1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 1.2.3.1 Time signature
15 Needs an example of beatLength, which is broken (see my recent
17 to -bug). What to do? For now I've left a paragraph of text
19 needs to be inserted with an example in a snippet.
21 1.2.3.4 Polymetric notation
22 Quite extensive changes. Could you please check through. Divided
24 sections. Necessarily uses tweaks. I've also left an @lsr under
26 Snippets - is this permitted or is @lsr now verboten? This
28 long to include, but seems relevant.
29 A snippet "grouping beats" hasn't yet appeared (only sent to vv a
31 days ago). Text left in Snippets: with TODO.
37 @lilypondfile[quote]{rhythms-headword.ly}
39 This section discusses rhythms, rests, durations, beaming and bars.
44 * Displaying rhythms::
47 * Special rhythmic concerns::
52 @subsection Writing rhythms
62 @subsubsection Durations
64 @cindex durations, of notes
65 @cindex note durations
71 Durations are designated by numbers and dots.
72 Durations are entered as their reciprocal values. For example, a
73 quarter note is entered using a @code{4} (since it is a 1/4 note),
74 and a half note is entered using a @code{2} (since it is a 1/2
75 note). For notes longer than a whole you must use the
76 @code{\longa} (a double breve) and @code{\breve} commands.
77 Durations as short as 64th notes may be specified. Shorter values
78 are possible, but only as beamed notes.
80 @c Two 64th notes are needed to obtain beams
81 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
88 Here are the same durations with automatic beaming turned off.
90 @c not strictly "writing rhythms"; more of a "displaying" thing,
91 @c but it's ok here. -gp
92 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
99 A note with the duration of a quadruple breve may be entered with
100 @code{\maxima}, but this is supported only within ancient music
101 notation. For details, see @ref{Ancient notation}.
103 If the duration is omitted, it is set to the previously
104 entered duration. The default for the first note is a quarter
107 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
111 @cindex notes, dotted
116 To obtain dotted note lengths, place a dot (@code{.}) after the
117 duration. Double-dotted notes are specified by appending two
120 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
121 a4 b c4. b8 a4. b4.. c8.
124 Some durations cannot be represented with just binary durations
125 and dots; they can be represented only by tying two or more
126 notes together. For details, see @ref{Ties}.
128 For ways of specifying durations for the syllables of lyrics and
129 ways of aligning lyrics to notes, see @ref{Vocal music}.
131 Optionally, notes can be spaced strictly proportionately to their
132 duration. For details of this and other settings which control
133 proportional notation, see @ref{Proportional notation}.
137 @funindex \dotsNeutral
139 Dots are normally moved up to avoid staff lines, except in
140 polyphonic situations. Predefined commands are available to
141 force a particular direction manually, for details
142 see @ref{Direction and placement}.
158 @rglos{Duration names notes and rests}.
161 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @rinternals{DotColumn}.
179 @c Deliberately duplicated in Durations and Rests. -gp
180 There is no fundamental limit to rest durations (both in terms of
181 longest and shortest), but the number of glyphs is limited:
182 rests from 128th to maxima (8 x whole) may be printed.
186 @subsubsection Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @var{music} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
212 @funindex \tupletDown
213 @funindex \tupletNeutral
215 The automatic placement of the tuplet bracket above or below the
216 notes may be overridden manually with predefined commands, for
217 details see @ref{Direction and placement}.
219 Tuplets may be nested:
221 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
223 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
226 Modifying nested tuplets which begin at the same musical moment
227 must be done with @code{\tweak}.
229 To modify the duration of notes without printing a tuplet bracket,
230 see @ref{Scaling durations}.
236 @code{\tupletNeutral}.
241 @cindex tuplet formatting
242 @cindex triplet formatting
244 @funindex tupletNumberFormatFunction
245 @funindex tupletSpannerDuration
247 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
248 {entering-several-tuplets-using-only-one--times-command.ly}
250 @funindex TupletNumber
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {changing-the-tuplet-number.ly}
255 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
256 {permitting-line-breaks-within-beamed-tuplets.ly}
265 Learning Manual: @rlearning{Tweaking methods}.
268 @ref{Time administration},
269 @ref{Scaling durations},
270 @ref{Objects connected to the input},
271 @ref{Polymetric notation}.
277 @rinternals{TupletBracket},
278 @rinternals{TupletNumber},
279 @rinternals{TimeScaledMusic}.
282 @cindex grace notes within tuplet brackets
283 When the first note on a staff is a grace note followed by a
284 tuplet the grace note must be placed before the @code{\times}
285 command to avoid errors. Anywhere else, grace notes may be
286 placed within tuplet brackets.
289 @node Scaling durations
290 @subsubsection Scaling durations
292 @cindex scaling durations
293 @cindex durations, scaling
295 You can alter the duration of single notes, rests or chords by a
296 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
297 @code{M} is 1) to the duration.
298 This will not affect the appearance of the notes or rests
299 produced, but the altered duration will be used in calculating the
300 position within the measure and setting the duration in the MIDI
301 output. Multiplying factors may be combined such as @code{*L*M/N}.
303 In the following example, the first three notes take up exactly
304 two beats, but no triplet bracket is printed.
306 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
308 % Alter durations to triplets
309 a4*2/3 gis4*2/3 a4*2/3
312 % Double the duration of chord
314 % Duration of quarter, appears like sixteenth
318 The duration of skip or spacing notes may also be modified by
319 a multiplier. This is useful for skipping many measures, e.g.,
322 @cindex compressing music
323 @funindex \scaleDurations
325 Longer stretches of music may be compressed by a fraction in the
326 same way, as if every note, chord or rest had the fraction as a
327 multiplier. This leaves the appearance of the music unchanged but
328 the internal duration of the notes will be multiplied by the
329 fraction @emph{num}/@emph{den}. The spaces around the dot are
330 required. Here is an example showing how music can be compressed
333 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
337 % Scale music by *2/3
338 \scaleDurations #'(2 . 3) {
342 \scaleDurations #'(2 . 1) {
348 One application of this command is in polymetric
349 notation, see @ref{Polymetric notation}.
357 @ref{Polymetric notation}.
369 A tie connects two adjacent note heads of the same pitch. The tie
370 in effect extends the duration of a note.
372 @warning{Ties should not be confused with @emph{slurs}, which
373 indicate articulation, or @emph{phrasing slurs}, which indicate
374 musical phrasing. A tie is just a way of extending a note
375 duration, similar to the augmentation dot.}
377 A tie is entered using the tilde symbol @code{~}
379 @lilypond[quote,ragged-right,fragment,verbatim]
385 Ties are used either when the note crosses a bar line, or when
386 dots cannot be used to denote the rhythm. Ties should also be
387 used when note values cross larger subdivisions of the measure:
389 @lilypond[fragment,quote,ragged-right]
396 If you need to tie many notes across bar lines, it may be
397 easier to use automatic note splitting, see @ref{Automatic note
398 splitting}. This mechanism automatically splits long notes, and
399 ties them across bar lines.
401 @cindex ties and chords
402 @cindex chords and ties
404 When a tie is applied to a chord, all note heads whose pitches
405 match are connected. When no note heads match, no ties will be
406 created. Chords may be partially tied by placing the tie inside
409 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
411 <c~ e g~ b> <c e g b>
415 @cindex repeating ties
416 @cindex ties, repeating
417 @cindex volta brackets and ties
418 @cindex ties and volta brackets
420 When a second alternative of a repeat starts with a tied note, you
421 have to specify the repeated tie as follows:
423 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
424 \repeat volta 2 { c g <c e>2 ~ }
426 % First alternative: following note is tied normally
428 % Second alternative: following note has a repeated tie
429 { <c e>2\repeatTie d4 c } }
432 @cindex laissez vibrer
433 @cindex ties, laissez vibrer
434 @funindex \laissezVibrer
436 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
437 notes must not be damped at the end. It is used in notation for
438 piano, harp and other string and percussion instruments. They can
439 be entered as follows:
441 @lilypond[fragment,quote,ragged-right,verbatim,relative=1]
442 <c f g>1\laissezVibrer
445 @cindex ties, placement
448 @funindex \tieNeutral
450 The vertical placement of ties may be controlled, see
451 Predefined commands, or for details, see
452 @ref{Direction and placement}.
454 @cindex ties, appearance
459 Solid, dotted or dashed ties may be specified, see Predefined
475 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
476 {using-ties-with-arpeggios.ly}
478 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
479 {engraving-ties-manually.ly}
486 @rglos{laissez vibrer}.
488 Notation Reference: @ref{Automatic note splitting}.
494 @rinternals{LaissezVibrerTie},
495 @rinternals{LaissezVibrerTieColumn},
496 @rinternals{TieColumn},
502 Switching staves when a tie is active will not produce a slanted
505 Changing clefs or octavations during a tie is not really
506 well-defined. In these cases, a slur may be preferable.
513 @subsection Writing rests
515 Rests are entered as part of the music in music expressions.
520 * Full measure rests::
526 @cindex rest, entering durations
537 Rests are entered like notes with the note name @code{r}.
538 Durations longer than a whole rest use the predefined
541 @c \time 16/1 is used to avoid spurious bar lines
542 @c and long tracts of empty measures
543 @lilypond[fragment,quote,ragged-right,verbatim]
545 % These two lines are just to prettify this example
547 \override Staff.TimeSignature #'stencil = ##f
548 % Print a maxima rest, equal to four breves
550 % Print a longa rest, equal to two breves
554 r1 r2 r4 r8 r16 r32 r64
558 @cindex rest, multi-measure
559 @cindex rest, whole-measure
561 Whole measure rests, centered in the middle of the measure, must be
562 entered as multi-measure rests. They can be used for a single
563 measure as well as many measures and are discussed in @ref{Full
566 @cindex rest, specifying vertical position
568 To explicitly specify a rest's vertical position, write a note
569 followed by @code{\rest}. A rest of the duration of the note will
570 be placed at the staff position where the note would appear. This
571 allows for precise manual formatting of polyphonic music, since the
572 automatic rest collision formatter will not move these rests.
574 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
580 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
587 @ref{Full measure rests}.
598 @c Deliberately duplicated in Durations and Rests. -gp
599 There is no fundamental limit to rest durations (both in terms of
600 longest and shortest), but the number of glyphs is limited: there
601 are rests from 128th to maxima (8 x whole).
608 @cindex invisible rest
609 @cindex rest, invisible
613 An invisible rest (also called a @q{spacer rest}) can be entered
614 like a note with the note name@tie{}@code{s}:
616 @lilypond[verbatim,quote,relative=2]
623 Spacer rests are available only in note mode and chord mode. In
624 other situations, for example, when entering lyrics, @code{\skip}
625 is used to skip a musical moment. @code{\skip} requires an
628 @lilypond[quote,ragged-right,verbatim,relative=2]
641 A spacer rest implicitly causes @code{Staff} and @code{Voice}
642 contexts to be created if none exist, just like notes and rests
645 @lilypond[quote,verbatim,fragment]
649 @code{\skip} simply skips musical time; it creates no output of
652 @lilypond[quote,verbatim,fragment]
653 % This is valid input, but does nothing
654 \skip 1 \skip1 \skip 1
662 Internals Reference: @rinternals{SkipMusic}
665 @node Full measure rests
666 @subsubsection Full measure rests
668 @cindex multi-measure rests
669 @cindex full-measure rests
670 @cindex rest, multi-measure
671 @cindex rest, full-measure
672 @cindex whole rest for a full measure
675 Rests for one or more full measures are entered like notes with
676 the note name uppercase @code{R}:
678 @lilypond[quote,fragment,verbatim,relative=2]
679 % Rest bars contracted to single bar
680 \compressFullBarRests
687 The duration of full-measure rests is identical to the duration notation
688 used for notes. The duration in a multi-measure rest must always be an
689 integral number of measure-lengths, so augmentation
690 dots or fractions must often be used:
692 @lilypond[quote,ragged-right,fragment,verbatim]
693 \compressFullBarRests
699 R1*13/8 | R1*13/8*12 |
704 A full-measure rest is printed as either a whole
705 or breve rest, centered in the measure, depending on the time
708 @lilypond[quote,ragged-right,fragment,verbatim]
716 @funindex \expandFullBarRests
717 @funindex \compressFullBarRests
718 @cindex multi-measure rest, expanding
719 @cindex multi-measure rest, contracting
721 By default a multi-measure rest is expanded in the printed score
722 to show all the rest measures explicitly.
723 Alternatively, a mult-measure rest can be shown as a single measure
724 containing a multi-measure rest symbol, with the number of measures of rest
725 printed above the measure:
727 @lilypond[quote,ragged-right,fragment,verbatim]
729 \time 3/4 r2. | R2.*2 |
732 % Rest measures contracted to single measure
733 \compressFullBarRests
735 % Rest measures expanded
742 @cindex text on multi-measure rest
743 @cindex multi-measure rest, attaching text
744 @cindex script on multi-measure rest
745 @cindex multi-measure rest, script
746 @cindex fermata on multi-measure rest
747 @cindex multi-measure rest, attaching fermata
749 Markups can be added to multi-measure rests.
750 The predefined command @code{\fermataMarkup}
751 is provided for adding fermatas.
753 @lilypond[quote,ragged-right,verbatim,fragment]
754 \compressFullBarRests
756 R2.*10^\markup { \italic "ad lib." }
761 Markups attached to a multi-measure rest are
762 objects of type @code{MultiMeasureRestText}, not
763 @code{TextScript}. Overrides must be directed to the correct
764 object, or they will be ignored. See the following example.
767 @lilypond[quote,ragged-right,verbatim,fragment]
768 % This fails, as the wrong object name is specified
769 \override TextScript #'padding = #5
771 % This is correct and works
772 \override MultiMeasureRestText #'padding = #5
778 @code{\textLengthOn},
779 @code{\textLengthOff},
780 @code{\fermataMarkup},
781 @code{\compressFullBarRests},
782 @code{\expandFullBarRests}.
788 @cindex kirchenpausen
790 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
791 {changing-form-of-multi--measure-rests.ly}
793 @cindex multi-measure rests, positioning
794 @cindex positioning multi-measure rests
796 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
797 {positioning-multi--measure-rests.ly}
799 @c TODO -- convert to snippet
800 Markups attached to a multi-measure rest will be centered above or
801 below it. Long markups attached to multi-measure rests do not cause
802 the measure to expand. To expand a multi-measure rest to fit the markup,
803 use a spacer rest with an attached markup before the multi-measure rest:
805 @c -- music is somewhat compressed vertically. I thought it
806 @c was good because the emphasis is not on the content
807 @c of the markup, but on the place the markup was attached -cs
808 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
809 \compressFullBarRests
811 s1*0^\markup { [MAJOR GENERAL] }
813 s1*0_\markup { \italic { Cue: ... it is yours } }
815 R1*30^\markup { [MABEL] }
817 c4^\markup { CHORUS } d f c
821 Note that the spacer rest causes a bar to be inserted.
822 Text attached to a spacer rest in this way is left-aligned to the
823 position where the note would be placed in the measure, but if the
824 measure length is determined by the length of the text, the text will
825 appear to be centered.
831 @rglos{multi-measure rest}.
836 @ref{Formatting text},
843 @rinternals{MultiMeasureRest},
844 @rinternals{MultiMeasureRestNumber},
845 @rinternals{MultiMeasureRestText}.
850 If an attempt is made to use fingerings (e.g.,
851 @code{R1*10-4}) to put numbers over multi-measure rests, the
852 fingering numeral (4) may collide with the bar counter
855 @cindex condensing rests
856 @cindex rest, condensing ordinary
858 There is no way to automatically condense multiple ordinary rests
859 into a single multi-measure rest.
861 @cindex rest, collisions of
863 Multi-measure rests do not take part in rest collisions.
865 @node Displaying rhythms
866 @subsection Displaying rhythms
872 * Polymetric notation::
873 * Automatic note splitting::
874 * Showing melody rhythms::
878 @subsubsection Time signature
880 @cindex time signature
884 The time signature is set as follows:
886 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
891 @cindex Time signature, visibility of
893 Time signatures are printed at the beginning of a piece
894 and whenever the time signature changes. If a change takes place
895 at the end of a line a warning time signature sign is printed
896 there. This default behavior may be changed, see
897 @ref{Controlling visibility of objects}.
899 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
909 @funindex \numericTimeSignature
910 @funindex \defaultTimeSignature
911 @cindex time signature style
913 The symbol that is printed in 2/2 and 4/4 time can be customized
914 to use a numeric style:
916 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
920 % Change to numeric style
921 \numericTimeSignature
924 % Revert to default style
925 \defaultTimeSignature
931 Ancient time signatures are covered in
932 @ref{Ancient time signatures}.
936 @code{\numericTimeSignature},
937 @code{\defaultTimeSignature}.
941 @c TODO Send as snippet called "setting measure and beat lengths"
942 @c when example is added
943 @code{\time} sets the properties @code{timeSignatureFraction},
944 @code{beatLength}, and @code{measureLength} in the @code{Timing}
945 context, which is normally aliased to @code{Score}. Changing the
946 value of @code{timeSignatureFraction} causes the new time
947 signature symbol to be printed without changing the other
948 properties. The property @code{measureLength} determines where
949 bar lines should be inserted and, with @code{beatLength}, how
950 automatic beams should be generated.
952 TODO Add example of using beatLength.
953 @c beatLength is broken - see bug 511
957 @cindex measure groupings
958 @cindex beats, grouping
959 @cindex grouping beats
960 @cindex measure sub-grouping
962 @c TODO Sent as snippet called "grouping beats" 25 Mar 08
963 Options to group beats within a bar are available through the
964 Scheme function @code{set-time-signature}, which takes three
965 arguments: the number of beats, the beat length, and the internal
966 grouping of beats in the measure. If the
967 @rinternals{Measure_grouping_engraver} is included, the function
968 will also create @rinternals{MeasureGrouping} signs. Such signs
969 ease reading rhythmically complex modern music. In the example,
970 the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
971 @code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
973 @lilypond[quote,ragged-right,verbatim]
976 #(set-time-signature 9 8 '(2 2 2 3))
977 g8[ g] d[ d] g[ g] a8[( bes g]) |
978 #(set-time-signature 5 8 '(3 2))
984 \consists "Measure_grouping_engraver"
989 @c TODO End of snippet called "grouping beats"
991 @cindex compound time signatures
992 @cindex time signature, compound
994 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
995 {compound-time-signatures.ly}
1001 @rglos{time signature}
1004 @ref{Ancient time signatures},
1005 @ref{Time administration}.
1010 Internals Reference:
1011 @rinternals{TimeSignature},
1012 @rinternals{Timing_translator}.
1017 Automatic beaming does not use the measure grouping specified with
1018 @code{set-time-signature}.
1022 @subsubsection Upbeats
1026 @cindex partial measure
1027 @cindex measure, partial
1028 @cindex pickup measure
1029 @cindex measure, change length
1030 @cindex measurePosition
1033 Partial or pick-up measures, such as an anacrusis or upbeat, are
1034 entered using the @code{\partial} command, with the syntax
1037 \partial @var{duration} @emph{notes}
1040 where @code{duration} is the rhythmic length of the @emph{notes}
1041 which are to be placed before the first complete measure:
1043 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1048 The partial measure can be any duration less than a full measure:
1050 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1051 \partial 8*3 c8 d e |
1055 Internally, this is translated into
1058 \set Timing.measurePosition = -@var{duration}
1061 The property @code{measurePosition} contains a rational number
1062 indicating how much of the measure has passed at this point. Note
1063 that this is set to a negative number by the @code{\partial}
1064 command: i.e., @code{\partial 4} is internally translated to
1065 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1069 Music Glossary: @rglos{anacrusis}
1071 Notation Reference: @ref{Grace notes}
1077 @rinternals{Timing_translator}
1081 @cindex grace notes, in anacruses
1083 This command does not take into account grace notes at the start
1084 of the music. If the pick-up starts with one or more grace
1085 notes, then the @code{\partial} should follow the grace note(s):
1087 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1094 The @code{\partial} command is intended to be used only at the
1095 beginning of a piece. If you use it after the beginning, some
1096 odd warnings may occur.
1098 @node Unmetered music
1099 @subsubsection Unmetered music
1101 @funindex \cadenzaOn
1102 @funindex \cadenzaOff
1103 @cindex bar lines, turning off
1104 @cindex bar numbering, turning off
1106 @cindex unmetered music
1108 Bar lines and bar numbers are calculated automatically. For
1109 unmetered music (cadenzas, for example), this is not desirable.
1110 To turn off automatic bar lines and bar numbers, use the command
1111 @code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
1114 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1123 Bar numbering is resumed at the end of the cadenza as if the
1124 cadenza were not there:
1126 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1127 % Show all bar numbers
1128 \override Score.BarNumber #'break-visibility = #all-visible
1148 @ref{Controlling visibility of objects}
1155 LilyPond will insert line breaks and page breaks only at a
1156 bar line. Unless the unmetered music ends before the end of the
1157 staff line, you will need to insert invisible bar lines with
1164 to indicate where breaks can occur.
1167 @node Polymetric notation
1168 @subsubsection Polymetric notation
1170 @cindex double time signatures
1171 @cindex signatures, polymetric
1172 @cindex polymetric signatures
1173 @cindex meter, polymetric
1175 @strong{Alternating time signatures}
1177 Regularly alternating double time signatures are not supported
1178 explicitly, but they can be faked. In the next example, the
1179 double time signature is created with markup text, while the
1180 real time signature is set in the usual way with @code{\time}.
1182 @lilypond[verbatim,ragged-right]
1183 % Create 9/8 split into 2/4 + 5/8
1184 tsMarkup = \markup {
1185 \override #'(baseline-skip . 2) \number {
1188 \bracket \column { "5" "8" }
1193 \override Staff.TimeSignature #'stencil =
1194 #ly:text-interface::print
1195 \override Staff.TimeSignature #'text = #tsMarkup
1197 c'2 \bar ":" c'4 c'4.
1198 c'2 \bar ":" c'4 c'4.
1202 @strong{Staves with different time signatures, equal measure lengths}
1204 This notation can be created by setting a common time signature
1205 for each staff but replacing the symbol manually by setting
1206 @code{timeSignatureFraction} to the desired fraction and scaling
1207 the printed durations in each staff to the common time
1208 signature. This done with @code{\scaleDurations}, which
1209 is used in a similar way to @code{\times}, but does not create
1210 a tuplet bracket, see @ref{Scaling durations}.
1212 In this example, music with the time signatures of 3/4, 9/8, and
1213 10/8 are used in parallel. In the second staff, shown durations
1214 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1215 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1217 @lilypond[quote,ragged-right,verbatim,fragment]
1226 \set Staff.timeSignatureFraction = #'(9 . 8)
1227 \scaleDurations #'(2 . 3)
1228 \repeat unfold 6 { c8[ c c] }
1232 \set Staff.timeSignatureFraction = #'(10 . 8)
1233 \scaleDurations #'(3 . 5) {
1234 \repeat unfold 2 { c8[ c c] }
1235 \repeat unfold 2 { c8[ c] } |
1236 c4. c4. \times 2/3 { c8 c c } c4
1242 @strong{Staves with different time signatures, unequal bar lengths}
1244 Each staff can be given its own independent time signature by
1245 moving the @code{Timing_translator} to the @code{Staff} context.
1247 @lilypond[quote,verbatim,ragged-right]
1251 \remove "Timing_translator"
1252 \remove "Default_bar_line_engraver"
1256 \consists "Timing_translator"
1257 \consists "Default_bar_line_engraver"
1261 % Now each staff has its own time signature.
1290 @rglos{polymetric time signature},
1293 Notation Reference: @ref{Scaling durations}
1297 @c Is this still permitted?
1298 @c @lsr{contemporary,compound-time-signature}
1300 Internals Reference:
1301 @rinternals{TimeSignature},
1302 @rinternals{Timing-translator},
1307 When using different time signatures in parallel, the spacing is
1308 aligned vertically, but bar lines distort the regular spacing.
1311 @node Automatic note splitting
1312 @subsubsection Automatic note splitting
1314 @cindex notes, splitting
1315 @cindex splitting notes
1317 Long notes which overrun bar lines can be converted automatically
1318 to tied notes. This is done by replacing the
1319 @code{Note_heads_engraver} by the
1320 @code{Completion_heads_engraver}. In the following
1321 example, notes crossing the bar lines are split and tied.
1323 @lilypond[quote,fragment,verbatim,relative=1,ragged-right]
1325 \remove "Note_heads_engraver"
1326 \consists "Completion_heads_engraver"
1329 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1332 This engraver splits all running notes at the bar line, and
1333 inserts ties. One of its uses is to debug complex scores: if the
1334 measures are not entirely filled, then the ties show exactly how
1335 much each measure is off.
1337 To allow line breaking on the bar lines where the
1338 @code{Completion_heads_engraver} has inserted a split note, remove
1339 the @code{Forbid_line_break_engraver} too.
1344 Music Glossary: @rglos{tie}
1347 @rlearning{Engravers explained},
1348 @rlearning{Adding and removing engravers}.
1353 Internals Reference:
1354 @rinternals{Note_heads_engraver},
1355 @rinternals{Completion_heads_engraver},
1356 @rinternals{Forbid_line_break_engraver}.
1361 Not all durations (especially those containing tuplets) can be
1362 represented exactly with normal notes and dots, but the engraver
1363 will not insert tuplets.
1365 The @code{Completion_heads_engraver} only affects notes; it does not
1369 @node Showing melody rhythms
1370 @subsubsection Showing melody rhythms
1372 Sometimes you might want to show only the rhythm of a melody. This
1373 can be done with the rhythmic staff. All pitches of notes on such a
1374 staff are squashed, and the staff itself has a single line
1376 @c TODO Devise a more realistic example, perhaps with lyrics -td
1377 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1378 \new RhythmicStaff {
1380 c4 e8 f g2 | r4 g r2 | g1 | r1 |
1390 * Setting automatic beam behavior::
1395 @node Automatic beams
1396 @subsubsection Automatic beams
1398 By default, beams are inserted automatically:
1400 @cindex beams, manual
1401 @cindex manual beams
1403 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1405 \time 6/8 c c c c8. c16 c8
1408 If these automatic decisions are not satisfactory, beaming can be
1409 entered explicitly; see @ref{Manual beams}. It is also possible
1410 to define beaming patterns that differ from the defaults; see
1411 @ref{Setting automatic beam behavior}. The default beaming rules
1412 are defined in @file{scm/@/auto@/-beam@/.scm}.
1418 Automatic beaming may be turned off and on with
1419 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1421 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1422 c4 c8 c8. c16 c8. c16 c8
1432 Beaming patterns may be altered with the @code{beatGrouping} property,
1434 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1436 \set beatGrouping = #'(2 3)
1438 \set beatGrouping = #'(3 2)
1442 The beams of consecutive 16th (or shorter) notes are, by default,
1443 not sub-divided. That is, the three (or more) beams stretch
1444 unbroken over entire groups of notes. This behavior can
1445 be modified to sub-divide the beams into sub-groups by setting
1446 the property @code{subdivideBeams}. When set, multiple beams
1447 will be sub-divided at intervals defined by the current value of
1448 @code{beatLength} by reducing the multiple beams to just one beam
1449 between the sub-groups. Note that @code{beatLength} lives in the
1450 @code{Score} context and defaults to a quarter note. It must be
1451 set to a fraction giving the duration of the beam sub-group
1452 using the @code{make-moment} function, as shown here:
1454 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1456 \set subdivideBeams = ##t
1458 % Set beam sub-group length to an eighth note
1459 \set Score.beatLength = #(ly:make-moment 1 8)
1461 % Set beam sub-group length to a sixteenth note
1462 \set Score.beatLength = #(ly:make-moment 1 16)
1465 @funindex subdivideBeams
1468 For more information about @code{make-moment}, see
1469 @ref{Time administration}.
1475 Line breaks are normally forbidden when beams cross bar lines.
1476 This behavior can be changed by setting the @code{breakable}
1477 property: @code{\override Beam #'breakable = ##t}.
1479 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1480 \override Beam #'breakable = ##t
1481 c8 \repeat unfold 15 { c[ c] } c
1484 @cindex beams and line breaks
1485 @cindex beams, kneed
1487 @cindex auto-knee-gap
1489 Kneed beams are inserted automatically when a large gap is
1490 detected between the note heads. This behavior can be tuned
1491 through the @code{auto-knee-gap} property. A kneed beam is
1492 drawn if the gap is larger than the value of
1493 @code{auto-knee-gap} plus the width of the beam object (which
1494 depends on the duration of the notes and the slope of the beam).
1495 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1497 @lilypond[fragment,ragged-right,quote,verbatim]
1499 \override Beam #'auto-knee-gap = #6
1506 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1511 Internals Reference: @rinternals{Beam}.
1516 Automatically kneed cross-staff beams cannot be used together with
1517 hidden staves. See @ref{Hiding staves}.
1519 Beams can collide with note heads and accidentals in other voices
1522 @node Setting automatic beam behavior
1523 @subsubsection Setting automatic beam behavior
1525 @funindex autoBeamSettings
1526 @funindex (end * * * *)
1527 @funindex (begin * * * *)
1528 @cindex automatic beams, tuning
1529 @cindex tuning automatic beaming
1531 @c [TODO: use \applyContext]
1533 In normal time signatures, automatic beams can start on any note
1534 but can end in only a few positions within the measure: beams can
1535 end on a beat, or at durations specified by the properties in
1536 @code{autoBeamSettings}. The properties in
1537 @code{autoBeamSettings} consist of a list of rules for where beams
1538 can begin and end. The default @code{autoBeamSettings} rules are
1539 defined in @file{scm/@/auto@/-beam@/.scm}.
1541 In order to add a rule to the list, use
1543 #(override-auto-beam-setting '(be p q n m) a b [context])
1548 @item @code{be} is either @code{begin} or @code{end}.
1550 @item @code{p/q} is the duration of the note for which you want
1551 to add a rule. A beam is considered to have the duration of its
1552 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1553 have this apply to any beam.
1555 @item @code{n/m} is the time signature to which
1556 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1557 to have this apply in any time signature.
1559 @item @code{a/b} is the position in the bar at which the beam should
1562 @item @code{context} is optional, and it specifies the context at which
1563 the change should be made. The default is @code{'Voice}.
1565 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1566 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1570 For example, if automatic beams should always end on the first quarter
1574 #(override-auto-beam-setting '(end * * * *) 1 4)
1577 You can force the beam settings to only take effect on beams whose shortest
1578 note is a certain duration
1580 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1582 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1584 a32 a a a a16 a a a a a |
1585 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1586 a32 a a a a16 a a a a a |
1589 You can force the beam settings to only take effect in certain time
1592 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1594 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1602 You can also remove a previously set beam-ending rule by using
1605 #(revert-auto-beam-setting '(be p q n m) a b [context])
1609 @code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
1610 @code{b} and @code{context} are the same as above. Note that the
1611 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1612 so you can revert rules that you did not explicitly create.
1614 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1616 a16 a a a a a a a a a a a a a a a
1617 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1618 a16 a a a a a a a a a a a a a a a
1621 The rule in a @code{revert-auto-beam-setting} statement must exactly
1622 match the original rule. That is, no wildcard expansion is taken into
1625 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1627 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1629 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1631 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1637 @c TODO: old material -- not covered by above stuff, I think.
1638 If automatic beams should end on every quarter in 5/4 time, specify
1641 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1642 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1643 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1644 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1648 The same syntax can be used to specify beam starting points. In this
1649 example, automatic beams can only end on a dotted quarter note
1651 #(override-auto-beam-setting '(end * * * *) 3 8)
1652 #(override-auto-beam-setting '(end * * * *) 1 2)
1653 #(override-auto-beam-setting '(end * * * *) 7 8)
1655 In 4/4 time signature, this means that automatic beams could end only on
1656 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1657 3/8, has passed within the measure).
1659 If any unexpected beam behavior occurs, check the default automatic beam
1660 settings in @file{scm/@/auto@/-beam@/.scm}
1661 for possible interference, because the beam
1662 endings defined there will still apply on top of your own overrides. Any
1663 unwanted endings in the default vales must be reverted for your time
1666 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1670 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1671 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1672 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1673 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1676 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1677 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1678 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1681 @cindex automatic beam generation
1683 @funindex autoBeaming
1686 If beams are used to indicate melismata in songs, then automatic
1687 beaming should be switched off with @code{\autoBeamOff}.
1692 @funindex \autoBeamOff
1693 @code{\autoBeamOff},
1694 @funindex \autoBeamOn
1700 If a score ends while an automatic beam has not been ended and is
1701 still accepting notes, this last beam will not be typeset at all.
1702 The same holds for polyphonic voices, entered with @code{<<
1703 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1704 automatic beam is still accepting notes, it is not typeset.
1713 @subsubsection Manual beams
1715 @cindex beams, manual
1717 In some cases it may be necessary to override the automatic
1718 beaming algorithm. For example, the autobeamer will not put beams
1719 over rests or bar lines, and in choral scores the beaming is
1720 often set to follow the meter of the lyrics rather than the
1721 notes. Such beams can be specified manually by
1722 marking the begin and end point with @code{[} and @code{]}
1724 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1726 r4 r8[ g' a r8] r8 g[ | a] r8
1731 Individual notes may be marked with @code{\noBeam} to prevent them
1734 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1735 \time 2/4 c8 c\noBeam c c
1741 @funindex stemLeftBeamCount
1742 @funindex stemRightBeamCount
1744 Even more strict manual control with the beams can be achieved by
1745 setting the properties @code{stemLeftBeamCount} and
1746 @code{stemRightBeamCount}. They specify the number of beams to
1747 draw on the left and right side, respectively, of the next note.
1748 If either property is set, its value will be used only once, and
1749 then it is erased. In this example, the last @code{f} is printed
1750 with only one beam on the left side, i.e., the eighth-note beam of
1751 the group as a whole.
1753 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1757 \set stemLeftBeamCount = #1
1765 @node Feathered beams
1766 @subsubsection Feathered beams
1768 @cindex beams, feathered
1769 @funindex \featherDurations
1771 Feathered beams are used to indicate that a small group of notes
1772 should be played at an increasing (or decreasing) tempo, without
1773 changing the overall tempo of the piece. The extent of the
1774 feathered beam must be indicated manually using @code{[} and
1775 @code{]}, and the beam feathering is turned on by specifying a
1776 direction to the @code{Beam} property @code{grow-direction}.
1778 If the placement of the notes and the sound in the MIDI output
1779 is to reflect the ritardando or accelerando indicated by the
1780 feathered beam the notes must be grouped as a
1781 music expression delimited by braces and preceded by a
1782 @code{featheredDurations} command which specifies the ratio
1783 between the durations of the first and last notes in the group.
1786 show the extent of the beam and the braces show
1787 which notes are to have their durations modified. Normally
1788 these would delimit the same group of notes, but this is not
1789 required: the two commands are independent.
1791 In the following example the eight 16th notes occupy exactly the
1792 same time as a half note, but the first note is one half as long
1793 as the last one, with the intermediate notes gradually
1794 lengthening. The first four 32nd notes gradually speed up, while
1795 the last four 32nd notes are at a constant tempo.
1797 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1798 \override Beam #'grow-direction = #LEFT
1799 \featherDurations #(ly:make-moment 2 1)
1800 { c16[ c c c c c c c] }
1801 \override Beam #'grow-direction = #RIGHT
1802 \featherDurations #(ly:make-moment 2 3)
1804 % revert to non-feathered beams
1805 \override Beam #'grow-direction = #'()
1810 The spacing in the printed output represents the
1811 note durations only approximately, but the midi output is exact.
1815 The @code{\featherDurations} command only works with very short
1816 music snippets, and when numbers in the fraction are small.
1832 * Bar and bar number checks::
1837 @subsubsection Bar lines
1841 @cindex measure lines
1844 Bar lines delimit measures, and are also used to indicate
1845 repeats. Normally, simple bar lines are automatically inserted
1846 into the printed output at places based on the current time
1849 The simple bar lines inserted automatically can be changed to
1850 other types with the @code{\bar} command. For example, a closing
1851 double bar line is usually placed at the end of a piece:
1853 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1857 @warning{An incorrect duration can lead to poorly formatted
1860 It is not invalid if the final note in a measure does not
1861 end on the automatically entered bar line: the note is assumed
1862 to carry over into the next measure. But if a long sequence
1863 of such carry-over measures appears the music can appear compressed
1864 or even flowing off the page. This is because automatic line
1865 breaks happen only at the end of complete measures, i.e., where
1866 the end of a note coincides with the end of a measure.
1869 @cindex bar lines, invisible
1870 @cindex measure lines, invisible
1872 Line breaks are also permitted at manually inserted bar lines
1873 even within incomplete measures. To allow a line break without
1874 printing a bar line, use
1881 This will insert an invisible bar line and allow (but not
1882 force) a line break to occur at this point. The bar number
1883 counter is not increased. To force a line break see
1884 @ref{Line breaking}.
1886 This and other special bar lines may be inserted manually at any
1887 point. When they coincide with the end of a measure they replace
1888 the simple bar line which would have been inserted there
1889 automatically. When they do not coincide
1890 with the end of a measure the specified bar line is inserted at that
1891 point in the printed output. Such insertions do not affect
1892 the calculation and placement of subsequent automatic bar lines.
1894 The simple bar line and four types of double bar line are available
1895 for manual insertion:
1897 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1898 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1902 together with dotted and dashed bar lines:
1904 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1905 f1 \bar ":" g \bar "dashed" a
1909 and three types of repeat bar line:
1911 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1912 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1917 Although the bar line types signifying repeats may be inserted
1918 manually they do not in themselves cause LilyPond to recognize
1919 a repeated section. Such repeated sections are better entered
1920 using the various repeat commands (see @ref{Repeats}), which
1921 automatically print the appropriate bar lines.
1923 In addition, you can specify @code{"||:"}, which is equivalent to
1924 @code{"|:"} except at line breaks, where it gives a double bar
1925 line at the end of the line and a start repeat at the beginning of
1928 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1929 \override Score.RehearsalMark #'padding = #3
1937 In scores with many staves, a @code{\bar} command in one staff is
1938 automatically applied to all staves. The resulting bar lines are
1939 connected between different staves of a @code{StaffGroup},
1940 @code{PianoStaff}, or @code{GrandStaff}.
1942 @lilypond[quote,ragged-right,fragment,verbatim]
1950 \new Staff { \clef bass c4 g e g }
1952 \new Staff { \clef bass c2 c2 }
1960 @funindex defaultBarType
1962 The command @code{\bar }@var{bartype} is a shortcut for
1963 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1964 created whenever the @code{whichBar} property is
1967 The default bar type used for automatically inserted bar lines is
1968 @code{"|"}. This may be changed at any time
1969 with @code{\set Timing.defaultBarType = }@var{bartype}.
1973 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1974 @c FIXME: node name changed, but is subject to further changes.
1975 @c @ref{System start delimiters}.
1980 Internals Reference: @rinternals{BarLine} (created at
1981 @rinternals{Staff} level), @rinternals{SpanBar} (across
1982 staves), @rinternals{Timing_translator} (for Timing
1987 @subsubsection Bar numbers
1990 @cindex measure numbers
1991 @funindex currentBarNumber
1993 Bar numbers are typeset by default at the start of every line except
1994 the first line. The number itself is stored in the
1995 @code{currentBarNumber} property, which is normally updated
1996 automatically for every measure. It may also be set manually:
1998 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2001 \set Score.currentBarNumber = #50
2008 @funindex barNumberVisibility
2009 @cindex bar numbers, regular spacing
2011 Bar numbers can be typeset at regular intervals instead of just at
2012 the beginning of every line. To do this the default behavior
2013 must be overridden to permit bar numbers to be printed at places
2014 other than the start of a line. This is controlled by the
2015 @code{break-visibility} property of @code{BarNumber}. This takes
2016 three values which may be set to @code{#t} or @code{#f} to specify
2017 whether the corresponding bar number is visible or not. The order
2018 of the three values is @code{end of line visible}, @code{middle of
2019 line visible}, @code{beginning of line visible}. In the following
2020 example bar numbers are printed at all possible places:
2022 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2023 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2024 \set Score.currentBarNumber = #11
2025 \bar "" % Permit first bar number to be printed
2031 @c All the rest of these examples will be added to LSR
2032 @c and moved into the Snippets. -gp
2035 and here the bar numbers are printed every two measures
2036 except at the end of the line:
2038 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2039 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
2040 \set Score.currentBarNumber = #11
2041 \bar "" % Permit first bar number to be printed
2042 % Print a bar number every second measure
2043 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2049 @cindex measure number, format
2050 @cindex bar number, format
2052 The size of the bar number may be changed. This is illustrated
2053 in the following example, which also shows how to enclose bar
2054 numbers in boxes and circles, and shows an alternative way
2055 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2057 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2058 % Prevent bar numbers at the end of a line and permit them elsewhere
2059 \override Score.BarNumber #'break-visibility
2060 = #end-of-line-invisible
2062 % Increase the size of the bar number by 2
2063 \override Score.BarNumber #'font-size = #2
2064 \repeat unfold 3 { c1 } \bar "|"
2066 % Draw a box round the following bar number(s)
2067 \override Score.BarNumber #'stencil
2068 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2069 \repeat unfold 3 { c1 } \bar "|"
2071 % Draw a circle round the following bar number(s)
2072 \override Score.BarNumber #'stencil
2073 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2074 \repeat unfold 4 { c1 } \bar "|."
2077 @cindex bar number alignment
2079 Bar numbers by default are left-aligned to their parent object.
2080 This is usually the left edge of a line or, if numbers are printed
2081 within a line, the left bar line of the measure. The numbers may also
2082 be positioned directly on the bar line or right-aligned to the
2085 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2086 \set Score.currentBarNumber = #111
2087 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2088 % Increase the size of the bar number by 2
2089 \override Score.BarNumber #'font-size = #2
2090 % Print a bar number every second measure
2091 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2093 % Center-align bar numbers
2094 \override Score.BarNumber #'self-alignment-X = #0
2096 % Right-align bar numbers
2097 \override Score.BarNumber #'self-alignment-X = #-1
2101 Bar numbers can be removed entirely by removing the
2102 @code{Bar_number_engraver} from the @code{Score} context.
2104 @lilypond[verbatim,ragged-right,quote]
2108 \remove "Bar_number_engraver"
2123 Internals Reference: @rinternals{BarNumber}.
2128 Bar numbers may collide with the top of the
2129 @rinternals{StaffGroup} bracket, if there is one. To solve
2130 this, the @code{padding} property of @rinternals{BarNumber} can
2131 be used to position the number correctly.
2133 Bar numbers may only be printed at bar lines; to print a bar
2134 number at the beginning of a piece, an empty bar line must be
2135 inserted there, and a value other than @code{1} must be placed
2136 in @code{currentBarNumber}:
2138 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2139 \set Score.currentBarNumber = #50
2148 @node Bar and bar number checks
2149 @subsubsection Bar and bar number checks
2152 @funindex barCheckSynchronize
2155 Bar checks help detect errors in the entered durations.
2156 A bar check may be entered using the bar symbol, @code{|},
2157 at any place where a bar line is expected to fall.
2158 If bar check lines are encountered at other places,
2159 a list of warnings is printed in the log file,
2160 showing the line numbers and lines
2161 in which the bar checks failed. In the next
2162 example, the second bar check will signal an error.
2165 \time 3/4 c2 e4 | g2 |
2168 Bar checks can also be used in lyrics, for example
2173 Twin -- kle | Twin -- kle |
2177 An incorrect duration can result in a completely garbled score,
2178 especially if the score is polyphonic, so a good place to start
2179 correcting input is by scanning for failed bar checks and
2180 incorrect durations.
2183 @funindex pipeSymbol
2185 It is also possible to redefine the action taken when a bar check
2186 or pipe symbol, @code{|}, is encountered in the input, so that
2187 it does something other than a bar check. This is done by
2188 assigning a music expression to @code{pipeSymbol}.
2189 In the following example @code{|} is set to insert a double bar
2190 line wherever it appears in the input, rather than checking
2193 @lilypond[quote,ragged-right,verbatim]
2194 pipeSymbol = \bar "||"
2203 When copying large pieces of music, it can be helpful to check
2204 that the LilyPond bar number corresponds to the original that you
2205 are entering from. This can be checked with
2206 @code{\barNumberCheck}, for example,
2209 \barNumberCheck #123
2213 will print a warning if the @code{currentBarNumber} is not 123
2214 when it is processed.
2222 @node Rehearsal marks
2223 @subsubsection Rehearsal marks
2225 @cindex rehearsal marks
2226 @cindex mark, rehearsal
2229 To print a rehearsal mark, use the @code{\mark} command
2231 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2240 The letter@tie{}@q{I} is skipped in accordance with engraving
2241 traditions. If you wish to include the letter @q{I}, then use
2244 \set Score.markFormatter = #format-mark-alphabet
2247 The mark is incremented automatically if you use @code{\mark
2248 \default}, but you can also use an integer argument to set the
2249 mark manually. The value to use is stored in the property
2250 @code{rehearsalMark}.
2252 @cindex rehearsal mark format
2253 @cindex rehearsal mark style
2254 @cindex style, rehearsal mark
2255 @cindex format, rehearsal mark
2256 @cindex mark, rehearsal, style
2257 @cindex mark, rehearsal, format
2259 The style is defined by the property @code{markFormatter}. It is
2260 a function taking the current mark (an integer) and the current
2261 context as argument. It should return a markup object. In the
2262 following example, @code{markFormatter} is set to a pre-defined
2263 procedure. After a few measures, it is set to a procedure that
2264 produces a boxed number.
2266 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2267 \set Score.markFormatter = #format-mark-numbers
2270 \set Score.markFormatter = #format-mark-box-numbers
2276 The file @file{scm/@/translation@/-functions@/.scm} contains the
2277 definitions of @code{format-mark-numbers} (the default format),
2278 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2279 @code{format-mark-box-letters}. These can be used as inspiration
2280 for other formatting functions.
2282 You may use @code{format-mark-barnumbers},
2283 @code{format-mark-box-barnumbers}, and
2284 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2285 incremented numbers or letters.
2287 Other styles of rehearsal mark can be specified manually
2294 @code{Score.markFormatter} does not affect marks specified in this
2295 manner. However, it is possible to apply a @code{\markup} to the
2299 \mark \markup@{ \box A1 @}
2306 Music glyphs (such as the segno sign) may be printed inside a
2309 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2310 c1 \mark \markup { \musicglyph #"scripts.segno" }
2311 c1 \mark \markup { \musicglyph #"scripts.coda" }
2312 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2317 See @ref{The Feta font}, for a list of symbols which may be
2318 printed with @code{\musicglyph}.
2320 For common tweaks to the positioning of rehearsal marks, see
2321 @ref{Formatting text}.
2328 This manual: @ref{The Feta font}, @ref{Formatting text}.
2330 Internals Reference: @rinternals{RehearsalMark}.
2332 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2333 the definition of @code{format-mark-numbers} and
2334 @code{format-mark-letters}. They can be used as inspiration for
2335 other formatting functions.
2337 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2340 @node Special rhythmic concerns
2341 @subsection Special rhythmic concerns
2346 * Aligning to cadenzas::
2347 * Time administration::
2351 @subsubsection Grace notes
2356 @cindex appoggiatura
2357 @cindex acciaccatura
2359 Grace notes are ornaments that are written out. They are made with
2360 the @code{\grace} command. By prefixing this keyword to a music
2361 expression, a new one is formed, which will be printed in a
2362 smaller font and takes up no logical time in a measure.
2364 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2366 \grace { c16[ d16] } c2 c4
2369 Two special forms of the @code{\grace} command exist.
2370 An @emph{acciaccatura}, which should be played as very short,
2371 is denoted by a slurred small note with a slashed stem. The
2372 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2373 main note, is denoted as a slurred note in small print without
2374 a slash. They are entered with the commands @code{\acciaccatura}
2375 and @code{\appoggiatura}, as demonstrated in the following
2378 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2379 b4 \acciaccatura d8 c4
2381 \acciaccatura { g16[ f] } e4
2385 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2386 @code{\grace} does not.
2388 The placement of grace notes is synchronized between different
2389 staves. In the following example, there are two sixteenth grace
2390 notes for every eighth grace note
2392 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2393 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2394 \new Staff { c4 \grace { g8[ b] } c4 } >>
2397 @funindex \afterGrace
2399 @cindex grace notes, following
2401 If you want to end a note with a grace, use the @code{\afterGrace}
2402 command. It takes two arguments: the main note, and the grace
2403 notes following the main note.
2405 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
2406 c1 \afterGrace d1 { c16[ d] } c4
2409 This will put the grace notes after a @q{space} lasting 3/4 of the
2410 length of the main note. The fraction 3/4 can be changed by
2411 setting @code{afterGraceFraction}, i.e.,
2414 #(define afterGraceFraction (cons 7 8))
2418 will put the grace note at 7/8 of the main note.
2420 The same effect can be achieved manually by doing
2422 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2425 { s2 \grace { c16[ d] } } >>
2431 By adjusting the duration of the skip note (here it is a
2432 half-note), the space between the main note and the grace
2435 A @code{\grace} music expression will introduce special
2436 typesetting settings, for example, to produce smaller type, and
2437 set directions. Hence, when introducing layout tweaks, they
2438 should be inside the grace expression, for example,
2440 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2452 The overrides should also be reverted inside the grace expression.
2454 The layout of grace expressions can be changed throughout the
2455 music using the function @code{add-grace-property}. The following
2456 example undefines the @code{Stem} direction for this grace, so
2457 that stems do not always point up.
2461 #(add-grace-property 'Voice 'Stem 'direction '())
2467 Another option is to change the variables @code{startGraceMusic},
2468 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2469 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2470 @code{stopAppoggiaturaMusic}. The default values of these can be
2471 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2472 them other effects may be obtained.
2474 @cindex stem, with slash
2477 The slash through the stem in @emph{acciaccatura}s can be obtained in
2478 other situations by @code{\override Stem #'stroke-style =
2484 Grace notes may be forced to use align with regular notes
2485 in other staves by setting @code{strict-grace-spacing} to
2488 @lilypond[verbatim,quote,relative=2]
2490 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2493 \afterGrace c4 { c16[ c8 c16] }
2497 c16 c c c c c c c c4 r
2506 @rglos{grace notes},
2507 @rglos{acciaccatura},
2508 @rglos{appoggiatura}
2513 Internals Reference: @rinternals{GraceMusic}.
2518 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2519 and looks exactly the same as a multi-note beamed
2520 @emph{appoggiatura}.
2521 @c TODO Add link to LSR snippet to add slash when available
2523 Grace note synchronization can also lead to surprises. Staff
2524 notation, such as key signatures, bar lines, etc., are also
2525 synchronized. Take care when you mix staves with grace notes and
2526 staves without, for example,
2528 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2529 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2530 \new Staff { c4 \bar "|:" d4 } >>
2534 This can be remedied by inserting grace skips of the corresponding
2535 durations in the other staves. For the above example
2537 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2538 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2539 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2542 Grace sections should only be used within sequential music
2543 expressions. Nesting or juxtaposing grace sections is not
2544 supported, and might produce crashes or other errors.
2546 @node Aligning to cadenzas
2547 @subsubsection Aligning to cadenzas
2550 @cindex cadenza, aligning to
2551 @cindex aligning to cadenza
2553 In an orchestral context, cadenzas present a special problem: when
2554 constructing a score that includes a cadenza, all other
2555 instruments should skip just as many notes as the length of the
2556 cadenza, otherwise they will start too soon or too late.
2558 A solution to this problem is to use the functions
2559 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2560 functions take a piece of music as argument, and generate a multi-measure
2561 rest or @code{\skip}, exactly as long as the piece. The use of
2562 @code{mmrest-of-length} is demonstrated in the following example.
2564 @lilypond[verbatim,ragged-right,quote]
2565 cadenza = \relative c' {
2566 c4 d8 << { e f g } \\ { d4. } >>
2571 \new Staff { \cadenza c'4 }
2573 #(ly:export (mmrest-of-length cadenza))
2585 @node Time administration
2586 @subsubsection Time administration
2588 @cindex time administration
2589 @cindex timing (within the score)
2590 @cindex music, unmetered
2591 @cindex unmetered music
2593 @funindex currentBarNumber
2594 @funindex measurePosition
2595 @funindex measureLength
2597 Time is administered by the @code{Timing_translator}, which by
2598 default is to be found in the @code{Score} context. An alias,
2599 @code{Timing}, is added to the context in which the
2600 @code{Timing_translator} is placed.
2602 The following properties of @code{Timing} are used
2603 to keep track of timing within the score.
2606 @cindex measure number
2609 @item currentBarNumber
2610 The current measure number. For an example showing the
2611 use of this property see @ref{Bar numbers}.
2614 The length of the measures in the current time signature. For a
2615 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2616 determines when bar lines are inserted and how automatic beams
2617 should be generated.
2619 @item measurePosition
2620 The point within the measure where we currently are. This
2621 quantity is reset by subtracting @code{measureLength} whenever
2622 @code{measureLength} is reached or exceeded. When that happens,
2623 @code{currentBarNumber} is incremented.
2626 If set to true, the above variables are updated for every time
2627 step. When set to false, the engraver stays in the current
2628 measure indefinitely.
2632 Timing can be changed by setting any of these variables
2633 explicitly. In the next example, the default 4/4 time
2634 signature is printed, but @code{measureLength} is set to 5/4.
2635 At 4/8 through the third measure, the @code{measurePosition} is
2636 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2637 The next bar line then falls at 9/8 rather than 5/4.
2639 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2640 \set Score.measureLength = #(ly:make-moment 5 4)
2644 \set Score.measurePosition = #(ly:make-moment 5 8)
2650 As the example illustrates, @code{ly:make-moment n m} constructs a
2651 duration of n/m of a whole note. For example,
2652 @code{ly:make-moment 1 8} is an eighth note duration and
2653 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2659 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2664 Internals Reference: @rinternals{Timing_translator},