
2224 @code{\barNumberCheck}, for example,
2227 \barNumberCheck #123
2231 will print a warning if the @code{currentBarNumber} is not 123
2232 when it is processed.
2240 @node Rehearsal marks
2241 @subsubsection Rehearsal marks
2243 @cindex rehearsal marks
2244 @cindex mark, rehearsal
2247 To print a rehearsal mark, use the @code{\mark} command
2249 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2258 The letter@tie{}@q{I} is skipped in accordance with engraving
2259 traditions. If you wish to include the letter @q{I}, then use
2262 \set Score.markFormatter = #format-mark-alphabet
2265 The mark is incremented automatically if you use @code{\mark
2266 \default}, but you can also use an integer argument to set the
2267 mark manually. The value to use is stored in the property
2268 @code{rehearsalMark}.
2270 @cindex rehearsal mark format
2271 @cindex rehearsal mark style
2272 @cindex style, rehearsal mark
2273 @cindex format, rehearsal mark
2274 @cindex mark, rehearsal, style
2275 @cindex mark, rehearsal, format
2277 The style is defined by the property @code{markFormatter}. It is
2278 a function taking the current mark (an integer) and the current
2279 context as argument. It should return a markup object. In the
2280 following example, @code{markFormatter} is set to a pre-defined
2281 procedure. After a few measures, it is set to a procedure that
2282 produces a boxed number.
2284 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2285 \set Score.markFormatter = #format-mark-numbers
2288 \set Score.markFormatter = #format-mark-box-numbers
2294 The file @file{scm/@/translation@/-functions@/.scm} contains the
2295 definitions of @code{format-mark-numbers} (the default format),
2296 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2297 @code{format-mark-box-letters}. These can be used as inspiration
2298 for other formatting functions.
2300 You may use @code{format-mark-barnumbers},
2301 @code{format-mark-box-barnumbers}, and
2302 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2303 incremented numbers or letters.
2305 Other styles of rehearsal mark can be specified manually
2312 @code{Score.markFormatter} does not affect marks specified in this
2313 manner. However, it is possible to apply a @code{\markup} to the
2317 \mark \markup@{ \box A1 @}
2324 Music glyphs (such as the segno sign) may be printed inside a
2327 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2328 c1 \mark \markup { \musicglyph #"scripts.segno" }
2329 c1 \mark \markup { \musicglyph #"scripts.coda" }
2330 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2335 See @ref{The Feta font}, for a list of symbols which may be
2336 printed with @code{\musicglyph}.
2338 For common tweaks to the positioning of rehearsal marks, see
2339 @ref{Formatting text}.
2346 This manual: @ref{The Feta font}, @ref{Formatting text}.
2348 Internals Reference: @rinternals{RehearsalMark}.
2350 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2351 the definition of @code{format-mark-numbers} and
2352 @code{format-mark-letters}. They can be used as inspiration for
2353 other formatting functions.
2355 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2358 @node Special rhythmic concerns
2359 @subsection Special rhythmic concerns
2364 * Aligning to cadenzas::
2365 * Time administration::
2369 @subsubsection Grace notes
2374 @cindex appoggiatura
2375 @cindex acciaccatura
2377 Grace notes are ornaments that are written out. They are made with
2378 the @code{\grace} command. By prefixing this keyword to a music
2379 expression, a new one is formed, which will be printed in a
2380 smaller font and takes up no logical time in a measure.
2382 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2384 \grace { c16[ d16] } c2 c4
2387 Two special forms of the @code{\grace} command exist.
2388 An @emph{acciaccatura}, which should be played as very short,
2389 is denoted by a slurred small note with a slashed stem. The
2390 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2391 main note, is denoted as a slurred note in small print without
2392 a slash. They are entered with the commands @code{\acciaccatura}
2393 and @code{\appoggiatura}, as demonstrated in the following
2396 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2397 b4 \acciaccatura d8 c4
2399 \acciaccatura { g16[ f] } e4
2403 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2404 @code{\grace} does not.
2406 The placement of grace notes is synchronized between different
2407 staves. In the following example, there are two sixteenth grace
2408 notes for every eighth grace note
2410 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2411 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2412 \new Staff { c4 \grace { g8[ b] } c4 } >>
2415 @funindex \afterGrace
2417 @cindex grace notes, following
2419 If you want to end a note with a grace, use the @code{\afterGrace}
2420 command. It takes two arguments: the main note, and the grace
2421 notes following the main note.
2423 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2424 c1 \afterGrace d1 { c16[ d] } c4
2427 This will put the grace notes after a @q{space} lasting 3/4 of the
2428 length of the main note. The fraction 3/4 can be changed by
2429 setting @code{afterGraceFraction}, i.e.,
2432 #(define afterGraceFraction (cons 7 8))
2436 will put the grace note at 7/8 of the main note.
2438 The same effect can be achieved manually by doing
2440 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2443 { s2 \grace { c16[ d] } } >>
2449 By adjusting the duration of the skip note (here it is a
2450 half-note), the space between the main note and the grace
2453 A @code{\grace} music expression will introduce special
2454 typesetting settings, for example, to produce smaller type, and
2455 set directions. Hence, when introducing layout tweaks, they
2456 should be inside the grace expression, for example,
2458 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2470 The overrides should also be reverted inside the grace expression.
2472 The layout of grace expressions can be changed throughout the
2473 music using the function @code{add-grace-property}. The following
2474 example undefines the @code{Stem} direction for this grace, so
2475 that stems do not always point up.
2479 #(add-grace-property 'Voice 'Stem 'direction '())
2485 Another option is to change the variables @code{startGraceMusic},
2486 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2487 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2488 @code{stopAppoggiaturaMusic}. The default values of these can be
2489 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2490 them other effects may be obtained.
2492 @cindex stem, with slash
2495 The slash through the stem in @emph{acciaccatura}s can be obtained in
2496 other situations by @code{\override Stem #'stroke-style =
2502 Grace notes may be forced to use align with regular notes
2503 in other staves by setting @code{strict-grace-spacing} to
2506 @lilypond[verbatim,quote,relative=2]
2508 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2511 \afterGrace c4 { c16[ c8 c16] }
2515 c16 c c c c c c c c4 r
2524 @rglos{grace notes},
2525 @rglos{acciaccatura},
2526 @rglos{appoggiatura}
2531 Internals Reference: @rinternals{GraceMusic}.
2536 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2537 and looks exactly the same as a multi-note beamed
2538 @emph{appoggiatura}.
2539 @c TODO Add link to LSR snippet to add slash when available
2541 Grace note synchronization can also lead to surprises. Staff
2542 notation, such as key signatures, bar lines, etc., are also
2543 synchronized. Take care when you mix staves with grace notes and
2544 staves without, for example,
2546 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2547 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2548 \new Staff { c4 \bar "|:" d4 } >>
2552 This can be remedied by inserting grace skips of the corresponding
2553 durations in the other staves. For the above example
2555 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2556 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2557 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2560 Grace sections should only be used within sequential music
2561 expressions. Nesting or juxtaposing grace sections is not
2562 supported, and might produce crashes or other errors.
2564 @node Aligning to cadenzas
2565 @subsubsection Aligning to cadenzas
2568 @cindex cadenza, aligning to
2569 @cindex aligning to cadenza
2571 In an orchestral context, cadenzas present a special problem: when
2572 constructing a score that includes a cadenza, all other
2573 instruments should skip just as many notes as the length of the
2574 cadenza, otherwise they will start too soon or too late.
2576 A solution to this problem is to use the functions
2577 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2578 functions take a piece of music as argument, and generate a multi-measure
2579 rest or @code{\skip}, exactly as long as the piece. The use of
2580 @code{mmrest-of-length} is demonstrated in the following example.
2582 @lilypond[verbatim,ragged-right,quote]
2583 cadenza = \relative c' {
2584 c4 d8 << { e f g } \\ { d4. } >>
2589 \new Staff { \cadenza c'4 }
2591 #(ly:export (mmrest-of-length cadenza))
2603 @node Time administration
2604 @subsubsection Time administration
2606 @cindex time administration
2607 @cindex timing (within the score)
2608 @cindex music, unmetered
2609 @cindex unmetered music
2611 @funindex currentBarNumber
2612 @funindex measurePosition
2613 @funindex measureLength
2615 Time is administered by the @code{Timing_translator}, which by
2616 default is to be found in the @code{Score} context. An alias,
2617 @code{Timing}, is added to the context in which the
2618 @code{Timing_translator} is placed.
2620 The following properties of @code{Timing} are used
2621 to keep track of timing within the score.
2624 @cindex measure number
2627 @item currentBarNumber
2628 The current measure number. For an example showing the
2629 use of this property see @ref{Bar numbers}.
2632 The length of the measures in the current time signature. For a
2633 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2634 determines when bar lines are inserted and how automatic beams
2635 should be generated.
2637 @item measurePosition
2638 The point within the measure where we currently are. This
2639 quantity is reset by subtracting @code{measureLength} whenever
2640 @code{measureLength} is reached or exceeded. When that happens,
2641 @code{currentBarNumber} is incremented.
2644 If set to true, the above variables are updated for every time
2645 step. When set to false, the engraver stays in the current
2646 measure indefinitely.
2650 Timing can be changed by setting any of these variables
2651 explicitly. In the next example, the default 4/4 time
2652 signature is printed, but @code{measureLength} is set to 5/4.
2653 At 4/8 through the third measure, the @code{measurePosition} is
2654 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2655 The next bar line then falls at 9/8 rather than 5/4.
2657 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2658 \set Score.measureLength = #(ly:make-moment 5 4)
2662 \set Score.measurePosition = #(ly:make-moment 5 8)
2668 As the example illustrates, @code{ly:make-moment n m} constructs a
2669 duration of n/m of a whole note. For example,
2670 @code{ly:make-moment 1 8} is an eighth note duration and
2671 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2677 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2682 Internals Reference: @rinternals{Timing_translator},