1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
15 This section discusses rhythms, durations, and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
45 When entering notes, durations are designated by numbers and dots:
46 durations are entered as their reciprocal values. For example, a
47 quarter note is entered using a @code{4} (since it is a 1/4 note),
48 while a half note is entered using a @code{2} (since it is a 1/2
49 note). For notes longer than a whole you must use the
50 @code{\longa} (a double breve) and @code{\breve} commands. Note
51 durations as short as 64th notes may be specified. Shorter values
52 are possible, but only as beamed notes.
54 @c Two 64th notes are needed to obtain beams
55 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
62 and the same durations with automatic beaming turned off
63 see @ref{Automatic beams}:
65 @c not strictly "writing rhythms"; more of a "displaying" thing,
66 @c but it's ok here. -gp
67 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
74 If the duration is omitted then it is set to the previously
75 entered duration. The default for the first note is a quarter
78 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
85 To obtain dotted note lengths, simply add a dot (@code{.}) to the
86 number. Double-dotted notes are produced in a similar way.
88 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
89 a4 b c4. b8 a4. b4.. c8.
92 Some durations cannot be entered using only binary durations
93 and dots, and can only be represented by tying two or more
94 notes together. Tied notes are covered in @ref{Ties}.
98 Dots are normally moved up to avoid staff lines, except in
99 polyphonic situations. The following commands may be used to
100 force a particular direction manually:
106 @funindex \dotsNeutral
109 For ways of specifying durations for the syllables of lyrics and
110 ways of aligning lyrics to notes see @ref{Vocal music}.
112 A note with the duration of a quadruple breve may be entered with
113 @code{\maxima}, but this is supported only within ancient music
114 notation; see @ref{Ancient notation}.
116 Optionally, notes can be spaced proportionately to their duration.
117 For details of this and other settings which control proportional
118 notation see @ref{Proportional notation}.
123 Music Glossary: @rglos{breve}, @rglos{longa}.
125 Notation Reference: @ref{Writing rests}, @ref{Vocal music},
126 @ref{Ancient notation}, @ref{Proportional notation}.
128 Snippets: @lsrdir{rhythms}
130 Internals Reference: @internalsref{Dots},
131 @internalsref{DotColumn}.
136 @c duplicated in Durations and Rests. -gp
137 There is no fundamental limit to note durations (both in terms of
138 longest and shortest), but the number of glyphs is limited: there
139 are flags up to 64th and rests up to 128th. At the other extreme,
140 there are note heads up to longa (4x whole note) and rests up to
141 maxima (8 x whole). Since beams can be stacked without needing
142 extra glyphs, beamed notes can be arbitrarily short.
147 @unnumberedsubsubsec Tuplets
153 @c TODO Add Tuplet to glossary
155 Tuplets are made out of a music expression by multiplying all
156 durations with a fraction:
159 \times @var{fraction} @var{musicexpr}
163 The duration of @var{musicexpr} will be multiplied by the
164 fraction. The fraction's denominator will be printed over or
165 under the notes, optionally with a bracket. The most common
166 tuplet is the triplet in which 3 notes have the length of 2, so
167 the notes are 2/3 of their written length.
169 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
170 g4 \times 2/3 {c4 c c} d4 d4
173 Tuplets may be nested, for example,
175 @lilypond[fragment,ragged-right,verbatim,relative=2]
178 \times 3/5 { a a a a a }
186 @funindex \tupletDown
188 @funindex \tupletNeutral
189 @code{\tupletNeutral}.
194 @funindex tupletNumberFormatFunction
195 @cindex tuplet formatting
197 The property @code{tupletSpannerDuration} specifies how long each
198 bracket should last. With this, you can make lots of tuplets
199 while typing @code{\times} only once, thus saving lots of typing.
200 In the next example, there are two triplets shown, while
201 @code{\times} was only used once.
203 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
204 \set tupletSpannerDuration = #(ly:make-moment 1 4)
205 \times 2/3 { c8 c c c c c }
209 For more information about @code{make-moment}, see
210 @ref{Time administration}.
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 @c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
247 @c It *should* be explained why \tweak must be used here, and why
248 @c \override doesn't work. I've made an attempt, but I'm not sure
249 @c if it is factually correct to say that \tweak must be used.
250 In the next example, @code{\tweak} and @code{\override} work
251 together to specify @code{TupletBracket} direction. The first
252 @code{\tweak} positions the @code{TupletBracket} of the outer
253 tuplet above the staff. The second @code{\tweak} positions the
254 @code{TupletBracket} of the first of the three inner tuplets below
255 the staff. Note that the @code{\tweak} function affects only
256 events that begin at the same music moment: the outer tuplet and
257 the first of the three inner tuplets. To position the
258 @code{TupletBrackets} of the second and third of the inner tuplets
259 below the staff, we use @code{\override} in the usual way.
261 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
262 \tweak #'text #tuplet-number::calc-fraction-text
263 \tweak #'direction #up
265 \tweak #'direction #down
266 \times 2/3 { c8[ c8 c8] }
267 \override TupletBracket #'direction = #down
268 \times 2/3 { c8[ c8 c8] }
269 \times 2/3 { c8[ c8 c8] }
273 Tuplet brackets can be made to run to prefatory matter or the next
276 @lilypond[ragged-right,verbatim,quote]
278 \set tupletFullLength = ##t
279 \set tupletFullLengthNote = ##t
281 \times 2/3 { c4 c c }
282 \set tupletFullLengthNote = ##f
292 Tuplets which cross bar lines will prevent a line break at that
297 Notation Reference: @ref{Time administration}, @ref{Objects connected to the input}.
299 @code{\compressMusic} works similarly to \times, but does not
300 create a tuplet bracket; see @ref{Polymetric notation}.
302 FIXME: totally irrelevant link to real-music for
303 discussion/demonstration purposes.
305 Snippets: @lsrdir{rhythms},
306 @lsr{real-music,creating-music-with-scheme.ly}.
308 Internals Reference: @internalsref{TupletBracket},
309 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
313 @node Scaling durations
314 @unnumberedsubsubsec Scaling durations
316 You can alter the length of a duration by a fraction @var{N/M}
317 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
318 This will not affect the appearance of the notes or rests
319 produced, but the altered duration will be used in calculating the
320 position within the measure and setting the duration in the MIDI
321 output. Multiplying factors may be combined
324 In the following example, the first three notes take up exactly
325 two beats, but no triplet bracket is printed.
327 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
329 a4*2/3 gis4*2/3 a4*2/3
334 The duration of skip or spacing notes may also be modified by
335 a multiplier. This is useful for skipping many measures, e.g.,
340 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
342 Snippets: @lsrdir{rhythms}
345 @unnumberedsubsubsec Ties
350 A tie connects two adjacent note heads of the same pitch. The tie
351 in effect extends the length of a note.
353 @warning{Ties should not be confused with @emph{slurs}, which
354 indicate articulation, or @emph{phrasing slurs}, which indicate
355 musical phrasing. A tie is just a way of extending a note
356 duration, similar to the augmentation dot.}
358 A tie is entered using the tilde symbol @code{~}
360 @lilypond[quote,ragged-right,fragment,verbatim]
366 Ties are used either when the note crosses a bar line, or when
367 dots cannot be used to denote the rhythm. Ties should also be
368 used when note values cross larger subdivisions of the measure:
370 @lilypond[fragment,quote,ragged-right]
372 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
376 If you need to tie a lot of notes across bar lines, it may be
377 easier to use automatic note splitting (see @ref{Automatic note
378 splitting}). This mechanism automatically splits long notes, and
379 ties them across bar lines.
382 @cindex repeating ties
383 @cindex volta brackets and ties
385 When a tie is applied to a chord, all note heads whose pitches
386 match are connected. When no note heads match, no ties will be
387 created. Chords may be partially tied by placing the tie inside
390 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
392 <c~ e g~ b> <c e g b>
395 When a second alternative of a repeat starts with a tied note, you
396 have to repeat the tie. This can be achieved with
399 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
400 \repeat volta 2 { c g <c e>2 ~ }
401 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
404 @cindex Laissez vibrer
405 @cindex Ties, laissez vibrer
407 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
408 notes must not be damped at the end. It is used in notation for
409 piano, harp and other string and percussion instruments. They can
410 be entered using @code{\laissezVibrer}:
412 @lilypond[fragment,ragged-right,verbatim,relative=1]
413 <c f g>\laissezVibrer
416 The direction of a tie can be specified with @code{\tieUp} or
417 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
418 to the default behaviour again.
420 However, as with other music elements of this kind, there is a
421 convenient shorthand for forcing tie directions. By adding
422 @code{_} or @code{^} before the tilde, the direction is also set:
424 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
431 Snippets: @lsrdir{rhythms}
434 @internalsref{LaissezVibrerTie}
435 @internalsref{LaissezVibrerTieColumn}
438 @lsr{connecting,laissez-vibrer-ties.ly}
443 Ties are sometimes used to write out arpeggios. In this case, two
444 tied notes need not be consecutive. This can be achieved by
445 setting the @code{tieWaitForNote} property to true. The same
446 feature is also useful, for example, to tie a tremolo to a chord,
447 but in principle, it can also be used for ordinary, consecutive
450 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
451 \set tieWaitForNote = ##t
452 \grace { c16[~ e~ g]~ } <c, e g>2
453 \repeat tremolo 8 { c32~ c'~ } <c c,>1
454 e8~ c~ a~ f~ <e' c a f>2
455 \tieUp c8~ a \tieDown \tieDotted g~ c g2
458 Ties may be engraved manually by changing the
459 @code{tie-configuration} property of the @code{TieColumn} object.
460 The first number indicates the distance from the center of the
461 staff in staff-spaces, and the second number indicates the
462 direction (1=up, -1=down).
464 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
466 \override TieColumn #'tie-configuration =
467 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
479 @funindex \tieNeutral
493 Notation Reference: @ref{Automatic note splitting}.
495 Snippets: @lsrdir{rhythms}
497 Internals Reference: @internalsref{Tie}.
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
518 * Multi measure rests::
522 @unnumberedsubsubsec Rests
529 Rests are entered like notes with the note name @code{r}:
531 @c \time 16/1 is used to avoid spurious bar lines
532 @c and long tracts of empty measures
533 @lilypond[fragment,quote,ragged-right,verbatim]
536 \override Staff.TimeSignature #'stencil = ##f
538 r\longa r\breve r1 r2
543 Whole measure rests, centered in middle of the measure, must be entered as
544 multi-measure rests. They can be used for a single measure as well as
545 many measures and are discussed in @ref{Multi measure rests}.
547 To explicitly specify a rest's vertical position, write a note
548 followed by @code{\rest}. A rest will be placed in the position
549 where the note would appear. This allows for precise manual
550 formatting of polyphonic music, since the automatic rest collision
551 formatter will leave these rests alone.
553 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
560 Snippets: @lsrdir{rhythms}
562 Internals Reference: @internalsref{Rest}.
567 @c duplicated in Durations and Rests. -gp
568 There is no fundamental limit to note durations (both in terms of
569 longest and shortest), but the number of glyphs is limited: there
570 are flags up 64th and rests up to 128th. At the other extreme,
571 there are note heads up to longa (4x whole note) and rests up to
572 maxima (8 x whole). Since beams can be stacked without needing
573 extra glyphs, beamed notes can be arbitrarily short.
577 @unnumberedsubsubsec Skips
580 @cindex Invisible rest
585 An invisible rest (also called a @q{skip}) can be entered like a
586 note with note name @code{s} or with @code{\skip @var{duration}}
588 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
589 a4 a4 s4 a4 \skip 1 a4
592 The @code{s} syntax is only available in note mode and chord mode.
593 In other situations, for example, when entering lyrics, one must
594 use the @code{\skip} command:
596 @lilypond[quote,ragged-right,verbatim,relative=2]
599 \new Lyrics \lyricmode { \skip 2 bla2 }
603 The skip command is merely an empty musical placeholder. It does
604 not produce any output, not even transparent output.
606 The @code{s} skip command does create @internalsref{Staff} and
607 @internalsref{Voice} when necessary, similar to note and rest
608 commands. For example, the following results in an empty staff.
610 @lilypond[quote,verbatim]
613 @c with ragged-right, the staff lines are cut BEFORE the time
614 @c signature, which makes for a VERY empty staff
616 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
617 @c Misleading -- it doesn't produce anything, not even an empty page.
618 @c Ppl who want to make empty sheets will see this and wonder what's
623 Snippets: @lsrdir{rhythms}
625 Internals Reference: @internalsref{SkipMusic}.
628 @node Multi measure rests
629 @unnumberedsubsubsec Multi measure rests
631 @cindex multi measure rests
632 @cindex full measure rests
633 @cindex Rests, multi measure
634 @cindex Rests, full measure
635 @cindex whole rests for a full measure
638 Rests for one or more full measures are entered using @code{R}
639 followed by a duration (see @ref{Durations}). The duration should
640 correspond to an integral number of measures, otherwise a barcheck
641 warning is printed. Multi-measure rests are principally used to
642 indicate that a part in a multi-part score should be silent:
644 @lilypond[quote,fragment,verbatim,relative=2]
645 \set Score.skipBars = ##t
652 A multi-measure rest can be expanded in the printed score
653 to show all the rest measures explicitly, or, as above, it can be
654 condensed to a single measure
655 containing a multi-measure rest symbol, with the number of
656 measures of rest printed above the measure. This expansion
657 is controlled by the property @code{Score.skipBars}. If this is
658 set to true, empty measures will be condensed to a single measure.
660 @lilypond[quote,ragged-right,fragment,verbatim]
661 \time 4/4 r1 | R1 | R1*2 |
664 \set Score.skipBars = ##t
668 The @code{1} in @code{R1} is similar to the duration notation
669 used for notes and is the length of a measure in 2/2 or 4/4 time.
670 The duration in a multi-measure rest must always be an integral
671 number of measure-lengths, so in other time signatures augmentation
672 dots or fractions must be used:
674 @lilypond[quote,ragged-right,fragment,verbatim]
675 \set Score.skipBars = ##t
679 R1*13/8 | R1*13/8*12 |
684 An @code{R} spanning a single measure is printed as either a whole
685 or breve rest, centered in the measure, regardless of the time
688 If there are 10 or fewer measures of rest, LilyPond prints
689 @rglos{church rests} (a series of longa and breve rests)
691 prints a simple line otherwise. This default number of 10
692 may be changed by overriding
693 @code{MultiMeasureRest.expand-limit}.
695 @lilypond[quote,ragged-right,fragment,verbatim]
696 \set Score.skipBars = ##t
698 \override MultiMeasureRest #'expand-limit = 3
702 Note that unlike ordinary rests, the vertical position on the
703 staff of the multi-measure rest symbol of either form cannot be
706 @cindex text on multi-measure rest
707 @cindex script on multi-measure rest
708 @cindex fermata on multi-measure rest
710 Text can be added to multi-measure rests by using the
711 @var{note}-@code{markup} syntax described in @ref{Text markup}.
712 The variable @code{\fermataMarkup} is provided for adding
715 @lilypond[quote,ragged-right,verbatim,fragment]
716 \set Score.skipBars = ##t
718 R2.*10^\markup { \italic "ad lib." }
722 @warning{Text attached to a multi-measure rest is created
723 by @code{MultiMeasureRestText}, not
724 @code{TextScript}. Overrides must be directed to the correct
725 object, or they will be ignored. See the following example.}
727 @lilypond[quote,ragged-right,verbatim,fragment]
728 \override TextScript #'padding = #5
730 \override MultiMeasureRestText #'padding = #5
734 Text attached to a multi-measure rest will be centered above or
735 below it. Long text attached in this way does not cause the
736 measure to expand, and may collide with text in adjacent measures.
737 Long text is better attached to a zero-length skip note preceding
738 the rest, preceded by @code{\fatText} (turn off again with
739 @code{\emptyText}), since this will cause the measure to expand to
740 accommodate the length of the text:
742 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
743 \set Score.skipBars = ##t
745 s1*0^\markup {[MAJOR GENERAL]}
747 s1*0^\markup {[MABEL] }
748 s1*0_\markup {\italic {Cue: ... it is yours}}
750 c4^\markup {CHORUS} d f c
756 This manual: @ref{Text}, @ref{Text scripts}.
758 Snippets: @lsrdir{rhythms}
762 @internalsref{MultiMeasureRest}.
764 The layout object @internalsref{MultiMeasureRestNumber} is for the
765 default number, and @internalsref{MultiMeasureRestText} for user
771 If an attempt is made to use fingerings (e.g.,
772 @code{R1*10-4}) to put numbers over multi-measure rests, the
773 fingering numeral (4) may collide with the bar counter
776 @cindex condensing rests
778 There is no way to automatically condense multiple rests into a
779 single multi-measure rest. Multi-measure rests do not take part
782 Be careful when entering multi-measure rests followed by whole
783 notes. The following will enter two notes lasting four measures
791 @node Displaying rhythms
792 @subsection Displaying rhythms
798 * Polymetric notation::
799 * Automatic note splitting::
803 @unnumberedsubsubsec Time signature
805 @cindex Time signature
809 The time signature is set with the @code{\time} command:
811 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
812 \time 2/4 c2 \time 3/4 c2.
817 The symbol that is printed can be customized with the @code{style}
818 property. Setting it to @code{#'()} uses fraction style for 4/4
821 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
824 \override Staff.TimeSignature #'style = #'()
829 A time signature symbol is normally printed whenever the time
830 signature changes. If this takes place at the end of a line a
831 warning time signature sign is printed at the end of the line and
832 again at the start of a new line. This default behaviour can be
833 modified by setting the value of the @code{break-visibility}
834 property. This takes three values which may be set to @code{#t}
835 or @code{#f} to specify whether the corresponding time signature
836 is visible or not. The order of the three values is @code{end of
837 line visible}, @code{middle of line visible}, @code{beginning of
840 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
841 % Do not print any time signatures at end of line
842 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
845 % Do not print the following 9/8 time signature
846 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
854 There are many more options for its layout. See @ref{Ancient time
855 signatures}, for more examples.
857 @code{\time} sets the properties @code{timeSignatureFraction},
858 @code{beatLength}, and @code{measureLength} in the @code{Timing}
859 context, which is normally aliased to @internalsref{Score}. The
860 property @code{measureLength} determines where bar lines should be
861 inserted, and how automatic beams should be generated. Changing
862 the value of @code{timeSignatureFraction} also causes the symbol
865 @cindex Measure groupings
867 More options are available through the Scheme function
868 @code{set-time-signature}, which takes three arguments: the number
869 of beats, the beat length, and the internal grouping of beats in
870 the measure. If the @internalsref{Measure_grouping_engraver} is
871 included, the function will also create
872 @internalsref{MeasureGrouping} signs. Such signs ease reading
873 rhythmically complex modern music. In the following example, the
874 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
875 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
877 @lilypond[quote,ragged-right,verbatim]
880 #(set-time-signature 9 8 '(2 2 2 3))
881 g8[ g] d[ d] g[ g] a8[( bes g]) |
882 #(set-time-signature 5 8 '(3 2))
888 \consists "Measure_grouping_engraver"
897 Snippets: @lsrdir{rhythms}
899 Internals Reference: @internalsref{TimeSignature}, and
900 @internalsref{Timing_translator}.
902 Examples: @lsr{contemporary,compound-time-signature.ly}.
907 Automatic beaming does not use the measure grouping specified with
908 @code{set-time-signature}.
912 @unnumberedsubsubsec Upbeats
916 @cindex partial measure
917 @cindex measure, partial
918 @cindex pickup measure
919 @cindex shorten measures
922 Partial or pickup measures, such as an anacrusis or upbeat, are
923 entered using the @code{\partial} command, with the syntax
926 \partial @var{duration}
929 where @code{duration} is the rhythmic length to be added before
932 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
933 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
936 Internally, this is translated into
939 \set Timing.measurePosition = -@var{length of duration}
942 The property @code{measurePosition} contains a rational number
943 indicating how much of the measure has passed at this point. Note
944 that this is a negative number; @code{\partial 4} is internally
945 translated to mean @qq{there is a quarter note left in the bar.}
950 This command does not take into account grace notes at the start
951 of the music. When a piece starts with grace notes in the
952 pickup, then the @code{\partial} should follow the grace notes:
954 @lilypond[verbatim,quote,ragged-right,relative,fragment]
961 @code{\partial} is only intended to be used at the beginning of a
962 piece. If you use it after the beginning, some odd warnings may
967 Snippets: @lsrdir{rhythms}
969 @node Unmetered music
970 @unnumberedsubsubsec Unmetered music
974 @funindex \cadenzaOff
976 Bar lines and bar numbers are calculated automatically. For
977 unmetered music (cadenzas, for example), this is not desirable.
978 To turn off automatic bar lines and bar numbers, use the commands
979 @code{\cadenzaOn} and @code{\cadenzaOff}.
981 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
993 LilyPond will only insert line breaks and page breaks at a
994 bar line. Unless the unmetered music ends before the end of the
995 staff line, you will need to insert invisible bar lines with
1002 to indicate where breaks can occur.
1006 Snippets: @lsrdir{rhythms}
1009 @node Polymetric notation
1010 @unnumberedsubsubsec Polymetric notation
1012 @cindex double time signatures
1013 @cindex signatures, polymetric
1014 @cindex polymetric signatures
1015 @cindex meter, polymetric
1017 Double time signatures are not supported explicitly, but they can
1018 be faked. In the next example, the markup for the time signature
1019 is created with a markup text. This markup text is inserted in
1020 the @internalsref{TimeSignature} grob. See also
1021 @lsr{contemporary,compound-time-signature}.
1023 @lilypond[verbatim,ragged-right]
1025 tsMarkup = \markup {
1026 \override #'(baseline-skip . 2) \number {
1029 \bracket \column { "5" "8" }
1034 \override Staff.TimeSignature #'stencil =
1035 #ly:text-interface::print
1036 \override Staff.TimeSignature #'text = #tsMarkup
1038 c'2 \bar ":" c'4 c'4.
1042 Each staff can also have its own time signature. This is done by
1043 moving the @internalsref{Timing_translator} to the
1044 @internalsref{Staff} context.
1046 @lilypond[quote,verbatim,ragged-right]
1050 \remove "Timing_translator"
1051 \remove "Default_bar_line_engraver"
1055 \consists "Timing_translator"
1056 \consists "Default_bar_line_engraver"
1059 %Now, each staff has its own time signature.
1072 c4. c8 c c c4. c8 c c
1078 A different form of polymetric notation is where note lengths have
1079 different values across staves, but the measures are all the same
1082 This notation can be created by setting a common time signature
1083 for each staff but replacing it manually using
1084 @code{timeSignatureFraction} to the desired fraction. Then the
1085 printed durations in each staff are scaled to the common time
1086 signature. The latter is done with @code{\compressMusic}, which
1087 is used in a similar way to @code{\times}, but does not create
1088 a tuplet bracket. The syntax is
1089 @funindex \compressMusic
1093 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1098 In this example, music with the time signatures of 3/4, 9/8, and
1099 10/8 are used in parallel. In the second staff, shown durations
1100 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1101 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1104 @lilypond[quote,ragged-right,verbatim,fragment]
1112 \set Staff.timeSignatureFraction = #'(9 . 8)
1113 \compressMusic #'(2 . 3)
1114 \repeat unfold 6 { c8[ c c] }
1118 \set Staff.timeSignatureFraction = #'(10 . 8)
1119 \compressMusic #'(3 . 5) {
1120 \repeat unfold 2 { c8[ c c] }
1121 \repeat unfold 2 { c8[ c] }
1122 | c4. c4. \times 2/3 { c8 c c } c4
1131 When using different time signatures in parallel, the spacing is
1132 aligned vertically, but bar lines distort the regular spacing.
1136 Snippets: @lsrdir{rhythms}
1139 @node Automatic note splitting
1140 @unnumberedsubsubsec Automatic note splitting
1142 Long notes which overrun bar lines can be converted automatically
1143 to tied notes. This is done by replacing the
1144 @internalsref{Note_heads_engraver} by the
1145 @internalsref{Completion_heads_engraver}. In the following
1146 examples, notes crossing the bar line are split and tied.
1148 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1150 \remove "Note_heads_engraver"
1151 \consists "Completion_heads_engraver"
1153 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1157 This engraver splits all running notes at the bar line, and
1158 inserts ties. One of its uses is to debug complex scores: if the
1159 measures are not entirely filled, then the ties exactly show how
1160 much each measure is off.
1162 If you want to allow line breaking on the bar lines where
1163 @internalsref{Completion_heads_engraver} splits notes, you must
1164 also remove @internalsref{Forbid_line_break_engraver}.
1169 Not all durations (especially those containing tuplets) can be
1170 represented exactly with normal notes and dots, but the engraver
1171 will not insert tuplets.
1173 @code{Completion_heads_engraver} only affects notes; it does not
1179 Snippets: @lsrdir{rhythms}
1181 Internals Reference: @internalsref{Completion_heads_engraver},
1182 @internalsref{Forbid_line_break_engraver}.
1193 * Setting automatic beam behavior::
1197 @node Automatic beams
1198 @unnumberedsubsubsec Automatic beams
1200 By default beams are inserted automatically:
1202 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1204 \time 6/8 c c c c8. c16 c8
1207 If these automatic decisions are not satisfactory, beaming can be
1208 entered explicitly; see @ref{Manual beams}. It is also possible
1209 to define beaming patterns that differ from the defaults; see
1210 @ref{Setting automatic beam behavior}. The default beaming rules
1211 are defined in @file{scm/@/auto@/-beam@/.scm}.
1217 Automatic beaming may be turned off and on with
1218 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1220 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1221 c4 c8 c8. c16 c8. c16 c8
1231 Beaming patterns may be altered with the @code{beatGrouping} property,
1233 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1235 \set beatGrouping = #'(2 3)
1237 \set beatGrouping = #'(3 2)
1241 The property @code{subdivideBeams} can be set in order to
1242 subdivide all 16th or shorter beams. When set, multiple beams
1243 will be sub-divided at beat positions, defined by the current
1244 value of @code{beatLength} (defaults to a quarter note), by
1245 drawing only one beam over the beat.
1247 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1249 \set subdivideBeams = ##t
1251 \set Score.beatLength = #(ly:make-moment 1 8)
1253 \set Score.beatLength = #(ly:make-moment 1 16)
1256 @funindex subdivideBeams
1259 For more information about @code{make-moment}, see
1260 @ref{Time administration}.
1264 Line breaks are normally forbidden when beams cross bar lines.
1265 This behavior can be changed by setting the @code{breakable}
1266 property: @code{\override Beam #'breakable = ##t}.
1268 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1269 \override Beam #'breakable = ##t
1270 c8 \repeat unfold 15 {c[ c] } c
1273 @cindex beams and line breaks
1274 @cindex beams, kneed
1276 @cindex auto-knee-gap
1278 Kneed beams are inserted automatically when a large gap is
1279 detected between the note heads. This behavior can be tuned
1280 through the @code{auto-knee-gap} property. A kneed beam is
1281 drawn if the gap is larger than the value of
1282 @code{auto-knee-gap} plus the width of the beam object (which
1283 depends on the duration of the notes and the slope of the beam).
1284 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1286 @lilypond[fragment,ragged-right,quote,verbatim]
1288 \override Beam #'auto-knee-gap = #6
1295 Snippets: @lsrdir{rhythms}
1297 Internals Reference: @internalsref{Beam}.
1302 Automatically kneed cross-staff beams cannot be used together with
1303 hidden staves. See @ref{Hiding staves}.
1305 Beams can collide with noteheads and accidentals in other voices
1308 @node Setting automatic beam behavior
1309 @unnumberedsubsubsec Setting automatic beam behavior
1311 @funindex autoBeamSettings
1312 @funindex (end * * * *)
1313 @funindex (begin * * * *)
1314 @cindex automatic beams, tuning
1315 @cindex tuning automatic beaming
1317 @c [TODO: use \applyContext]
1319 In normal time signatures, automatic beams can start on any note
1320 but can only end in a few positions within the measure: beams can
1321 end on a beat, or at durations specified by the properties in
1322 @code{autoBeamSettings}. The properties in
1323 @code{autoBeamSettings} consist of a list of rules for where beams
1324 can begin and end. The default @code{autoBeamSettings} rules are
1325 defined in @file{scm/@/auto@/-beam@/.scm}.
1327 In order to add a rule to the list, use
1329 #(override-auto-beam-setting '(be p q n m) a b [context])
1334 @item @code{be} is either @code{begin} or @code{end}.
1336 @item @code{p/q} is the duration of the note for which you want
1337 to add a rule. A beam is considered to have the duration of its
1338 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1339 have this apply to any beam.
1341 @item @code{n/m} is the time signature to which
1342 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1343 to have this apply in any time signature.
1345 @item @code{a/b} is the position in the bar at which the beam should
1348 @item @code{context} is optional, and it specifies the context at which
1349 the change should be made. The default is @code{'Voice}.
1351 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1352 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1356 For example, if automatic beams should always end on the first quarter
1360 #(override-auto-beam-setting '(end * * * *) 1 4)
1363 You can force the beam settings to only take effect on beams whose shortest
1364 note is a certain duration
1366 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1368 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1370 a32 a a a a16 a a a a a |
1371 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1372 a32 a a a a16 a a a a a |
1375 You can force the beam settings to only take effect in certain time
1378 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1380 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1388 You can also remove a previously set beam-ending rule by using
1391 #(revert-auto-beam-setting '(be p q n m) a b [context])
1395 be, p, q, n, m, a, b and context are the same as above. Note that the
1396 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1397 so you can revert rules that you did not explicitly create.
1399 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1401 a16 a a a a a a a a a a a a a a a
1402 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1403 a16 a a a a a a a a a a a a a a a
1406 The rule in a revert-auto-beam-setting statement must exactly match the
1407 original rule. That is, no wildcard expansion is taken into account.
1409 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1411 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1413 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1415 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1421 @c TODO: old material -- not covered by above stuff, I think.
1422 If automatic beams should end on every quarter in 5/4 time, specify
1425 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1426 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1427 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1428 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1432 The same syntax can be used to specify beam starting points. In this
1433 example, automatic beams can only end on a dotted quarter note
1435 #(override-auto-beam-setting '(end * * * *) 3 8)
1436 #(override-auto-beam-setting '(end * * * *) 1 2)
1437 #(override-auto-beam-setting '(end * * * *) 7 8)
1439 In 4/4 time signature, this means that automatic beams could end only on
1440 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1441 3/8, has passed within the measure).
1443 If any unexpected beam behaviour occurs, check the default automatic beam
1444 settings in @file{scm/@/auto@/-beam@/.scm}
1445 for possible interference, because the beam
1446 endings defined there will still apply on top of your own overrides. Any
1447 unwanted endings in the default vales must be reverted for your time
1450 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1454 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1455 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1456 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1457 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1460 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1461 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1462 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1465 @cindex automatic beam generation
1467 @funindex autoBeaming
1470 If beams are used to indicate melismata in songs, then automatic
1471 beaming should be switched off with @code{\autoBeamOff}.
1476 @funindex \autoBeamOff
1477 @code{\autoBeamOff},
1478 @funindex \autoBeamOn
1484 If a score ends while an automatic beam has not been ended and is
1485 still accepting notes, this last beam will not be typeset at all.
1486 The same holds for polyphonic voices, entered with @code{<<
1487 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1488 automatic beam is still accepting notes, it is not typeset.
1492 Snippets: @lsrdir{rhythms}
1496 @unnumberedsubsubsec Manual beams
1498 @cindex beams, manual
1500 In some cases it may be necessary to override the automatic
1501 beaming algorithm. For example, the autobeamer will not put beams
1502 over rests or bar lines, and in choral scores the beaming is
1503 often set to follow the meter of the lyrics rather than the
1504 notes. Such beams can be specified manually by
1505 marking the begin and end point with @code{[} and @code{]}
1507 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1509 r4 r8[ g' a r8] r8 g[ | a] r8
1514 Individual notes may be marked with @code{\noBeam} to prevent them
1517 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1518 \time 2/4 c8 c\noBeam c c
1524 @funindex stemLeftBeamCount
1525 @funindex stemRightBeamCount
1527 Even more strict manual control with the beams can be achieved by
1528 setting the properties @code{stemLeftBeamCount} and
1529 @code{stemRightBeamCount}. They specify the number of beams to
1530 draw on the left and right side, respectively, of the next note.
1531 If either property is set, its value will be used only once, and
1532 then it is erased. In this example, the last @code{f} is printed
1533 with only one beam on the left side, i.e. the eigth-note beam of
1534 the group as a whole.
1536 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1540 \set stemLeftBeamCount = #1
1548 @cindex beams, feathered
1549 @funindex \featherDurations
1551 Feathered beams are used to indicate that a small group of notes
1552 should be played at an increasing (or decreasing) tempo, without
1553 changing the overall tempo of the piece. The extent of the
1554 feathered beam must be indicated manually using @code{[} and
1555 @code{]}, and the beam feathering is turned on by specifying a
1556 direction to the Beam property @code{grow-direction}.
1558 If the placement of the notes and the sound in the MIDI output
1559 is to reflect the ritardando or accelerando indicated by the
1560 feathered beam the notes must be grouped as a
1561 music expression delimited by braces and preceded by a
1562 @code{featheredDurations} command which specifies the ratio
1563 between the durations of the first and last notes in the group.
1566 show the extent of the beam and the braces show
1567 which notes are to have their durations modified. Normally
1568 these would delimit the same group of notes, but this is not
1569 required: the two commands are independent.
1571 In the following example the eight 16th notes occupy exactly
1572 the same time as a half note, but the first note is twice
1573 as short as the last one, with the intermediate notes gradually
1574 lengthening. The first four 32nd notes gradually speed up,
1575 while the last four 32nd notes are at a constant tempo.
1577 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1578 \override Beam #'grow-direction = #LEFT
1579 \featherDurations #(ly:make-moment 2 1)
1580 { c16[ c c c c c c c] }
1581 \override Beam #'grow-direction = #RIGHT
1582 \featherDurations #(ly:make-moment 2 3)
1584 % revert to non-feathered beams
1585 \override Beam #'grow-direction = #'()
1590 The spacing in the printed output represents the
1591 note durations only approximately, but the midi output is exact.
1595 The @code{\featherDurations} command only works with very short
1596 music snippets, and when numbers in the fraction are small.
1600 Snippets: @lsrdir{rhythms}
1611 * Bar and bar number checks::
1616 @unnumberedsubsubsec Bar lines
1620 @cindex measure lines
1623 Bar lines delimit measures, and are also used to indicate
1624 repeats. Normally, simple bar lines are automatically inserted
1625 into the printed output at places based on the current time
1628 The simple bar lines inserted automatically can be changed to
1629 other types with the @code{\bar} command. For example, a closing
1630 double bar line is usually placed at the end of a piece:
1632 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1636 @warning{An incorrect duration can lead to poorly formatted
1639 It is not invalid if the final note in a bar does not
1640 end on the automatically entered bar line: the note is assumed
1641 to carry over into the next bar. But if a long sequence
1642 of such carry-over bars appears the music can appear compressed
1643 or even flowing off the page. This is because automatic line
1644 breaks happen only at the end of complete bars, i.e. where
1645 the end of a note coincides with the end of a bar.
1647 Line breaks are also permitted at manually inserted bar lines
1648 even within incomplete bars. To allow a line break without
1649 printing a bar line, use
1656 This will insert an invisible bar line and allow (but not
1657 force) a line break to occur at this point. The bar number
1658 counter is not increased. To force a line break see
1659 @ref{Line breaking}.
1661 This and other special bar lines may be inserted manually at any
1662 point. When they coincide with the end of a bar they replace
1663 the simple bar line which would have been inserted there
1664 automatically. When they do not coincide
1665 with the end of a bar the specified bar line is inserted at that
1666 point in the printed output. Such insertions do not affect
1667 the calculation and placement of subsequent automatic bar lines.
1669 The simple bar line and four types of double bar line are available
1670 for manual insertion:
1672 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1673 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1677 together with dotted and dashed bar lines:
1679 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1680 f1 \bar ":" g \bar "dashed" a
1684 and three types of repeat bar line:
1686 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1687 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1690 Although the bar line types signifying repeats may be inserted
1691 manually they do not in themselves cause LilyPond to recognise
1692 a repeated section. Such repeated sections are better entered
1693 using the various repeat commands (see @ref{Repeats}), which
1694 automatically print the appropriate bar lines.
1696 In addition, you can specify @code{"||:"}, which is equivalent to
1697 @code{"|:"} except at line breaks, where it gives a double bar
1698 line at the end of the line and a start repeat at the beginning of
1701 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1702 \override Score.RehearsalMark #'padding = #3
1710 In scores with many staves, a @code{\bar} command in one staff is
1711 automatically applied to all staves. The resulting bar lines are
1712 connected between different staves of a @code{StaffGroup},
1713 @code{PianoStaff}, or @code{GrandStaff}.
1715 @lilypond[quote,ragged-right,fragment,verbatim]
1723 \new Staff { \clef bass c4 g e g }
1725 \new Staff { \clef bass c2 c2 }
1733 @funindex defaultBarType
1735 The command @code{\bar }@var{bartype} is a shortcut for
1736 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1737 created whenever the @code{whichBar} property is
1740 The default bar type used for automatically inserted bar lines is
1741 @code{"|"}. This may be changed at any time
1742 with @code{\set Timing.defaultBarType = }@var{bartype}.
1746 Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
1748 Snippets: @lsrdir{rhythms}
1750 Internals Reference: @internalsref{BarLine} (created at
1751 @internalsref{Staff} level), @internalsref{SpanBar} (across
1752 staves), @internalsref{Timing_translator} (for Timing
1757 @unnumberedsubsubsec Bar numbers
1760 @cindex measure numbers
1761 @funindex currentBarNumber
1763 Bar numbers are typeset by default at the start of every line
1764 except the first line. The
1765 number itself is stored in the @code{currentBarNumber} property,
1766 which is normally updated automatically for every measure. It
1767 may also be set manually:
1769 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1772 \set Score.currentBarNumber = #50
1779 @funindex barNumberVisibility
1780 @cindex bar numbers, regular spacing
1782 Bar numbers can be typeset at regular intervals instead of just at
1783 the beginning of every line. To do this the default behaviour
1784 must be overridden to permit bar numbers to be printed at places
1785 other than the start of a line. This is controlled by the
1786 @code{break-visibility} property of @code{BarNumber}. This takes
1787 three values which may be set to @code{#t} or @code{#f} to specify
1788 whether the corresponding bar number is visible or not. The order
1789 of the three values is @code{end of line visible}, @code{middle of
1790 line visible}, @code{beginning of line visible}. In the following
1791 example bar numbers are printed at all possible places:
1793 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1794 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1795 \set Score.currentBarNumber = #11
1796 \bar "" % Permit first bar number to be printed
1802 @c All the rest of these examples will be added to LSR
1803 @c and moved into the Snippets. -gp
1806 and here the bar numbers are printed every two bars
1807 except at the end of the line:
1809 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1810 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1811 \set Score.currentBarNumber = #11
1812 \bar "" % Permit first bar number to be printed
1813 % Print a bar number every 2nd bar
1814 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1820 The size of the bar number may be changed. This is illustrated
1821 in the following example, which also shows how to enclose bar
1822 numbers in boxes and circles, and shows an alternative way
1823 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1825 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1826 % Prevent bar numbers at the end of a line and permit them elsewhere
1827 \override Score.BarNumber #'break-visibility
1828 = #end-of-line-invisible
1830 % Increase the size of the bar number by 2
1831 \override Score.BarNumber #'font-size = #2
1832 \repeat unfold 3 { c1 } \bar "|"
1834 % Draw a box round the following bar number(s)
1835 \override Score.BarNumber #'stencil
1836 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1837 \repeat unfold 3 { c1 } \bar "|"
1839 % Draw a circle round the following bar number(s)
1840 \override Score.BarNumber #'stencil
1841 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1842 \repeat unfold 4 { c1 } \bar "|."
1845 @cindex Bar number alignment
1847 Bar numbers by default are left-aligned to their parent object.
1848 This is usually the left edge of a line or, if numbers are printed
1849 within a line, the left bar line of the bar. The numbers may also
1850 be positioned directly on the bar line or right-aligned to the
1853 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1854 \set Score.currentBarNumber = #111
1855 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1856 % Increase the size of the bar number by 2
1857 \override Score.BarNumber #'font-size = #2
1858 % Print a bar number every 2nd bar
1859 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1861 % Centre-align bar numbers
1862 \override Score.BarNumber #'self-alignment-X = #0
1864 % Right-align bar numbers
1865 \override Score.BarNumber #'self-alignment-X = #-1
1869 Bar numbers can be removed entirely by removing the Bar number
1870 engraver from the score context.
1872 @lilypond[verbatim,ragged-right,quote]
1876 \remove "Bar_number_engraver"
1888 Snippets: @lsrdir{rhythms}
1890 Internals Reference: @internalsref{BarNumber}.
1892 Examples: @lsrdir{bar number}
1897 Bar numbers may collide with the top of the
1898 @internalsref{StaffGroup} bracket, if there is one. To solve
1899 this, the @code{padding} property of @internalsref{BarNumber} can
1900 be used to position the number correctly.
1902 Bar numbers may only be printed at bar lines; to print a bar
1903 number at the beginning of a piece, an empty bar line must be
1904 inserted there, and a value other than @code{1} must be placed
1905 in @code{currentBarNumber}:
1907 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1908 \set Score.currentBarNumber = #50
1917 @node Bar and bar number checks
1918 @unnumberedsubsubsec Bar and bar number checks
1921 @funindex barCheckSynchronize
1924 Bar checks help detect errors in the entered durations.
1925 A bar check may be entered using the bar symbol, @code{|},
1926 at any place where a bar line is expected to fall.
1927 If bar check lines are encountered at other places,
1928 a list of warnings is printed in the log file,
1929 showing the line numbers and lines
1930 in which the bar checks failed. In the next
1931 example, the second bar check will signal an error
1934 \time 3/4 c2 e4 | g2 |
1937 Bar checks can also be used in lyrics, for example
1942 Twin -- kle | Twin -- kle |
1946 An incorrect duration can result in a completely garbled score,
1947 especially if the score is polyphonic, so a good place to start
1948 correcting input is by scanning for failed bar checks and
1949 incorrect durations.
1952 @funindex pipeSymbol
1954 It is also possible to redefine the action taken when a bar check
1955 or pipe symbol, @code{|}, is encountered in the input, so that
1956 it does something other than a bar check. This is done by
1957 assigning a music expression to @code{pipeSymbol}.
1958 In the following example @code{|} is set to insert a double bar
1959 line wherever it appears in the input, rather than checking
1962 @lilypond[quote,ragged-right,verbatim]
1963 pipeSymbol = \bar "||"
1972 When copying large pieces of music, it can be helpful to check
1973 that the LilyPond bar number corresponds to the original that you
1974 are entering from. This can be checked with
1975 @code{\barNumberCheck}, for example,
1978 \barNumberCheck #123
1982 will print a warning if the @code{currentBarNumber} is not 123
1983 when it is processed.
1987 Snippets: @lsrdir{rhythms}
1990 @node Rehearsal marks
1991 @unnumberedsubsubsec Rehearsal marks
1993 @cindex Rehearsal marks
1996 To print a rehearsal mark, use the @code{\mark} command
1998 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2007 The letter@tie{}@q{I} is skipped in accordance with engraving
2008 traditions. If you wish to include the letter @q{I}, then use
2011 \set Score.markFormatter = #format-mark-alphabet
2014 The mark is incremented automatically if you use @code{\mark
2015 \default}, but you can also use an integer argument to set the
2016 mark manually. The value to use is stored in the property
2017 @code{rehearsalMark}.
2019 The style is defined by the property @code{markFormatter}. It is
2020 a function taking the current mark (an integer) and the current
2021 context as argument. It should return a markup object. In the
2022 following example, @code{markFormatter} is set to a pre-defined
2023 procedure. After a few measures, it is set to a procedure that
2024 produces a boxed number.
2026 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2027 \set Score.markFormatter = #format-mark-numbers
2030 \set Score.markFormatter = #format-mark-box-numbers
2036 The file @file{scm/@/translation@/-functions@/.scm} contains the
2037 definitions of @code{format-mark-numbers} (the default format),
2038 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2039 @code{format-mark-box-letters}. These can be used as inspiration
2040 for other formatting functions.
2042 You may use @code{format-mark-barnumbers},
2043 @code{format-mark-box-barnumbers}, and
2044 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2045 incremented numbers or letters.
2047 Other styles of rehearsal mark can be specified manually
2054 @code{Score.markFormatter} does not affect marks specified in this
2055 manner. However, it is possible to apply a @code{\markup} to the
2059 \mark \markup@{ \box A1 @}
2066 Music glyphs (such as the segno sign) may be printed inside a
2069 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2070 c1 \mark \markup { \musicglyph #"scripts.segno" }
2071 c1 \mark \markup { \musicglyph #"scripts.coda" }
2072 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2077 See @ref{The Feta font}, for a list of symbols which may be
2078 printed with @code{\musicglyph}.
2080 For common tweaks to the positioning of rehearsal marks, see
2085 Snippets: @lsrdir{rhythms}
2087 This manual: @ref{Text marks}.
2089 Internals Reference: @internalsref{RehearsalMark}.
2091 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2092 the definition of @code{format-mark-numbers} and
2093 @code{format-mark-letters}. They can be used as inspiration for
2094 other formatting functions.
2096 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2099 @node Special rhythmic concerns
2100 @subsection Special rhythmic concerns
2105 * Aligning to cadenzas::
2106 * Time administration::
2110 @unnumberedsubsubsec Grace notes
2115 @cindex appoggiatura
2116 @cindex acciaccatura
2118 Grace notes are ornaments that are written out. They are made with
2119 the @code{\grace} command. By prefixing this keyword to a music
2120 expression, a new one is formed, which will be printed in a
2121 smaller font and takes up no logical time in a measure.
2123 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2125 \grace { c16[ d16] } c2 c4
2128 Two special forms of the @code{\grace} command exist.
2129 An @emph{acciaccatura}, which should be played as very short,
2130 is denoted by a slurred small note with a slashed stem. The
2131 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2132 main note, is denoted as a slurred note in small print without
2133 a slash. They are entered with the commands @code{\acciaccatura}
2134 and @code{\appoggiatura}, as demonstrated in the following
2137 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2138 b4 \acciaccatura d8 c4
2140 \acciaccatura { g16[ f] } e4
2144 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2145 @code{\grace} does not.
2147 The placement of grace notes is synchronized between different
2148 staves. In the following example, there are two sixteenth grace
2149 notes for every eighth grace note
2151 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2152 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2153 \new Staff { c4 \grace { g8[ b] } c4 } >>
2156 @funindex \afterGrace
2158 If you want to end a note with a grace, use the @code{\afterGrace}
2159 command. It takes two arguments: the main note, and the grace
2160 notes following the main note.
2162 @lilypond[ragged-right, verbatim,relative=2,fragment]
2163 c1 \afterGrace d1 { c16[ d] } c4
2166 This will put the grace notes after a @q{space} lasting 3/4 of the
2167 length of the main note. The fraction 3/4 can be changed by
2168 setting @code{afterGraceFraction}, ie.
2171 #(define afterGraceFraction (cons 7 8))
2175 will put the grace note at 7/8 of the main note.
2177 The same effect can be achieved manually by doing
2179 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2182 { s2 \grace { c16[ d] } } >>
2188 By adjusting the duration of the skip note (here it is a
2189 half-note), the space between the main-note and the grace
2192 A @code{\grace} music expression will introduce special
2193 typesetting settings, for example, to produce smaller type, and
2194 set directions. Hence, when introducing layout tweaks, they
2195 should be inside the grace expression, for example,
2197 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2209 The overrides should also be reverted inside the grace expression.
2211 The layout of grace expressions can be changed throughout the
2212 music using the function @code{add-grace-property}. The following
2213 example undefines the @code{Stem} direction for this grace, so
2214 that stems do not always point up.
2218 #(add-grace-property 'Voice 'Stem 'direction '())
2224 Another option is to change the variables @code{startGraceMusic},
2225 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2226 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2227 @code{stopAppoggiaturaMusic}. The default values of these can be
2228 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2229 them other effects may be obtained.
2232 The slash through the stem in @emph{acciaccatura}s can be obtained in
2233 other situations by @code{\override Stem #'stroke-style =
2239 Grace notes may be forced to use align with regular notes
2240 in other staves by setting @code{strict-grace-spacing} to
2243 @lilypond[relative=2,ragged-right]
2245 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2254 c'16[ c'16 c'16 c'16]
2255 c'16[ c'16 c'16 c'16]
2264 Snippets: @lsrdir{rhythms}
2266 Internals Reference: @internalsref{GraceMusic}.
2271 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2272 and looks exactly the same as a multi-note beamed
2273 @emph{appoggiatura}.
2274 @c TODO Add link to LSR snippet to add slash when available
2276 Grace note synchronization can also lead to surprises. Staff
2277 notation, such as key signatures, bar lines, etc., are also
2278 synchronized. Take care when you mix staves with grace notes and
2279 staves without, for example,
2281 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2282 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2283 \new Staff { c4 \bar "|:" d4 } >>
2287 This can be remedied by inserting grace skips of the corresponding
2288 durations in the other staves. For the above example
2290 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2291 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2292 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2295 Grace sections should only be used within sequential music
2296 expressions. Nesting or juxtaposing grace sections is not
2297 supported, and might produce crashes or other errors.
2299 @node Aligning to cadenzas
2300 @unnumberedsubsubsec Aligning to cadenzas
2302 In an orchestral context, cadenzas present a special problem: when
2303 constructing a score that includes a cadenza, all other
2304 instruments should skip just as many notes as the length of the
2305 cadenza, otherwise they will start too soon or too late.
2307 A solution to this problem are the functions
2308 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2309 functions take a piece of music as argument, and generate a
2310 multi-rest or @code{\skip}, exactly as long as the piece. The use
2311 of @code{mmrest-of-length} is demonstrated in the following
2314 @lilypond[verbatim,ragged-right,quote]
2315 cadenza = \relative c' {
2316 c4 d8 << { e f g } \\ { d4. } >>
2321 \new Staff { \cadenza c'4 }
2323 #(ly:export (mmrest-of-length cadenza))
2331 Snippets: @lsrdir{rhythms}
2334 @node Time administration
2335 @unnumberedsubsubsec Time administration
2337 @cindex Time administration
2339 @funindex currentBarNumber
2340 @funindex measurePosition
2341 @funindex measureLength
2343 Time is administered by the @code{Timing_translator}, which by
2344 default is to be found in the @code{Score} context. An alias,
2345 @code{Timing}, is added to the context in which the
2346 @code{Timing_translator} is placed.
2348 The following properties of @code{Timing} are used
2349 to keep track of timing within the score.
2352 @item currentBarNumber
2353 The current measure number. For an example showing the
2354 use of this property see @ref{Bar numbers}.
2357 The length of the measures in the current time signature. For a
2358 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2359 determines when bar lines are inserted and how automatic beams
2360 should be generated.
2362 @item measurePosition
2363 The point within the measure where we currently are. This
2364 quantity is reset by subtracting @code{measureLength} whenever
2365 @code{measureLength} is reached or exceeded. When that happens,
2366 @code{currentBarNumber} is incremented.
2369 If set to true, the above variables are updated for every time
2370 step. When set to false, the engraver stays in the current
2371 measure indefinitely.
2375 Timing can be changed by setting any of these variables
2376 explicitly. In the next example, the default 4/4 time
2377 signature is printed, but @code{measureLength} is set to 5/4.
2378 At 4/8 through the third measure, the @code{measurePosition} is
2379 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2380 The next bar line then falls at 9/8 rather than 5/4.
2382 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2383 \set Score.measureLength = #(ly:make-moment 5 4)
2387 \set Score.measurePosition = #(ly:make-moment 5 8)
2393 As the example illustrates, @code{ly:make-moment n m} constructs a
2394 duration of n/m of a whole note. For example,
2395 @code{ly:make-moment 1 8} is an eighth note duration and
2396 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2402 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2404 Snippets: @lsrdir{rhythms}
2406 Internals Reference: @internalsref{Timing_translator},
2407 @internalsref{Score}