1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
15 This section discusses rhythms, durations, and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
41 @cindex beams, automatic
46 When entering notes, durations are designated by numbers and dots:
47 durations are entered as their reciprocal values. For example, a
48 quarter note is entered using a @code{4} (since it is a 1/4 note),
49 while a half note is entered using a @code{2} (since it is a 1/2
50 note). For notes longer than a whole you must use the
51 @code{\longa} (a double breve) and @code{\breve} commands. Note
52 durations as short as 64th notes may be specified. Shorter values
53 are possible, but only as beamed notes.
55 @c Two 64th notes are needed to obtain beams
56 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
63 and the same durations with automatic beaming turned off
64 see @ref{Automatic beams}:
66 @c not strictly "writing rhythms"; more of a "displaying" thing,
67 @c but it's ok here. -gp
68 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
75 If the duration is omitted then it is set to the previously
76 entered duration. The default for the first note is a quarter
79 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
86 To obtain dotted note lengths, simply add a dot (@code{.}) to the
87 number. Double-dotted notes are produced in a similar way.
89 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
90 a4 b c4. b8 a4. b4.. c8.
93 Some durations cannot be entered using only binary durations
94 and dots, and can only be represented by tying two or more
95 notes together. Tied notes are covered in @ref{Ties}.
99 Dots are normally moved up to avoid staff lines, except in
100 polyphonic situations. The following commands may be used to
101 force a particular direction manually:
107 @funindex \dotsNeutral
110 For ways of specifying durations for the syllables of lyrics and
111 ways of aligning lyrics to notes see @ref{Vocal music}.
113 A note with the duration of a quadruple breve may be entered with
114 @code{\maxima}, but this is supported only within ancient music
115 notation; see @ref{Ancient notation}.
117 Optionally, notes can be spaced proportionately to their duration.
118 For details of this and other settings which control proportional
119 notation see @ref{Proportional notation}.
124 Music Glossary: @rglos{breve}, @rglos{longa}.
126 Notation Reference:@ref{Automatic beams}, @ref{Ties}, @ref{Writing rests}, @ref{Vocal music},
127 @ref{Ancient notation}, @ref{Proportional notation}.
129 Snippets: @lsrdir{rhythms}
131 Internals Reference: @internalsref{Dots},
132 @internalsref{DotColumn}.
137 @c duplicated in Durations and Rests. -gp
138 There is no fundamental limit to rest durations (both in terms of
139 longest and shortest), but the number of glyphs is limited: there
140 are rests from 128th to maxima (8 x whole).
144 @unnumberedsubsubsec Tuplets
150 @c TODO Add Tuplet to glossary
152 Tuplets are made out of a music expression by multiplying all
153 durations with a fraction:
156 \times @var{fraction} @var{musicexpr}
160 The duration of @var{musicexpr} will be multiplied by the
161 fraction. The fraction's denominator will be printed over or
162 under the notes, optionally with a bracket. The most common
163 tuplet is the triplet in which 3 notes have the length of 2, so
164 the notes are 2/3 of their written length.
166 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
167 g4 \times 2/3 {c4 c c} d4 d4
170 Tuplets may be nested; for example,
172 @lilypond[fragment,ragged-right,verbatim,relative=2]
175 \times 3/5 { a a a a a }
183 @funindex \tupletDown
185 @funindex \tupletNeutral
186 @code{\tupletNeutral}.
191 @funindex tupletNumberFormatFunction
192 @funindex tupletSpannerDuration
193 @cindex tuplet formatting
195 The property @code{tupletSpannerDuration} specifies how long each
196 bracket should last. With this, you can make lots of tuplets
197 while typing @code{\times} only once, thus saving lots of typing.
198 In the next example, there are two triplets shown, while
199 @code{\times} was only used once.
201 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
202 \set tupletSpannerDuration = #(ly:make-moment 1 4)
203 \times 2/3 { c8 c c c c c }
207 For more information about @code{make-moment}, see
208 @ref{Time administration}.
210 @funindex TupletNumber
212 The format of the number is determined by the property @code{text}
213 in @code{TupletNumber}. The default prints only the denominator,
214 but if the property is set with @code{\override
215 TupletNumber #'text = #tuplet-number::calc-fraction-text},
216 @var{num}:@var{den} will be printed instead.
218 To print tuplets without tuplet numbers, use
219 @code{\override TupletNumber #'transparent = ##t}:
221 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
222 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
223 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
224 \times 2/3 { c8 c c }
225 \override TupletNumber #'transparent = ##t
226 \times 2/3 { c8 c c }
229 To change the appearance of nested tuplets beginning at the same
230 music moment individually, the @code{\tweak} function must be used
231 (see @ref{Objects connected to the input}). In the following
232 example, @code{\tweak} specifies fraction text for the outer
233 @code{TupletNumber} and denominator text for the
234 @code{TupletNumber} of the first of the three inner tuplets.
236 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
237 \tweak #'text #tuplet-number::calc-fraction-text
239 \tweak #'text #tuplet-number::calc-denominator-text
240 \times 2/3 { c8[ c8 c8] }
241 \times 2/3 { c8[ c8 c8] }
242 \times 2/3 { c8[ c8 c8] }
246 @cindex bracket, tuplet
247 @funindex TupletBracket
249 @c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
250 @c It *should* be explained why \tweak must be used here, and why
251 @c \override doesn't work. I've made an attempt, but I'm not sure
252 @c if it is factually correct to say that \tweak must be used.
253 In the next example, @code{\tweak} and @code{\override} work
254 together to specify @code{TupletBracket} direction. The first
255 @code{\tweak} positions the @code{TupletBracket} of the outer
256 tuplet above the staff. The second @code{\tweak} positions the
257 @code{TupletBracket} of the first of the three inner tuplets below
258 the staff. Note that the @code{\tweak} function affects only
259 events that begin at the same music moment: the outer tuplet and
260 the first of the three inner tuplets. To position the
261 @code{TupletBrackets} of the second and third of the inner tuplets
262 below the staff, we use @code{\override} in the usual way.
264 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
265 \tweak #'text #tuplet-number::calc-fraction-text
266 \tweak #'direction #up
268 \tweak #'direction #down
269 \times 2/3 { c8[ c8 c8] }
270 \override TupletBracket #'direction = #down
271 \times 2/3 { c8[ c8 c8] }
272 \times 2/3 { c8[ c8 c8] }
276 Tuplet brackets can be made to run to prefatory matter or the next
279 @lilypond[ragged-right,verbatim,quote]
281 \set tupletFullLength = ##t
282 \set tupletFullLengthNote = ##t
284 \times 2/3 { c4 c c }
285 \set tupletFullLengthNote = ##f
293 @funindex \compressMusic
296 @code{\compressMusic} works similarly to \times, but does not
297 create a tuplet bracket; see @ref{Polymetric notation}.
302 Tuplets which cross bar lines will prevent a line break at that
308 @c TODO Add @rglos{Tuplet} when Tuplet has been added to the Glossary
310 Notation Reference: @ref{Time administration},
311 @ref{Objects connected to the input}, @ref{Polymetric notation}.
313 Snippets: @lsrdir{rhythms}.
315 Internals Reference: @internalsref{TupletBracket},
316 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
320 @node Scaling durations
321 @unnumberedsubsubsec Scaling durations
323 You can alter the length of a duration by a fraction @var{N/M}
324 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
325 This will not affect the appearance of the notes or rests
326 produced, but the altered duration will be used in calculating the
327 position within the measure and setting the duration in the MIDI
328 output. Multiplying factors may be combined
331 In the following example, the first three notes take up exactly
332 two beats, but no triplet bracket is printed.
334 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
336 a4*2/3 gis4*2/3 a4*2/3
341 The duration of skip or spacing notes may also be modified by
342 a multiplier. This is useful for skipping many measures, e.g.,
347 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
349 Snippets: @lsrdir{rhythms}
352 @unnumberedsubsubsec Ties
357 A tie connects two adjacent note heads of the same pitch. The tie
358 in effect extends the length of a note.
360 @warning{Ties should not be confused with @emph{slurs}, which
361 indicate articulation, or @emph{phrasing slurs}, which indicate
362 musical phrasing. A tie is just a way of extending a note
363 duration, similar to the augmentation dot.}
365 A tie is entered using the tilde symbol @code{~}
367 @lilypond[quote,ragged-right,fragment,verbatim]
373 Ties are used either when the note crosses a bar line, or when
374 dots cannot be used to denote the rhythm. Ties should also be
375 used when note values cross larger subdivisions of the measure:
377 @lilypond[fragment,quote,ragged-right]
379 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
383 If you need to tie a lot of notes across bar lines, it may be
384 easier to use automatic note splitting (see @ref{Automatic note
385 splitting}). This mechanism automatically splits long notes, and
386 ties them across bar lines.
389 @cindex repeating ties
390 @cindex volta brackets and ties
392 When a tie is applied to a chord, all note heads whose pitches
393 match are connected. When no note heads match, no ties will be
394 created. Chords may be partially tied by placing the tie inside
397 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
399 <c~ e g~ b> <c e g b>
402 When a second alternative of a repeat starts with a tied note, you
403 have to repeat the tie. This can be achieved with
406 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
407 \repeat volta 2 { c g <c e>2 ~ }
408 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
411 @cindex laissez vibrer
412 @cindex ties, laissez vibrer
413 @funindex \laissezVibrer
416 @funindex \tieNeutral
418 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
419 notes must not be damped at the end. It is used in notation for
420 piano, harp and other string and percussion instruments. They can
421 be entered using @code{\laissezVibrer}:
423 @lilypond[fragment,ragged-right,verbatim,relative=1]
424 <c f g>\laissezVibrer
427 The direction of a tie can be specified with @code{\tieUp} or
428 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
429 to the default behaviour again.
431 However, as with other music elements of this kind, there is a
432 convenient shorthand for forcing tie directions. By adding
433 @code{_} or @code{^} before the tilde, the direction is also set:
435 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
442 Music Glossary: @rglos{tie},
443 @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
445 Snippets: @lsrdir{rhythms}
448 @internalsref{LaissezVibrerTie}
449 @internalsref{LaissezVibrerTieColumn}
452 @lsr{connecting,laissez-vibrer-ties.ly}
457 Ties are sometimes used to write out arpeggios. In this case, two
458 tied notes need not be consecutive. This can be achieved by
459 setting the @code{tieWaitForNote} property to true. The same
460 feature is also useful, for example, to tie a tremolo to a chord,
461 but in principle, it can also be used for ordinary, consecutive
464 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
465 \set tieWaitForNote = ##t
466 \grace { c16[~ e~ g]~ } <c, e g>2
467 \repeat tremolo 8 { c32~ c'~ } <c c,>1
468 e8~ c~ a~ f~ <e' c a f>2
469 \tieUp c8~ a \tieDown \tieDotted g~ c g2
472 Ties may be engraved manually by changing the
473 @code{tie-configuration} property of the @code{TieColumn} object.
474 The first number indicates the distance from the center of the
475 staff in staff-spaces, and the second number indicates the
476 direction (1=up, -1=down).
478 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
480 \override TieColumn #'tie-configuration =
481 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
493 @funindex \tieNeutral
507 Notation Reference: @ref{Automatic note splitting}.
509 Snippets: @lsrdir{rhythms}
511 Internals Reference: @internalsref{Tie}.
516 Switching staves when a tie is active will not produce a slanted
519 Changing clefs or octavations during a tie is not really
520 well-defined. In these cases, a slur may be preferable.
527 @subsection Writing rests
532 * Multi measure rests::
536 @unnumberedsubsubsec Rests
548 Rests are entered like notes with the note name @code{r}:
550 @c \time 16/1 is used to avoid spurious bar lines
551 @c and long tracts of empty measures
552 @lilypond[fragment,quote,ragged-right,verbatim]
555 \override Staff.TimeSignature #'stencil = ##f
557 r\longa r\breve r1 r2
562 Whole measure rests, centered in middle of the measure, must be entered as
563 multi-measure rests. They can be used for a single measure as well as
564 many measures and are discussed in @ref{Multi measure rests}.
566 To explicitly specify a rest's vertical position, write a note
567 followed by @code{\rest}. A rest will be placed in the position
568 where the note would appear. This allows for precise manual
569 formatting of polyphonic music, since the automatic rest collision
570 formatter will leave these rests alone.
572 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
579 Notation Reference: @ref{Multi measure rests}.
581 Snippets: @lsrdir{rhythms}.
583 Internals Reference: @internalsref{Rest}.
588 @c duplicated in Durations and Rests. -gp
589 There is no fundamental limit to rest durations (both in terms of
590 longest and shortest), but the number of glyphs is limited: there
591 are rests from 128th to maxima (8 x whole).
594 @unnumberedsubsubsec Skips
597 @cindex invisible rest
602 An invisible rest (also called a @q{skip}) can be entered like a
603 note with note name @code{s} or with @code{\skip @var{duration}}
605 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
606 a4 a4 s4 a4 \skip 1 a4
611 The @code{s} syntax is only available in note mode and chord mode.
612 In other situations, for example, when entering lyrics, one must
613 use the @code{\skip} command:
615 @lilypond[quote,ragged-right,verbatim,relative=2]
618 \new Lyrics \lyricmode { \skip 2 bla2 }
622 The skip command is merely an empty musical placeholder. It does
623 not produce any output, not even transparent output.
625 The @code{s} skip command does create @internalsref{Staff} and
626 @internalsref{Voice} when necessary, similar to note and rest
627 commands. For example, the following results in an empty staff.
629 @lilypond[quote,verbatim]
632 @c with ragged-right, the staff lines are cut BEFORE the time
633 @c signature, which makes for a VERY empty staff
635 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
636 @c Misleading -- it doesn't produce anything, not even an empty page.
637 @c Ppl who want to make empty sheets will see this and wonder what's
642 Snippets: @lsrdir{rhythms}
644 Internals Reference: @internalsref{SkipMusic}.
647 @node Multi measure rests
648 @unnumberedsubsubsec Multi measure rests
650 @cindex multi measure rests
651 @cindex full measure rests
652 @cindex rest, multi measure
653 @cindex rest, full measure
654 @cindex whole rest for a full measure
657 Rests for one or more full measures are entered using @code{R}
658 followed by a duration (see @ref{Durations}). The duration should
659 correspond to an integral number of measures, otherwise a barcheck
660 warning is printed. A @rglos{multi-measure rest} is used
661 principally to indicate that a part in a multi-part score should
664 @lilypond[quote,fragment,verbatim,relative=2]
665 \set Score.skipBars = ##t
672 A multi-measure rest can be expanded in the printed score
673 to show all the rest measures explicitly, or, as above, it can be
674 condensed to a single measure
675 containing a multi-measure rest symbol, with the number of
676 measures of rest printed above the measure. This expansion
677 is controlled by the property @code{Score.skipBars}. If this is
678 set to true, empty measures will be condensed to a single measure.
680 @lilypond[quote,ragged-right,fragment,verbatim]
681 \time 4/4 r1 | R1 | R1*2 |
684 \set Score.skipBars = ##t
688 The @code{1} in @code{R1} is similar to the duration notation
689 used for notes and is the length of a measure in 2/2 or 4/4 time.
690 The duration in a multi-measure rest must always be an integral
691 number of measure-lengths, so in other time signatures augmentation
692 dots or fractions must be used:
694 @lilypond[quote,ragged-right,fragment,verbatim]
695 \set Score.skipBars = ##t
699 R1*13/8 | R1*13/8*12 |
704 An @code{R} spanning a single measure is printed as either a whole
705 or breve rest, centered in the measure, regardless of the time
710 @cindex kirchenpausen
712 If there are 10 or fewer measures of rest, LilyPond prints
713 a series of longa and breve rests (called in German
714 Kirchenpausen - @q{church rests}) within the staff and
715 prints a simple line otherwise. This default number of 10
716 may be changed by overriding
717 @code{MultiMeasureRest.expand-limit}.
719 @lilypond[quote,ragged-right,fragment,verbatim]
720 \set Score.skipBars = ##t
722 \override MultiMeasureRest #'expand-limit = 3
726 Note that unlike ordinary rests, the vertical position on the
727 staff of the multi-measure rest symbol of either form cannot be
730 @cindex text on multi-measure rest
731 @cindex script on multi-measure rest
732 @cindex fermata on multi-measure rest
734 Text can be added to multi-measure rests by using the
735 @var{note}-@code{markup} syntax described in @ref{Text markup}.
736 The variable @code{\fermataMarkup} is provided for adding
739 @lilypond[quote,ragged-right,verbatim,fragment]
740 \set Score.skipBars = ##t
742 R2.*10^\markup { \italic "ad lib." }
746 @warning{Text attached to a multi-measure rest is created
747 by @code{MultiMeasureRestText}, not
748 @code{TextScript}. Overrides must be directed to the correct
749 object, or they will be ignored. See the following example.}
751 @lilypond[quote,ragged-right,verbatim,fragment]
752 \override TextScript #'padding = #5
754 \override MultiMeasureRestText #'padding = #5
758 Text attached to a multi-measure rest will be centered above or
759 below it. Long text attached in this way does not cause the
760 measure to expand, and may collide with text in adjacent measures.
761 Long text is better attached to a zero-length skip note preceding
762 the rest, preceded by @code{\fatText} (turn off again with
763 @code{\emptyText}), since this will cause the measure to expand to
764 accommodate the length of the text:
766 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
767 \set Score.skipBars = ##t
769 s1*0^\markup {[MAJOR GENERAL]}
771 s1*0^\markup {[MABEL] }
772 s1*0_\markup {\italic {Cue: ... it is yours}}
774 c4^\markup {CHORUS} d f c
780 Notation Reference: @ref{Durations}, @ref{Text},
781 @ref{Text markup}, @ref{Text scripts}.
783 Snippets: @lsrdir{rhythms}
785 Internals Reference: @internalsref{MultiMeasureRest}.
787 The layout object @internalsref{MultiMeasureRestNumber} is for the
788 default number, and @internalsref{MultiMeasureRestText} for user
794 If an attempt is made to use fingerings (e.g.,
795 @code{R1*10-4}) to put numbers over multi-measure rests, the
796 fingering numeral (4) may collide with the bar counter
799 @cindex condensing rests
801 There is no way to automatically condense multiple rests into a
802 single multi-measure rest. Multi-measure rests do not take part
805 Be careful when entering multi-measure rests followed by whole
806 notes. The following will enter two notes lasting four measures
814 @node Displaying rhythms
815 @subsection Displaying rhythms
821 * Polymetric notation::
822 * Automatic note splitting::
826 @unnumberedsubsubsec Time signature
828 @cindex time signature
832 The time signature is set with the @code{\time} command:
834 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
835 \time 2/4 c2 \time 3/4 c2.
840 The symbol that is printed can be customized with the @code{style}
841 property. Setting it to @code{#'()} uses fraction style for 4/4
844 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
847 \override Staff.TimeSignature #'style = #'()
852 A time signature symbol is normally printed whenever the time
853 signature changes. If this takes place at the end of a line a
854 warning time signature sign is printed at the end of the line and
855 again at the start of a new line. This default behaviour can be
856 modified by setting the value of the @code{break-visibility}
857 property. This takes three values which may be set to @code{#t}
858 or @code{#f} to specify whether the corresponding time signature
859 is visible or not. The order of the three values is @code{end of
860 line visible}, @code{middle of line visible}, @code{beginning of
863 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
864 % Do not print any time signatures at end of line
865 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
868 % Do not print the following 9/8 time signature
869 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
877 There are many more options for its layout. See @ref{Ancient time
878 signatures}, for more examples.
880 @code{\time} sets the properties @code{timeSignatureFraction},
881 @code{beatLength}, and @code{measureLength} in the @code{Timing}
882 context, which is normally aliased to @internalsref{Score}. The
883 property @code{measureLength} determines where bar lines should be
884 inserted, and how automatic beams should be generated. Changing
885 the value of @code{timeSignatureFraction} also causes the symbol
888 @cindex measure groupings
890 More options are available through the Scheme function
891 @code{set-time-signature}, which takes three arguments: the number
892 of beats, the beat length, and the internal grouping of beats in
893 the measure. If the @internalsref{Measure_grouping_engraver} is
894 included, the function will also create
895 @internalsref{MeasureGrouping} signs. Such signs ease reading
896 rhythmically complex modern music. In the following example, the
897 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
898 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
900 @lilypond[quote,ragged-right,verbatim]
903 #(set-time-signature 9 8 '(2 2 2 3))
904 g8[ g] d[ d] g[ g] a8[( bes g]) |
905 #(set-time-signature 5 8 '(3 2))
911 \consists "Measure_grouping_engraver"
920 Snippets: @lsrdir{rhythms}
922 Internals Reference: @internalsref{TimeSignature}, and
923 @internalsref{Timing_translator}.
925 Examples: @lsr{contemporary,compound-time-signature.ly}.
930 Automatic beaming does not use the measure grouping specified with
931 @code{set-time-signature}.
935 @unnumberedsubsubsec Upbeats
939 @cindex partial measure
940 @cindex measure, partial
941 @cindex pickup measure
942 @cindex shorten measures
945 Partial or pickup measures, such as an anacrusis or upbeat, are
946 entered using the @code{\partial} command, with the syntax
949 \partial @var{duration}
952 where @code{duration} is the rhythmic length to be added before
955 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
956 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
959 Internally, this is translated into
962 \set Timing.measurePosition = -@var{length of duration}
965 The property @code{measurePosition} contains a rational number
966 indicating how much of the measure has passed at this point. Note
967 that this is a negative number; @code{\partial 4} is internally
968 translated to mean @qq{there is a quarter note left in the bar.}
973 This command does not take into account grace notes at the start
974 of the music. When a piece starts with grace notes in the
975 pickup, then the @code{\partial} should follow the grace notes:
977 @lilypond[verbatim,quote,ragged-right,relative,fragment]
984 @code{\partial} is only intended to be used at the beginning of a
985 piece. If you use it after the beginning, some odd warnings may
990 Snippets: @lsrdir{rhythms}
992 @node Unmetered music
993 @unnumberedsubsubsec Unmetered music
997 @funindex \cadenzaOff
999 Bar lines and bar numbers are calculated automatically. For
1000 unmetered music (cadenzas, for example), this is not desirable.
1001 To turn off automatic bar lines and bar numbers, use the commands
1002 @code{\cadenzaOn} and @code{\cadenzaOff}.
1004 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1016 LilyPond will only insert line breaks and page breaks at a
1017 bar line. Unless the unmetered music ends before the end of the
1018 staff line, you will need to insert invisible bar lines with
1025 to indicate where breaks can occur.
1029 Snippets: @lsrdir{rhythms}
1032 @node Polymetric notation
1033 @unnumberedsubsubsec Polymetric notation
1035 @cindex double time signatures
1036 @cindex signatures, polymetric
1037 @cindex polymetric signatures
1038 @cindex meter, polymetric
1040 @c TODO: add glossary entries for {signature, polymetric},
1041 @c {meter, polymetric}, {polymetric} (time signature, double}. rp
1043 Double time signatures are not supported explicitly, but they can
1044 be faked. In the next example, the markup for the time signature
1045 is created with a markup text. This markup text is inserted in
1046 the @internalsref{TimeSignature} grob. See also
1047 @lsr{contemporary,compound-time-signature}.
1049 @lilypond[verbatim,ragged-right]
1051 tsMarkup = \markup {
1052 \override #'(baseline-skip . 2) \number {
1055 \bracket \column { "5" "8" }
1060 \override Staff.TimeSignature #'stencil =
1061 #ly:text-interface::print
1062 \override Staff.TimeSignature #'text = #tsMarkup
1064 c'2 \bar ":" c'4 c'4.
1068 Each staff can also have its own time signature. This is done by
1069 moving the @internalsref{Timing_translator} to the
1070 @internalsref{Staff} context.
1072 @lilypond[quote,verbatim,ragged-right]
1076 \remove "Timing_translator"
1077 \remove "Default_bar_line_engraver"
1081 \consists "Timing_translator"
1082 \consists "Default_bar_line_engraver"
1085 %Now, each staff has its own time signature.
1098 c4. c8 c c c4. c8 c c
1104 A different form of polymetric notation is where note lengths have
1105 different values across staves, but the measures are all the same
1108 This notation can be created by setting a common time signature
1109 for each staff but replacing it manually using
1110 @code{timeSignatureFraction} to the desired fraction. Then the
1111 printed durations in each staff are scaled to the common time
1112 signature. The latter is done with @code{\compressMusic}, which
1113 is used in a similar way to @code{\times}, but does not create
1114 a tuplet bracket. The syntax is
1116 @funindex \compressMusic
1120 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1125 In this example, music with the time signatures of 3/4, 9/8, and
1126 10/8 are used in parallel. In the second staff, shown durations
1127 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1128 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1131 @lilypond[quote,ragged-right,verbatim,fragment]
1139 \set Staff.timeSignatureFraction = #'(9 . 8)
1140 \compressMusic #'(2 . 3)
1141 \repeat unfold 6 { c8[ c c] }
1145 \set Staff.timeSignatureFraction = #'(10 . 8)
1146 \compressMusic #'(3 . 5) {
1147 \repeat unfold 2 { c8[ c c] }
1148 \repeat unfold 2 { c8[ c] }
1149 | c4. c4. \times 2/3 { c8 c c } c4
1158 When using different time signatures in parallel, the spacing is
1159 aligned vertically, but bar lines distort the regular spacing.
1164 TODO: add @rglos{signature, polymetric}, {polymetric}, {time
1165 signature, double}, and {meter, polymetric}. when glossary entries
1169 Snippets: @lsrdir{rhythms}, @lsr{contemporary,compound-time-signature}.
1171 Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
1174 @node Automatic note splitting
1175 @unnumberedsubsubsec Automatic note splitting
1177 Long notes which overrun bar lines can be converted automatically
1178 to tied notes. This is done by replacing the
1179 @internalsref{Note_heads_engraver} by the
1180 @internalsref{Completion_heads_engraver}. In the following
1181 examples, notes crossing the bar line are split and tied.
1183 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1185 \remove "Note_heads_engraver"
1186 \consists "Completion_heads_engraver"
1188 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1192 This engraver splits all running notes at the bar line, and
1193 inserts ties. One of its uses is to debug complex scores: if the
1194 measures are not entirely filled, then the ties exactly show how
1195 much each measure is off.
1197 If you want to allow line breaking on the bar lines where
1198 @internalsref{Completion_heads_engraver} splits notes, you must
1199 also remove @internalsref{Forbid_line_break_engraver}.
1204 Not all durations (especially those containing tuplets) can be
1205 represented exactly with normal notes and dots, but the engraver
1206 will not insert tuplets.
1208 @code{Completion_heads_engraver} only affects notes; it does not
1214 Snippets: @lsrdir{rhythms}
1216 Internals Reference: @internalsref{Note_heads_engraver},
1217 @internalsref{Completion_heads_engraver},
1218 @internalsref{Forbid_line_break_engraver}.
1229 * Setting automatic beam behavior::
1233 @node Automatic beams
1234 @unnumberedsubsubsec Automatic beams
1236 By default, beams are inserted automatically:
1238 @cindex beams, manual
1239 @cindex manual beams
1241 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1243 \time 6/8 c c c c8. c16 c8
1246 If these automatic decisions are not satisfactory, beaming can be
1247 entered explicitly; see @ref{Manual beams}. It is also possible
1248 to define beaming patterns that differ from the defaults; see
1249 @ref{Setting automatic beam behavior}. The default beaming rules
1250 are defined in @file{scm/@/auto@/-beam@/.scm}.
1256 Automatic beaming may be turned off and on with
1257 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1259 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1260 c4 c8 c8. c16 c8. c16 c8
1270 Beaming patterns may be altered with the @code{beatGrouping} property,
1272 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1274 \set beatGrouping = #'(2 3)
1276 \set beatGrouping = #'(3 2)
1280 @c [TODO I think this could be worded more clearly, but I'm not sure how.] rp
1281 The property @code{subdivideBeams} can be set in order to
1282 subdivide all 16th or shorter beams. When set, multiple beams
1283 will be sub-divided at beat positions, defined by the current
1284 value of @code{beatLength} (defaults to a quarter note), by
1285 drawing only one beam over the beat.
1287 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1289 \set subdivideBeams = ##t
1291 \set Score.beatLength = #(ly:make-moment 1 8)
1293 \set Score.beatLength = #(ly:make-moment 1 16)
1296 @funindex subdivideBeams
1299 For more information about @code{make-moment}, see
1300 @ref{Time administration}.
1306 Line breaks are normally forbidden when beams cross bar lines.
1307 This behavior can be changed by setting the @code{breakable}
1308 property: @code{\override Beam #'breakable = ##t}.
1310 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1311 \override Beam #'breakable = ##t
1312 c8 \repeat unfold 15 {c[ c] } c
1315 @cindex beams and line breaks
1316 @cindex beams, kneed
1318 @cindex auto-knee-gap
1320 Kneed beams are inserted automatically when a large gap is
1321 detected between the note heads. This behavior can be tuned
1322 through the @code{auto-knee-gap} property. A kneed beam is
1323 drawn if the gap is larger than the value of
1324 @code{auto-knee-gap} plus the width of the beam object (which
1325 depends on the duration of the notes and the slope of the beam).
1326 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1328 @lilypond[fragment,ragged-right,quote,verbatim]
1330 \override Beam #'auto-knee-gap = #6
1337 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1339 Snippets: @lsrdir{rhythms}
1341 Internals Reference: @internalsref{Beam}.
1346 Automatically kneed cross-staff beams cannot be used together with
1347 hidden staves. See @ref{Hiding staves}.
1349 Beams can collide with noteheads and accidentals in other voices
1352 @node Setting automatic beam behavior
1353 @unnumberedsubsubsec Setting automatic beam behavior
1355 @funindex autoBeamSettings
1356 @funindex (end * * * *)
1357 @funindex (begin * * * *)
1358 @cindex automatic beams, tuning
1359 @cindex tuning automatic beaming
1361 @c [TODO: use \applyContext]
1363 In normal time signatures, automatic beams can start on any note
1364 but can only end in a few positions within the measure: beams can
1365 end on a beat, or at durations specified by the properties in
1366 @code{autoBeamSettings}. The properties in
1367 @code{autoBeamSettings} consist of a list of rules for where beams
1368 can begin and end. The default @code{autoBeamSettings} rules are
1369 defined in @file{scm/@/auto@/-beam@/.scm}.
1371 In order to add a rule to the list, use
1373 #(override-auto-beam-setting '(be p q n m) a b [context])
1378 @item @code{be} is either @code{begin} or @code{end}.
1380 @item @code{p/q} is the duration of the note for which you want
1381 to add a rule. A beam is considered to have the duration of its
1382 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1383 have this apply to any beam.
1385 @item @code{n/m} is the time signature to which
1386 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1387 to have this apply in any time signature.
1389 @item @code{a/b} is the position in the bar at which the beam should
1392 @item @code{context} is optional, and it specifies the context at which
1393 the change should be made. The default is @code{'Voice}.
1395 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1396 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1400 For example, if automatic beams should always end on the first quarter
1404 #(override-auto-beam-setting '(end * * * *) 1 4)
1407 You can force the beam settings to only take effect on beams whose shortest
1408 note is a certain duration
1410 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1412 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1414 a32 a a a a16 a a a a a |
1415 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1416 a32 a a a a16 a a a a a |
1419 You can force the beam settings to only take effect in certain time
1422 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1424 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1432 You can also remove a previously set beam-ending rule by using
1435 #(revert-auto-beam-setting '(be p q n m) a b [context])
1439 be, p, q, n, m, a, b and context are the same as above. Note that the
1440 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1441 so you can revert rules that you did not explicitly create.
1443 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1445 a16 a a a a a a a a a a a a a a a
1446 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1447 a16 a a a a a a a a a a a a a a a
1450 The rule in a revert-auto-beam-setting statement must exactly match the
1451 original rule. That is, no wildcard expansion is taken into account.
1453 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1455 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1457 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1459 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1465 @c TODO: old material -- not covered by above stuff, I think.
1466 If automatic beams should end on every quarter in 5/4 time, specify
1469 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1470 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1471 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1472 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1476 The same syntax can be used to specify beam starting points. In this
1477 example, automatic beams can only end on a dotted quarter note
1479 #(override-auto-beam-setting '(end * * * *) 3 8)
1480 #(override-auto-beam-setting '(end * * * *) 1 2)
1481 #(override-auto-beam-setting '(end * * * *) 7 8)
1483 In 4/4 time signature, this means that automatic beams could end only on
1484 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1485 3/8, has passed within the measure).
1487 If any unexpected beam behaviour occurs, check the default automatic beam
1488 settings in @file{scm/@/auto@/-beam@/.scm}
1489 for possible interference, because the beam
1490 endings defined there will still apply on top of your own overrides. Any
1491 unwanted endings in the default vales must be reverted for your time
1494 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1498 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1499 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1500 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1501 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1504 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1505 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1506 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1509 @cindex automatic beam generation
1511 @funindex autoBeaming
1514 If beams are used to indicate melismata in songs, then automatic
1515 beaming should be switched off with @code{\autoBeamOff}.
1520 @funindex \autoBeamOff
1521 @code{\autoBeamOff},
1522 @funindex \autoBeamOn
1528 If a score ends while an automatic beam has not been ended and is
1529 still accepting notes, this last beam will not be typeset at all.
1530 The same holds for polyphonic voices, entered with @code{<<
1531 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1532 automatic beam is still accepting notes, it is not typeset.
1536 Snippets: @lsrdir{rhythms}
1540 @unnumberedsubsubsec Manual beams
1542 @cindex beams, manual
1544 In some cases it may be necessary to override the automatic
1545 beaming algorithm. For example, the autobeamer will not put beams
1546 over rests or bar lines, and in choral scores the beaming is
1547 often set to follow the meter of the lyrics rather than the
1548 notes. Such beams can be specified manually by
1549 marking the begin and end point with @code{[} and @code{]}
1551 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1553 r4 r8[ g' a r8] r8 g[ | a] r8
1558 Individual notes may be marked with @code{\noBeam} to prevent them
1561 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1562 \time 2/4 c8 c\noBeam c c
1568 @funindex stemLeftBeamCount
1569 @funindex stemRightBeamCount
1571 Even more strict manual control with the beams can be achieved by
1572 setting the properties @code{stemLeftBeamCount} and
1573 @code{stemRightBeamCount}. They specify the number of beams to
1574 draw on the left and right side, respectively, of the next note.
1575 If either property is set, its value will be used only once, and
1576 then it is erased. In this example, the last @code{f} is printed
1577 with only one beam on the left side, i.e. the eigth-note beam of
1578 the group as a whole.
1580 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1584 \set stemLeftBeamCount = #1
1592 @cindex beams, feathered
1593 @funindex \featherDurations
1595 Feathered beams are used to indicate that a small group of notes
1596 should be played at an increasing (or decreasing) tempo, without
1597 changing the overall tempo of the piece. The extent of the
1598 feathered beam must be indicated manually using @code{[} and
1599 @code{]}, and the beam feathering is turned on by specifying a
1600 direction to the Beam property @code{grow-direction}.
1602 If the placement of the notes and the sound in the MIDI output
1603 is to reflect the ritardando or accelerando indicated by the
1604 feathered beam the notes must be grouped as a
1605 music expression delimited by braces and preceded by a
1606 @code{featheredDurations} command which specifies the ratio
1607 between the durations of the first and last notes in the group.
1610 show the extent of the beam and the braces show
1611 which notes are to have their durations modified. Normally
1612 these would delimit the same group of notes, but this is not
1613 required: the two commands are independent.
1615 In the following example the eight 16th notes occupy exactly the
1616 same time as a half note, but the first note is one half as long
1617 as the last one, with the intermediate notes gradually
1618 lengthening. The first four 32nd notes gradually speed up, while
1619 the last four 32nd notes are at a constant tempo.
1621 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1622 \override Beam #'grow-direction = #LEFT
1623 \featherDurations #(ly:make-moment 2 1)
1624 { c16[ c c c c c c c] }
1625 \override Beam #'grow-direction = #RIGHT
1626 \featherDurations #(ly:make-moment 2 3)
1628 % revert to non-feathered beams
1629 \override Beam #'grow-direction = #'()
1634 The spacing in the printed output represents the
1635 note durations only approximately, but the midi output is exact.
1639 The @code{\featherDurations} command only works with very short
1640 music snippets, and when numbers in the fraction are small.
1644 Snippets: @lsrdir{rhythms}
1655 * Bar and bar number checks::
1660 @unnumberedsubsubsec Bar lines
1664 @cindex measure lines
1667 Bar lines delimit measures, and are also used to indicate
1668 repeats. Normally, simple bar lines are automatically inserted
1669 into the printed output at places based on the current time
1672 The simple bar lines inserted automatically can be changed to
1673 other types with the @code{\bar} command. For example, a closing
1674 double bar line is usually placed at the end of a piece:
1676 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1680 @warning{An incorrect duration can lead to poorly formatted
1683 It is not invalid if the final note in a bar does not
1684 end on the automatically entered bar line: the note is assumed
1685 to carry over into the next bar. But if a long sequence
1686 of such carry-over bars appears the music can appear compressed
1687 or even flowing off the page. This is because automatic line
1688 breaks happen only at the end of complete bars, i.e. where
1689 the end of a note coincides with the end of a bar.
1692 @cindex bar lines, invisible
1693 @cindex measure lines, invisible
1695 Line breaks are also permitted at manually inserted bar lines
1696 even within incomplete bars. To allow a line break without
1697 printing a bar line, use
1704 This will insert an invisible bar line and allow (but not
1705 force) a line break to occur at this point. The bar number
1706 counter is not increased. To force a line break see
1707 @ref{Line breaking}.
1709 This and other special bar lines may be inserted manually at any
1710 point. When they coincide with the end of a bar they replace
1711 the simple bar line which would have been inserted there
1712 automatically. When they do not coincide
1713 with the end of a bar the specified bar line is inserted at that
1714 point in the printed output. Such insertions do not affect
1715 the calculation and placement of subsequent automatic bar lines.
1717 The simple bar line and four types of double bar line are available
1718 for manual insertion:
1720 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1721 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1725 together with dotted and dashed bar lines:
1727 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1728 f1 \bar ":" g \bar "dashed" a
1732 and three types of repeat bar line:
1734 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1735 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1740 Although the bar line types signifying repeats may be inserted
1741 manually they do not in themselves cause LilyPond to recognise
1742 a repeated section. Such repeated sections are better entered
1743 using the various repeat commands (see @ref{Repeats}), which
1744 automatically print the appropriate bar lines.
1746 In addition, you can specify @code{"||:"}, which is equivalent to
1747 @code{"|:"} except at line breaks, where it gives a double bar
1748 line at the end of the line and a start repeat at the beginning of
1751 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1752 \override Score.RehearsalMark #'padding = #3
1760 In scores with many staves, a @code{\bar} command in one staff is
1761 automatically applied to all staves. The resulting bar lines are
1762 connected between different staves of a @code{StaffGroup},
1763 @code{PianoStaff}, or @code{GrandStaff}.
1765 @lilypond[quote,ragged-right,fragment,verbatim]
1773 \new Staff { \clef bass c4 g e g }
1775 \new Staff { \clef bass c2 c2 }
1783 @funindex defaultBarType
1785 The command @code{\bar }@var{bartype} is a shortcut for
1786 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1787 created whenever the @code{whichBar} property is
1790 The default bar type used for automatically inserted bar lines is
1791 @code{"|"}. This may be changed at any time
1792 with @code{\set Timing.defaultBarType = }@var{bartype}.
1796 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1797 @ref{System start delimiters}.
1799 Snippets: @lsrdir{rhythms}
1801 Internals Reference: @internalsref{BarLine} (created at
1802 @internalsref{Staff} level), @internalsref{SpanBar} (across
1803 staves), @internalsref{Timing_translator} (for Timing
1808 @unnumberedsubsubsec Bar numbers
1811 @cindex measure numbers
1812 @funindex currentBarNumber
1814 Bar numbers are typeset by default at the start of every line except
1815 the first line. The number itself is stored in the
1816 @code{currentBarNumber} property, which is normally updated
1817 automatically for every measure. It may also be set manually:
1819 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1822 \set Score.currentBarNumber = #50
1829 @funindex barNumberVisibility
1830 @cindex bar numbers, regular spacing
1832 Bar numbers can be typeset at regular intervals instead of just at
1833 the beginning of every line. To do this the default behaviour
1834 must be overridden to permit bar numbers to be printed at places
1835 other than the start of a line. This is controlled by the
1836 @code{break-visibility} property of @code{BarNumber}. This takes
1837 three values which may be set to @code{#t} or @code{#f} to specify
1838 whether the corresponding bar number is visible or not. The order
1839 of the three values is @code{end of line visible}, @code{middle of
1840 line visible}, @code{beginning of line visible}. In the following
1841 example bar numbers are printed at all possible places:
1843 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1844 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1845 \set Score.currentBarNumber = #11
1846 \bar "" % Permit first bar number to be printed
1852 @c All the rest of these examples will be added to LSR
1853 @c and moved into the Snippets. -gp
1856 and here the bar numbers are printed every two bars
1857 except at the end of the line:
1859 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1860 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1861 \set Score.currentBarNumber = #11
1862 \bar "" % Permit first bar number to be printed
1863 % Print a bar number every 2nd bar
1864 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1870 @cindex measure number, format
1871 @cindex bar number, format
1873 The size of the bar number may be changed. This is illustrated
1874 in the following example, which also shows how to enclose bar
1875 numbers in boxes and circles, and shows an alternative way
1876 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1878 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1879 % Prevent bar numbers at the end of a line and permit them elsewhere
1880 \override Score.BarNumber #'break-visibility
1881 = #end-of-line-invisible
1883 % Increase the size of the bar number by 2
1884 \override Score.BarNumber #'font-size = #2
1885 \repeat unfold 3 { c1 } \bar "|"
1887 % Draw a box round the following bar number(s)
1888 \override Score.BarNumber #'stencil
1889 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1890 \repeat unfold 3 { c1 } \bar "|"
1892 % Draw a circle round the following bar number(s)
1893 \override Score.BarNumber #'stencil
1894 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1895 \repeat unfold 4 { c1 } \bar "|."
1898 @cindex bar number alignment
1900 Bar numbers by default are left-aligned to their parent object.
1901 This is usually the left edge of a line or, if numbers are printed
1902 within a line, the left bar line of the bar. The numbers may also
1903 be positioned directly on the bar line or right-aligned to the
1906 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1907 \set Score.currentBarNumber = #111
1908 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1909 % Increase the size of the bar number by 2
1910 \override Score.BarNumber #'font-size = #2
1911 % Print a bar number every 2nd bar
1912 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1914 % Centre-align bar numbers
1915 \override Score.BarNumber #'self-alignment-X = #0
1917 % Right-align bar numbers
1918 \override Score.BarNumber #'self-alignment-X = #-1
1922 Bar numbers can be removed entirely by removing the Bar number
1923 engraver from the score context.
1925 @lilypond[verbatim,ragged-right,quote]
1929 \remove "Bar_number_engraver"
1941 Snippets: @lsrdir{rhythms}
1943 Internals Reference: @internalsref{BarNumber}.
1945 Examples: @lsrdir{bar number}
1950 Bar numbers may collide with the top of the
1951 @internalsref{StaffGroup} bracket, if there is one. To solve
1952 this, the @code{padding} property of @internalsref{BarNumber} can
1953 be used to position the number correctly.
1955 Bar numbers may only be printed at bar lines; to print a bar
1956 number at the beginning of a piece, an empty bar line must be
1957 inserted there, and a value other than @code{1} must be placed
1958 in @code{currentBarNumber}:
1960 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1961 \set Score.currentBarNumber = #50
1970 @node Bar and bar number checks
1971 @unnumberedsubsubsec Bar and bar number checks
1974 @funindex barCheckSynchronize
1977 Bar checks help detect errors in the entered durations.
1978 A bar check may be entered using the bar symbol, @code{|},
1979 at any place where a bar line is expected to fall.
1980 If bar check lines are encountered at other places,
1981 a list of warnings is printed in the log file,
1982 showing the line numbers and lines
1983 in which the bar checks failed. In the next
1984 example, the second bar check will signal an error.
1987 \time 3/4 c2 e4 | g2 |
1990 Bar checks can also be used in lyrics, for example
1995 Twin -- kle | Twin -- kle |
1999 An incorrect duration can result in a completely garbled score,
2000 especially if the score is polyphonic, so a good place to start
2001 correcting input is by scanning for failed bar checks and
2002 incorrect durations.
2005 @funindex pipeSymbol
2007 It is also possible to redefine the action taken when a bar check
2008 or pipe symbol, @code{|}, is encountered in the input, so that
2009 it does something other than a bar check. This is done by
2010 assigning a music expression to @code{pipeSymbol}.
2011 In the following example @code{|} is set to insert a double bar
2012 line wherever it appears in the input, rather than checking
2015 @lilypond[quote,ragged-right,verbatim]
2016 pipeSymbol = \bar "||"
2025 When copying large pieces of music, it can be helpful to check
2026 that the LilyPond bar number corresponds to the original that you
2027 are entering from. This can be checked with
2028 @code{\barNumberCheck}, for example,
2031 \barNumberCheck #123
2035 will print a warning if the @code{currentBarNumber} is not 123
2036 when it is processed.
2040 Snippets: @lsrdir{rhythms}
2043 @node Rehearsal marks
2044 @unnumberedsubsubsec Rehearsal marks
2046 @cindex rehearsal marks
2047 @cindex mark, rehearsal
2050 To print a rehearsal mark, use the @code{\mark} command
2052 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2061 The letter@tie{}@q{I} is skipped in accordance with engraving
2062 traditions. If you wish to include the letter @q{I}, then use
2065 \set Score.markFormatter = #format-mark-alphabet
2068 The mark is incremented automatically if you use @code{\mark
2069 \default}, but you can also use an integer argument to set the
2070 mark manually. The value to use is stored in the property
2071 @code{rehearsalMark}.
2073 @cindex rehearsal mark format
2074 @cindex rehearsal mark style
2075 @cindex style, rehearsal mark
2076 @cindex format, rehearsal mark
2077 @cindex mark, rehearsal, style
2078 @cindex mark, rehearsal, format
2080 The style is defined by the property @code{markFormatter}. It is
2081 a function taking the current mark (an integer) and the current
2082 context as argument. It should return a markup object. In the
2083 following example, @code{markFormatter} is set to a pre-defined
2084 procedure. After a few measures, it is set to a procedure that
2085 produces a boxed number.
2087 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2088 \set Score.markFormatter = #format-mark-numbers
2091 \set Score.markFormatter = #format-mark-box-numbers
2097 The file @file{scm/@/translation@/-functions@/.scm} contains the
2098 definitions of @code{format-mark-numbers} (the default format),
2099 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2100 @code{format-mark-box-letters}. These can be used as inspiration
2101 for other formatting functions.
2103 You may use @code{format-mark-barnumbers},
2104 @code{format-mark-box-barnumbers}, and
2105 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2106 incremented numbers or letters.
2108 Other styles of rehearsal mark can be specified manually
2115 @code{Score.markFormatter} does not affect marks specified in this
2116 manner. However, it is possible to apply a @code{\markup} to the
2120 \mark \markup@{ \box A1 @}
2127 Music glyphs (such as the segno sign) may be printed inside a
2130 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2131 c1 \mark \markup { \musicglyph #"scripts.segno" }
2132 c1 \mark \markup { \musicglyph #"scripts.coda" }
2133 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2138 See @ref{The Feta font}, for a list of symbols which may be
2139 printed with @code{\musicglyph}.
2141 For common tweaks to the positioning of rehearsal marks, see
2146 Snippets: @lsrdir{rhythms}
2148 This manual: @ref{The Feta font}, @ref{Text marks}.
2150 Internals Reference: @internalsref{RehearsalMark}.
2152 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2153 the definition of @code{format-mark-numbers} and
2154 @code{format-mark-letters}. They can be used as inspiration for
2155 other formatting functions.
2157 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2160 @node Special rhythmic concerns
2161 @subsection Special rhythmic concerns
2166 * Aligning to cadenzas::
2167 * Time administration::
2171 @unnumberedsubsubsec Grace notes
2176 @cindex appoggiatura
2177 @cindex acciaccatura
2179 Grace notes are ornaments that are written out. They are made with
2180 the @code{\grace} command. By prefixing this keyword to a music
2181 expression, a new one is formed, which will be printed in a
2182 smaller font and takes up no logical time in a measure.
2184 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2186 \grace { c16[ d16] } c2 c4
2189 Two special forms of the @code{\grace} command exist.
2190 An @emph{acciaccatura}, which should be played as very short,
2191 is denoted by a slurred small note with a slashed stem. The
2192 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2193 main note, is denoted as a slurred note in small print without
2194 a slash. They are entered with the commands @code{\acciaccatura}
2195 and @code{\appoggiatura}, as demonstrated in the following
2198 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2199 b4 \acciaccatura d8 c4
2201 \acciaccatura { g16[ f] } e4
2205 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2206 @code{\grace} does not.
2208 The placement of grace notes is synchronized between different
2209 staves. In the following example, there are two sixteenth grace
2210 notes for every eighth grace note
2212 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2213 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2214 \new Staff { c4 \grace { g8[ b] } c4 } >>
2217 @funindex \afterGrace
2219 If you want to end a note with a grace, use the @code{\afterGrace}
2220 command. It takes two arguments: the main note, and the grace
2221 notes following the main note.
2223 @lilypond[ragged-right, verbatim,relative=2,fragment]
2224 c1 \afterGrace d1 { c16[ d] } c4
2227 This will put the grace notes after a @q{space} lasting 3/4 of the
2228 length of the main note. The fraction 3/4 can be changed by
2229 setting @code{afterGraceFraction}, ie.
2232 #(define afterGraceFraction (cons 7 8))
2236 will put the grace note at 7/8 of the main note.
2238 The same effect can be achieved manually by doing
2240 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2243 { s2 \grace { c16[ d] } } >>
2249 By adjusting the duration of the skip note (here it is a
2250 half-note), the space between the main-note and the grace
2253 A @code{\grace} music expression will introduce special
2254 typesetting settings, for example, to produce smaller type, and
2255 set directions. Hence, when introducing layout tweaks, they
2256 should be inside the grace expression, for example,
2258 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2270 The overrides should also be reverted inside the grace expression.
2272 The layout of grace expressions can be changed throughout the
2273 music using the function @code{add-grace-property}. The following
2274 example undefines the @code{Stem} direction for this grace, so
2275 that stems do not always point up.
2279 #(add-grace-property 'Voice 'Stem 'direction '())
2285 Another option is to change the variables @code{startGraceMusic},
2286 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2287 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2288 @code{stopAppoggiaturaMusic}. The default values of these can be
2289 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2290 them other effects may be obtained.
2293 The slash through the stem in @emph{acciaccatura}s can be obtained in
2294 other situations by @code{\override Stem #'stroke-style =
2300 Grace notes may be forced to use align with regular notes
2301 in other staves by setting @code{strict-grace-spacing} to
2304 @lilypond[relative=2,ragged-right]
2306 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2315 c'16[ c'16 c'16 c'16]
2316 c'16[ c'16 c'16 c'16]
2325 Snippets: @lsrdir{rhythms}
2327 Internals Reference: @internalsref{GraceMusic}.
2332 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2333 and looks exactly the same as a multi-note beamed
2334 @emph{appoggiatura}.
2335 @c TODO Add link to LSR snippet to add slash when available
2337 Grace note synchronization can also lead to surprises. Staff
2338 notation, such as key signatures, bar lines, etc., are also
2339 synchronized. Take care when you mix staves with grace notes and
2340 staves without, for example,
2342 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2343 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2344 \new Staff { c4 \bar "|:" d4 } >>
2348 This can be remedied by inserting grace skips of the corresponding
2349 durations in the other staves. For the above example
2351 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2352 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2353 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2356 Grace sections should only be used within sequential music
2357 expressions. Nesting or juxtaposing grace sections is not
2358 supported, and might produce crashes or other errors.
2360 @node Aligning to cadenzas
2361 @unnumberedsubsubsec Aligning to cadenzas
2363 In an orchestral context, cadenzas present a special problem: when
2364 constructing a score that includes a cadenza, all other
2365 instruments should skip just as many notes as the length of the
2366 cadenza, otherwise they will start too soon or too late.
2368 A solution to this problem are the functions
2369 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2370 functions take a piece of music as argument, and generate a
2371 multi-rest or @code{\skip}, exactly as long as the piece. The use
2372 of @code{mmrest-of-length} is demonstrated in the following
2375 @lilypond[verbatim,ragged-right,quote]
2376 cadenza = \relative c' {
2377 c4 d8 << { e f g } \\ { d4. } >>
2382 \new Staff { \cadenza c'4 }
2384 #(ly:export (mmrest-of-length cadenza))
2392 Snippets: @lsrdir{rhythms}
2395 @node Time administration
2396 @unnumberedsubsubsec Time administration
2398 @cindex time administration
2400 @funindex currentBarNumber
2401 @funindex measurePosition
2402 @funindex measureLength
2404 Time is administered by the @code{Timing_translator}, which by
2405 default is to be found in the @code{Score} context. An alias,
2406 @code{Timing}, is added to the context in which the
2407 @code{Timing_translator} is placed.
2409 The following properties of @code{Timing} are used
2410 to keep track of timing within the score.
2413 @item currentBarNumber
2414 The current measure number. For an example showing the
2415 use of this property see @ref{Bar numbers}.
2418 The length of the measures in the current time signature. For a
2419 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2420 determines when bar lines are inserted and how automatic beams
2421 should be generated.
2423 @item measurePosition
2424 The point within the measure where we currently are. This
2425 quantity is reset by subtracting @code{measureLength} whenever
2426 @code{measureLength} is reached or exceeded. When that happens,
2427 @code{currentBarNumber} is incremented.
2430 If set to true, the above variables are updated for every time
2431 step. When set to false, the engraver stays in the current
2432 measure indefinitely.
2436 Timing can be changed by setting any of these variables
2437 explicitly. In the next example, the default 4/4 time
2438 signature is printed, but @code{measureLength} is set to 5/4.
2439 At 4/8 through the third measure, the @code{measurePosition} is
2440 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2441 The next bar line then falls at 9/8 rather than 5/4.
2443 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2444 \set Score.measureLength = #(ly:make-moment 5 4)
2448 \set Score.measurePosition = #(ly:make-moment 5 8)
2454 As the example illustrates, @code{ly:make-moment n m} constructs a
2455 duration of n/m of a whole note. For example,
2456 @code{ly:make-moment 1 8} is an eighth note duration and
2457 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2463 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2465 Snippets: @lsrdir{rhythms}
2467 Internals Reference: @internalsref{Timing_translator},
2468 @internalsref{Score}