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=14,quote]
15 This section discusses rhythms, rests, durations, beaming and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @subsubsection Durations
40 @cindex durations, of notes
41 @cindex note durations
47 Durations are designated by numbers and dots.
48 Durations are entered as their reciprocal values. For example, a
49 quarter note is entered using a @code{4} (since it is a 1/4 note),
50 and a half note is entered using a @code{2} (since it is a 1/2
51 note). For notes longer than a whole you must use the
52 @code{\longa} (a double breve) and @code{\breve} commands.
53 Durations as short as 64th notes may be specified. Shorter values
54 are possible, but only as beamed notes.
56 @c Two 64th notes are needed to obtain beams
57 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
64 Here are the same durations with automatic beaming turned off.
66 @c not strictly "writing rhythms"; more of a "displaying" thing,
67 @c but it's ok here. -gp
68 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
75 A note with the duration of a quadruple breve may be entered with
76 @code{\maxima}, but this is supported only within ancient music
77 notation. For details, see @ref{Ancient notation}.
79 If the duration is omitted, it is set to the previously
80 entered duration. The default for the first note is a quarter
83 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
92 To obtain dotted note lengths, place a dot (@code{.}) after the
93 duration. Double-dotted notes are specified by appending two
96 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
97 a4 b c4. b8 a4. b4.. c8.
100 Some durations cannot be represented with just binary durations
101 and dots; they can be represented only by tying two or more
102 notes together. For details, see @ref{Ties}.
104 For ways of specifying durations for the syllables of lyrics and
105 ways of aligning lyrics to notes, see @ref{Vocal music}.
107 Optionally, notes can be spaced strictly proportionately to their
108 duration. For details of this and other settings which control
109 proportional notation, see @ref{Proportional notation}.
113 Dots are normally moved up to avoid staff lines, except in
114 polyphonic situations. The following commands may be used to
115 force a particular direction manually, and to return to the
122 @funindex \dotsNeutral
128 Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
129 @rglos{Duration names notes and rests}.
131 Notation Reference: @ref{Automatic beams}, @ref{Ties},
132 @ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
133 @ref{Ancient notation}, @ref{Proportional notation}.
135 Snippets: @lsrdir{Rhythms,Rhythms}
137 Internals Reference: @internalsref{Dots},
138 @internalsref{DotColumn}.
143 @c Deliberately duplicated in Durations and Rests. -gp
144 There is no fundamental limit to rest durations (both in terms of
145 longest and shortest), but the number of glyphs is limited:
146 rests from 128th to maxima (8 x whole) may be printed.
150 @subsubsection Tuplets
156 Tuplets are made out of a music expression by multiplying all
157 durations with a fraction:
160 \times @var{fraction} @var{musicexpr}
164 The duration of @var{musicexpr} will be multiplied by the
165 fraction. The fraction's denominator will be printed over or
166 under the notes, optionally with a bracket. The most common
167 tuplet is the triplet in which 3 notes have the length of 2, so
168 the notes are 2/3 of their written length.
170 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
171 g4 \times 2/3 {c4 c c} d4 d4
174 Tuplets may be nested; for example,
176 @lilypond[fragment,ragged-right,verbatim,relative=2]
179 \times 3/5 { a a a a a }
187 @funindex \tupletDown
189 @funindex \tupletNeutral
190 @code{\tupletNeutral}.
195 @cindex tuplet formatting
196 @cindex triplet formatting
198 @funindex tupletNumberFormatFunction
199 @funindex tupletSpannerDuration
201 @c Sent to Snippet 5 Feb 08
202 The property @code{tupletSpannerDuration} specifies how long each
203 bracket should last. With this, you can make lots of tuplets
204 while typing @code{\times} only once, thus saving lots of typing.
205 In the next example, there are two triplets shown, while
206 @code{\times} was only used once.
208 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
209 \set tupletSpannerDuration = #(ly:make-moment 1 4)
210 \times 2/3 { c8 c c c c c }
214 For more information about @code{make-moment}, see
215 @ref{Time administration}.
217 @funindex TupletNumber
219 By default, only the numerator of the tuplet number
220 is printed over the tuplet bracket, i.e. the denominator
221 of the argument to the @code{\times} command. Alternatively,
222 @var{num}:@var{den} of the tuplet number may be printed, or
223 the tuplet number may be suppressed altogether.
226 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
227 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
228 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
229 \times 2/3 { c8 c c }
230 \override TupletNumber #'transparent = ##t
231 \times 2/3 { c8 c c }
234 @c TODO Add snippet to show this
235 Tuplets may extend over bar lines, but they will inhibit a
236 line break unless the @code{Forbid_line_break_engraver} is
237 removed from the @code{Voice context}.
239 @subheading Modifying nested tuplets
241 @cindex tuplets, nested
242 @cindex triplets, nested
243 @cindex bracket, tuplet
244 @cindex tuplet bracket
245 @cindex triplet bracket
246 @funindex TupletBracket
248 If nested tuplets do not begin at the same moment their
249 appearance may be modified in the usual way with
250 @code{\override} commands:
252 @c NOTE Tuplet brackets collide if notes are high on staff
254 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
255 \times 2/3 { c8[ c c]}
256 \once \override TupletNumber #'text = #tuplet-number::calc-fraction-text
260 \once \override TupletNumber #'transparent = ##t
261 \times 2/3 { c8[ c c] }
262 \times 2/3 { c8[ c c]}
266 However, if the nested tuplets begin at the same musical moment,
267 @code{\override} commands cannot be applied to just one of them
268 -- they apply to both. So to change the appearance of nested
269 tuplets beginning at the same musical moment individually, the
270 @code{\tweak} function must be used (see @ref{Objects connected
271 to the input}). The @code{\tweak} function is applied to the
272 following @code{\times} command as it appears in the input stream,
273 and so can distinguish between separate @code{\times} commands
274 even if their tuplets begin at the same musical moment.
276 In this example, the @code{\tweak} command is used to specify
277 fraction text for the outer @code{TupletNumber} and denominator
278 text for the @code{TupletNumber} of the first of the three
281 @c NOTE Tuplet brackets collide if notes are high on staff
282 @c so use relative=1 until this is fixed
284 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
285 \tweak #'text #tuplet-number::calc-fraction-text
287 \tweak #'text #tuplet-number::calc-denominator-text
288 \times 2/3 { c8[ c8 c8] }
289 \times 2/3 { c8[ c8 c8] }
290 \times 2/3 { c8[ c8 c8] }
294 In the next example, @code{\tweak} and @code{\override} work
295 together to specify @code{TupletBracket} direction. The first
296 @code{\tweak} positions the @code{TupletBracket} of the outer
297 tuplet above the staff. The second @code{\tweak} positions the
298 @code{TupletBracket} of the first of the three inner tuplets below
299 the staff. Note that the @code{\tweak} command needs to be used
300 only for events that begin at the same music moment: the outer
301 tuplet and the first of the three inner tuplets. To position the
302 @code{TupletBracket}s of the second and third of the inner tuplets
303 below the staff, we can use @code{\override} in the usual way.
305 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
306 \tweak #'text #tuplet-number::calc-fraction-text
307 \tweak #'direction #up
309 \tweak #'direction #down
310 \times 2/3 { c8[ c8 c8] }
311 \override TupletBracket #'direction = #down
312 \times 2/3 { c8[ c8 c8] }
313 \times 2/3 { c8[ c8 c8] }
317 @subheading Modifying tuplet bracket length
319 @cindex tuplet bracket length
320 @cindex triplet bracket length
321 @cindex bracket length, tuplets
322 @funindex tupletFullLength
323 @funindex tupletFullLengthNote
325 Tuplet brackets can be made to run to prefatory matter or the
327 Default tuplet brackets end at the right edge of the final note
328 of the tuplet; full-length tuplet brackets extend farther to the
329 right, either to cover all the non-rhythmic notation up to the
330 following note, or to cover only the whitespace before the next
331 item of notation, be that a clef, time signature, key signature,
332 or another note. The example shows how to switch tuplets to
333 full length mode and how to modify what material they cover.
336 @lilypond[ragged-right,verbatim,quote]
338 % Set tuplets to be extendable ..
339 \set tupletFullLength = ##t
340 % .. to cover all items up to the next note
341 \set tupletFullLengthNote = ##t
343 \times 2/3 { c4 c c }
344 % .. or to cover just whitespace
345 \set tupletFullLengthNote = ##f
353 @subheading Compressing music
355 @cindex compressing music
356 @funindex \compressMusic
358 @code{\compressMusic} works similarly to \times, but does not
359 create a tuplet bracket. One application is in polymetric
360 notation, as shown in the following example. See
361 @ref{Polymetric notation}.
363 @c not added yet. -gp
364 @c @lilypondfile [ragged-right,line-width=16\cm,staffsize=14,quote]
365 @c {printing-music-with-different-time-signatures.ly}
370 Music Glossary: @rglos{triplet}, @rglos{tuplet},
373 Notation Reference: @ref{Time administration},
374 @ref{Objects connected to the input}, @ref{Polymetric notation}.
376 Snippets: @lsrdir{Rhythms,Rhythms}.
378 Internals Reference: @internalsref{TupletBracket},
379 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
383 @node Scaling durations
384 @subsubsection Scaling durations
386 You can alter the length of a duration by a fraction @var{N/M}
387 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
388 This will not affect the appearance of the notes or rests
389 produced, but the altered duration will be used in calculating the
390 position within the measure and setting the duration in the MIDI
391 output. Multiplying factors may be combined
394 In the following example, the first three notes take up exactly
395 two beats, but no triplet bracket is printed.
397 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
399 a4*2/3 gis4*2/3 a4*2/3
404 The duration of skip or spacing notes may also be modified by
405 a multiplier. This is useful for skipping many measures, e.g.,
410 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
412 Snippets: @lsrdir{Rhythms,Rhythms}
420 A tie connects two adjacent note heads of the same pitch. The tie
421 in effect extends the length of a note.
423 @warning{Ties should not be confused with @emph{slurs}, which
424 indicate articulation, or @emph{phrasing slurs}, which indicate
425 musical phrasing. A tie is just a way of extending a note
426 duration, similar to the augmentation dot.}
428 A tie is entered using the tilde symbol @code{~}
430 @lilypond[quote,ragged-right,fragment,verbatim]
436 Ties are used either when the note crosses a bar line, or when
437 dots cannot be used to denote the rhythm. Ties should also be
438 used when note values cross larger subdivisions of the measure:
440 @lilypond[fragment,quote,ragged-right]
442 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
446 If you need to tie a lot of notes across bar lines, it may be
447 easier to use automatic note splitting (see @ref{Automatic note
448 splitting}). This mechanism automatically splits long notes, and
449 ties them across bar lines.
452 @cindex repeating ties
453 @cindex volta brackets and ties
455 When a tie is applied to a chord, all note heads whose pitches
456 match are connected. When no note heads match, no ties will be
457 created. Chords may be partially tied by placing the tie inside
460 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
462 <c~ e g~ b> <c e g b>
465 When a second alternative of a repeat starts with a tied note, you
466 have to repeat the tie. This can be achieved with
469 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
470 \repeat volta 2 { c g <c e>2 ~ }
471 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
474 @cindex laissez vibrer
475 @cindex ties, laissez vibrer
476 @funindex \laissezVibrer
479 @funindex \tieNeutral
481 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
482 notes must not be damped at the end. It is used in notation for
483 piano, harp and other string and percussion instruments. They can
484 be entered using @code{\laissezVibrer}:
486 @lilypond[fragment,ragged-right,verbatim,relative=1]
487 <c f g>\laissezVibrer
490 The direction of a tie can be specified with @code{\tieUp} or
491 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
492 to the default behaviour again.
494 However, as with other music elements of this kind, there is a
495 convenient shorthand for forcing tie directions. By adding
496 @code{_} or @code{^} before the tilde, the direction is also set:
498 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
505 Music Glossary: @rglos{tie},
506 @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
508 Snippets: @lsrdir{Rhythms,Rhythms}
511 @internalsref{LaissezVibrerTie}
512 @internalsref{LaissezVibrerTieColumn}
515 @c @lsr{connecting,laissez-vibrer-ties.ly}
520 Ties are sometimes used to write out arpeggios. In this case, two
521 tied notes need not be consecutive. This can be achieved by
522 setting the @code{tieWaitForNote} property to true. The same
523 feature is also useful, for example, to tie a tremolo to a chord,
524 but in principle, it can also be used for ordinary, consecutive
527 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
528 \set tieWaitForNote = ##t
529 \grace { c16[~ e~ g]~ } <c, e g>2
530 \repeat tremolo 8 { c32~ c'~ } <c c,>1
531 e8~ c~ a~ f~ <e' c a f>2
532 \tieUp c8~ a \tieDown \tieDotted g~ c g2
535 Ties may be engraved manually by changing the
536 @code{tie-configuration} property of the @code{TieColumn} object.
537 The first number indicates the distance from the center of the
538 staff in staff-spaces, and the second number indicates the
539 direction (1=up, -1=down).
541 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
543 \override TieColumn #'tie-configuration =
544 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
556 @funindex \tieNeutral
570 Notation Reference: @ref{Automatic note splitting}.
572 Snippets: @lsrdir{Rhythms,Rhythms}
574 Internals Reference: @internalsref{Tie}.
579 Switching staves when a tie is active will not produce a slanted
582 Changing clefs or octavations during a tie is not really
583 well-defined. In these cases, a slur may be preferable.
590 @subsection Writing rests
595 * Full measure rests::
611 Rests are entered like notes with the note name @code{r}:
613 @c \time 16/1 is used to avoid spurious bar lines
614 @c and long tracts of empty measures
615 @lilypond[fragment,quote,ragged-right,verbatim]
618 \override Staff.TimeSignature #'stencil = ##f
620 r\longa r\breve r1 r2
625 Whole measure rests, centered in middle of the measure, must be entered as
626 multi-measure rests. They can be used for a single measure as well as
627 many measures and are discussed in @ref{Full measure rests}.
629 To explicitly specify a rest's vertical position, write a note
630 followed by @code{\rest}. A rest will be placed in the position
631 where the note would appear. This allows for precise manual
632 formatting of polyphonic music, since the automatic rest collision
633 formatter will leave these rests alone.
635 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
642 Notation Reference: @ref{Full measure rests}.
644 Snippets: @lsrdir{Rhythms,Rhythms}.
646 Internals Reference: @internalsref{Rest}.
651 @c Deliberately duplicated in Durations and Rests. -gp
652 There is no fundamental limit to rest durations (both in terms of
653 longest and shortest), but the number of glyphs is limited: there
654 are rests from 128th to maxima (8 x whole).
660 @cindex invisible rest
665 An invisible rest (also called a @q{skip}) can be entered like a
666 note with note name @code{s} or with @code{\skip @var{duration}}
668 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
669 a4 a4 s4 a4 \skip 1 a4
674 The @code{s} syntax is only available in note mode and chord mode.
675 In other situations, for example, when entering lyrics, one must
676 use the @code{\skip} command:
678 @lilypond[quote,ragged-right,verbatim,relative=2]
681 \new Lyrics \lyricmode { \skip 2 bla2 }
685 The skip command is merely an empty musical placeholder. It does
686 not produce any output, not even transparent output.
688 The @code{s} skip command does create @internalsref{Staff} and
689 @internalsref{Voice} when necessary, similar to note and rest
690 commands. For example, the following results in an empty staff.
692 @lilypond[quote,verbatim]
695 @c with ragged-right, the staff lines are cut BEFORE the time
696 @c signature, which makes for a VERY empty staff
698 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
699 @c Misleading -- it doesn't produce anything, not even an empty page.
700 @c Ppl who want to make empty sheets will see this and wonder what's
705 Snippets: @lsrdir{Rhythms,Rhythms}
707 Internals Reference: @internalsref{SkipMusic}.
710 @node Full measure rests
711 @subsubsection Full measure rests
713 @cindex multi measure rests
714 @cindex full measure rests
715 @cindex rest, multi measure
716 @cindex rest, full measure
717 @cindex whole rest for a full measure
720 Rests for one or more full measures are entered using @code{R}
721 followed by a duration (see @ref{Durations}). The duration should
722 correspond to an integral number of measures, otherwise a barcheck
723 warning is printed. A @rglos{multi-measure rest} is used
724 principally to indicate that a part in a multi-part score should
727 @lilypond[quote,fragment,verbatim,relative=2]
728 \set Score.skipBars = ##t
735 A multi-measure rest can be expanded in the printed score
736 to show all the rest measures explicitly, or, as above, it can be
737 condensed to a single measure
738 containing a multi-measure rest symbol, with the number of
739 measures of rest printed above the measure. This expansion
740 is controlled by the property @code{Score.skipBars}. If this is
741 set to true, empty measures will be condensed to a single measure.
743 @lilypond[quote,ragged-right,fragment,verbatim]
744 \time 4/4 r1 | R1 | R1*2 |
747 \set Score.skipBars = ##t
751 The @code{1} in @code{R1} is similar to the duration notation
752 used for notes and is the length of a measure in 2/2 or 4/4 time.
753 The duration in a multi-measure rest must always be an integral
754 number of measure-lengths, so in other time signatures augmentation
755 dots or fractions must be used:
757 @lilypond[quote,ragged-right,fragment,verbatim]
758 \set Score.skipBars = ##t
762 R1*13/8 | R1*13/8*12 |
767 An @code{R} spanning a single measure is printed as either a whole
768 or breve rest, centered in the measure, regardless of the time
773 @cindex kirchenpausen
775 If there are 10 or fewer measures of rest, LilyPond prints
776 a series of longa and breve rests (called in German
777 Kirchenpausen - @q{church rests}) within the staff and
778 prints a simple line otherwise. This default number of 10
779 may be changed by overriding
780 @code{MultiMeasureRest.expand-limit}.
782 @lilypond[quote,ragged-right,fragment,verbatim]
783 \set Score.skipBars = ##t
785 \override MultiMeasureRest #'expand-limit = 3
789 Note that unlike ordinary rests, the vertical position on the
790 staff of the multi-measure rest symbol of either form cannot be
793 @cindex text on multi-measure rest
794 @cindex script on multi-measure rest
795 @cindex fermata on multi-measure rest
797 Text can be added to multi-measure rests by using the
798 @var{note}-@code{markup} syntax described in @ref{Text markup}.
799 The variable @code{\fermataMarkup} is provided for adding
802 @lilypond[quote,ragged-right,verbatim,fragment]
803 \set Score.skipBars = ##t
805 R2.*10^\markup { \italic "ad lib." }
809 @warning{Text attached to a multi-measure rest is created
810 by @code{MultiMeasureRestText}, not
811 @code{TextScript}. Overrides must be directed to the correct
812 object, or they will be ignored. See the following example.}
814 @lilypond[quote,ragged-right,verbatim,fragment]
815 \override TextScript #'padding = #5
817 \override MultiMeasureRestText #'padding = #5
821 Text attached to a multi-measure rest will be centered above or
822 below it. Long text attached in this way does not cause the
823 measure to expand, and may collide with text in adjacent measures.
824 Long text is better attached to a zero-length skip note preceding
825 the rest, preceded by @code{\textLengthOn} (turn off again with
826 @code{\textLengthOff}), since this will cause the measure to expand to
827 accommodate the length of the text:
829 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
830 \set Score.skipBars = ##t
832 s1*0^\markup {[MAJOR GENERAL]}
834 s1*0^\markup {[MABEL] }
835 s1*0_\markup {\italic {Cue: ... it is yours}}
838 c4^\markup {CHORUS} d f c
842 Text attached to a skip note in this way is left-aligned to the
843 position where the note would be placed in the bar, and placed
844 above the bar count numeral, but because the bar length is
845 determined by the length of the text, the text will appear to be
846 centered. If two (or more) texts are
847 attached to skip notes in a bar the bar length is determined by
848 the longer text, and the shorter text is then clearly
849 left-aligned, as shown in the second bar above. If the shorter
850 text of two marks is short enough to fit it will be placed
851 alongside and to the left of the bar count numeral.
855 Notation Reference: @ref{Durations}, @ref{Text},
856 @ref{Text markup}, @ref{Text scripts}.
858 Snippets: @lsrdir{Rhythms,Rhythms}
860 Internals Reference: @internalsref{MultiMeasureRest}.
862 The layout object @internalsref{MultiMeasureRestNumber} is for the
863 default number, and @internalsref{MultiMeasureRestText} for user
869 If an attempt is made to use fingerings (e.g.,
870 @code{R1*10-4}) to put numbers over multi-measure rests, the
871 fingering numeral (4) may collide with the bar counter
874 @cindex condensing rests
876 There is no way to automatically condense multiple rests into a
877 single multi-measure rest. Multi-measure rests do not take part
880 Be careful when entering multi-measure rests followed by whole
881 notes. The following will enter two notes lasting four measures
889 @node Displaying rhythms
890 @subsection Displaying rhythms
896 * Polymetric notation::
897 * Automatic note splitting::
901 @subsubsection Time signature
903 @cindex time signature
907 The time signature is set with the @code{\time} command:
909 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
910 \time 2/4 c2 \time 3/4 c2.
915 The symbol that is printed can be customized with the @code{style}
916 property. Setting it to @code{#'()} uses fraction style for 4/4
919 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
922 \override Staff.TimeSignature #'style = #'()
927 A time signature symbol is normally printed whenever the time
928 signature changes. If this takes place at the end of a line a
929 warning time signature sign is printed at the end of the line and
930 again at the start of a new line. This default behaviour can be
931 modified by setting the value of the @code{break-visibility}
932 property. This takes three values which may be set to @code{#t}
933 or @code{#f} to specify whether the corresponding time signature
934 is visible or not. The order of the three values is @code{end of
935 line visible}, @code{middle of line visible}, @code{beginning of
938 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
939 % Do not print any time signatures at end of line
940 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
943 % Do not print the following 9/8 time signature
944 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
952 There are many more options for its layout. See @ref{Ancient time
953 signatures}, for more examples.
955 @code{\time} sets the properties @code{timeSignatureFraction},
956 @code{beatLength}, and @code{measureLength} in the @code{Timing}
957 context, which is normally aliased to @internalsref{Score}. The
958 property @code{measureLength} determines where bar lines should be
959 inserted, and how automatic beams should be generated. Changing
960 the value of @code{timeSignatureFraction} also causes the symbol
963 @cindex measure groupings
965 More options are available through the Scheme function
966 @code{set-time-signature}, which takes three arguments: the number
967 of beats, the beat length, and the internal grouping of beats in
968 the measure. If the @internalsref{Measure_grouping_engraver} is
969 included, the function will also create
970 @internalsref{MeasureGrouping} signs. Such signs ease reading
971 rhythmically complex modern music. In the following example, the
972 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
973 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
975 @lilypond[quote,ragged-right,verbatim]
978 #(set-time-signature 9 8 '(2 2 2 3))
979 g8[ g] d[ d] g[ g] a8[( bes g]) |
980 #(set-time-signature 5 8 '(3 2))
986 \consists "Measure_grouping_engraver"
995 Snippets: @lsrdir{Rhythms,Rhythms}
997 Internals Reference: @internalsref{TimeSignature}, and
998 @internalsref{Timing_translator}.
1000 Examples: @c @lsr{contemporary,compound-time-signature.ly}.
1005 Automatic beaming does not use the measure grouping specified with
1006 @code{set-time-signature}.
1010 @subsubsection Upbeats
1014 @cindex partial measure
1015 @cindex measure, partial
1016 @cindex pickup measure
1017 @cindex shorten measures
1020 Partial or pickup measures, such as an anacrusis or upbeat, are
1021 entered using the @code{\partial} command, with the syntax
1024 \partial @var{duration}
1027 where @code{duration} is the rhythmic length to be added before
1030 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1031 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
1034 Internally, this is translated into
1037 \set Timing.measurePosition = -@var{length of duration}
1040 The property @code{measurePosition} contains a rational number
1041 indicating how much of the measure has passed at this point. Note
1042 that this is a negative number; @code{\partial 4} is internally
1043 translated to mean @qq{there is a quarter note left in the bar.}
1048 This command does not take into account grace notes at the start
1049 of the music. When a piece starts with grace notes in the
1050 pickup, then the @code{\partial} should follow the grace notes:
1052 @lilypond[verbatim,quote,ragged-right,relative,fragment]
1059 @code{\partial} is only intended to be used at the beginning of a
1060 piece. If you use it after the beginning, some odd warnings may
1065 Snippets: @lsrdir{Rhythms,Rhythms}
1067 @node Unmetered music
1068 @subsubsection Unmetered music
1071 @funindex \cadenzaOn
1072 @funindex \cadenzaOff
1074 Bar lines and bar numbers are calculated automatically. For
1075 unmetered music (cadenzas, for example), this is not desirable.
1076 To turn off automatic bar lines and bar numbers, use the commands
1077 @code{\cadenzaOn} and @code{\cadenzaOff}.
1079 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1088 Bar numbering is resumed at the end of the cadenza as if the
1089 cadenza were not there:
1091 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1092 \override Score.BarNumber #'break-visibility = ##( #t #t #t )
1103 LilyPond will only insert line breaks and page breaks at a
1104 bar line. Unless the unmetered music ends before the end of the
1105 staff line, you will need to insert invisible bar lines with
1112 to indicate where breaks can occur.
1116 Snippets: @lsrdir{Rhythms,Rhythms}
1119 @node Polymetric notation
1120 @subsubsection Polymetric notation
1122 @cindex double time signatures
1123 @cindex signatures, polymetric
1124 @cindex polymetric signatures
1125 @cindex meter, polymetric
1129 @rglos{polymetric time signature}
1132 Double time signatures are not supported explicitly, but they can
1133 be faked. In the next example, the markup for the time signature
1134 is created with a markup text. This markup text is inserted in
1135 the @internalsref{TimeSignature} grob. See also
1136 @c @lsr{contemporary,compound-time-signature}.
1138 @lilypond[verbatim,ragged-right]
1140 tsMarkup = \markup {
1141 \override #'(baseline-skip . 2) \number {
1144 \bracket \column { "5" "8" }
1149 \override Staff.TimeSignature #'stencil =
1150 #ly:text-interface::print
1151 \override Staff.TimeSignature #'text = #tsMarkup
1153 c'2 \bar ":" c'4 c'4.
1157 Each staff can also have its own time signature. This is done by
1158 moving the @internalsref{Timing_translator} to the
1159 @internalsref{Staff} context.
1161 @lilypond[quote,verbatim,ragged-right]
1165 \remove "Timing_translator"
1166 \remove "Default_bar_line_engraver"
1170 \consists "Timing_translator"
1171 \consists "Default_bar_line_engraver"
1174 %Now, each staff has its own time signature.
1187 c4. c8 c c c4. c8 c c
1193 A different form of polymetric notation is where note lengths have
1194 different values across staves, but the measures are all the same
1197 This notation can be created by setting a common time signature
1198 for each staff but replacing it manually using
1199 @code{timeSignatureFraction} to the desired fraction. Then the
1200 printed durations in each staff are scaled to the common time
1201 signature. The latter is done with @code{\compressMusic}, which
1202 is used in a similar way to @code{\times}, but does not create
1203 a tuplet bracket. The syntax is
1205 @funindex \compressMusic
1209 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1214 In this example, music with the time signatures of 3/4, 9/8, and
1215 10/8 are used in parallel. In the second staff, shown durations
1216 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1217 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1220 @lilypond[quote,ragged-right,verbatim,fragment]
1228 \set Staff.timeSignatureFraction = #'(9 . 8)
1229 \compressMusic #'(2 . 3)
1230 \repeat unfold 6 { c8[ c c] }
1234 \set Staff.timeSignatureFraction = #'(10 . 8)
1235 \compressMusic #'(3 . 5) {
1236 \repeat unfold 2 { c8[ c c] }
1237 \repeat unfold 2 { c8[ c] }
1238 | c4. c4. \times 2/3 { c8 c c } c4
1247 When using different time signatures in parallel, the spacing is
1248 aligned vertically, but bar lines distort the regular spacing.
1252 Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
1254 Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
1257 @node Automatic note splitting
1258 @subsubsection Automatic note splitting
1260 Long notes which overrun bar lines can be converted automatically
1261 to tied notes. This is done by replacing the
1262 @internalsref{Note_heads_engraver} by the
1263 @internalsref{Completion_heads_engraver}. In the following
1264 examples, notes crossing the bar line are split and tied.
1266 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1268 \remove "Note_heads_engraver"
1269 \consists "Completion_heads_engraver"
1271 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1275 This engraver splits all running notes at the bar line, and
1276 inserts ties. One of its uses is to debug complex scores: if the
1277 measures are not entirely filled, then the ties exactly show how
1278 much each measure is off.
1280 If you want to allow line breaking on the bar lines where
1281 @internalsref{Completion_heads_engraver} splits notes, you must
1282 also remove @internalsref{Forbid_line_break_engraver}.
1287 Not all durations (especially those containing tuplets) can be
1288 represented exactly with normal notes and dots, but the engraver
1289 will not insert tuplets.
1291 @code{Completion_heads_engraver} only affects notes; it does not
1297 Snippets: @lsrdir{Rhythms,Rhythms}
1299 Internals Reference: @internalsref{Note_heads_engraver},
1300 @internalsref{Completion_heads_engraver},
1301 @internalsref{Forbid_line_break_engraver}.
1312 * Setting automatic beam behavior::
1317 @node Automatic beams
1318 @subsubsection Automatic beams
1320 By default, beams are inserted automatically:
1322 @cindex beams, manual
1323 @cindex manual beams
1325 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1327 \time 6/8 c c c c8. c16 c8
1330 If these automatic decisions are not satisfactory, beaming can be
1331 entered explicitly; see @ref{Manual beams}. It is also possible
1332 to define beaming patterns that differ from the defaults; see
1333 @ref{Setting automatic beam behavior}. The default beaming rules
1334 are defined in @file{scm/@/auto@/-beam@/.scm}.
1340 Automatic beaming may be turned off and on with
1341 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1343 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1344 c4 c8 c8. c16 c8. c16 c8
1354 Beaming patterns may be altered with the @code{beatGrouping} property,
1356 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1358 \set beatGrouping = #'(2 3)
1360 \set beatGrouping = #'(3 2)
1364 The beams of consecutive 16th (or shorter) notes are, by default,
1365 not sub-divided. That is, the three (or more) beams stretch
1366 unbroken over entire groups of notes. This behaviour can
1367 be modified to sub-divide the beams into sub-groups by setting
1368 the property @code{subdivideBeams}. When set, multiple beams
1369 will be sub-divided at intervals defined by the current value of
1370 @code{beatLength} by reducing the multiple beams to just one beam
1371 between the sub-groups. Note that @code{beatLength} lives in the
1372 @code{Score} context and defaults to a quarter note. It must be
1373 set to a fraction giving the duration of the beam sub-group
1374 using the @code{make-moment} function, as shown here:
1376 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1378 \set subdivideBeams = ##t
1380 % Set beam sub-group length to an eighth note
1381 \set Score.beatLength = #(ly:make-moment 1 8)
1383 % Set beam sub-group length to a sixteenth note
1384 \set Score.beatLength = #(ly:make-moment 1 16)
1387 @funindex subdivideBeams
1390 For more information about @code{make-moment}, see
1391 @ref{Time administration}.
1397 Line breaks are normally forbidden when beams cross bar lines.
1398 This behavior can be changed by setting the @code{breakable}
1399 property: @code{\override Beam #'breakable = ##t}.
1401 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1402 \override Beam #'breakable = ##t
1403 c8 \repeat unfold 15 {c[ c] } c
1406 @cindex beams and line breaks
1407 @cindex beams, kneed
1409 @cindex auto-knee-gap
1411 Kneed beams are inserted automatically when a large gap is
1412 detected between the note heads. This behavior can be tuned
1413 through the @code{auto-knee-gap} property. A kneed beam is
1414 drawn if the gap is larger than the value of
1415 @code{auto-knee-gap} plus the width of the beam object (which
1416 depends on the duration of the notes and the slope of the beam).
1417 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1419 @lilypond[fragment,ragged-right,quote,verbatim]
1421 \override Beam #'auto-knee-gap = #6
1428 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1430 Snippets: @lsrdir{Rhythms,Rhythms}
1432 Internals Reference: @internalsref{Beam}.
1437 Automatically kneed cross-staff beams cannot be used together with
1438 hidden staves. See @ref{Hiding staves}.
1440 Beams can collide with note heads and accidentals in other voices
1443 @node Setting automatic beam behavior
1444 @subsubsection Setting automatic beam behavior
1446 @funindex autoBeamSettings
1447 @funindex (end * * * *)
1448 @funindex (begin * * * *)
1449 @cindex automatic beams, tuning
1450 @cindex tuning automatic beaming
1452 @c [TODO: use \applyContext]
1454 In normal time signatures, automatic beams can start on any note
1455 but can end in only a few positions within the measure: beams can
1456 end on a beat, or at durations specified by the properties in
1457 @code{autoBeamSettings}. The properties in
1458 @code{autoBeamSettings} consist of a list of rules for where beams
1459 can begin and end. The default @code{autoBeamSettings} rules are
1460 defined in @file{scm/@/auto@/-beam@/.scm}.
1462 In order to add a rule to the list, use
1464 #(override-auto-beam-setting '(be p q n m) a b [context])
1469 @item @code{be} is either @code{begin} or @code{end}.
1471 @item @code{p/q} is the duration of the note for which you want
1472 to add a rule. A beam is considered to have the duration of its
1473 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1474 have this apply to any beam.
1476 @item @code{n/m} is the time signature to which
1477 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1478 to have this apply in any time signature.
1480 @item @code{a/b} is the position in the bar at which the beam should
1483 @item @code{context} is optional, and it specifies the context at which
1484 the change should be made. The default is @code{'Voice}.
1486 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1487 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1491 For example, if automatic beams should always end on the first quarter
1495 #(override-auto-beam-setting '(end * * * *) 1 4)
1498 You can force the beam settings to only take effect on beams whose shortest
1499 note is a certain duration
1501 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1503 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1505 a32 a a a a16 a a a a a |
1506 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1507 a32 a a a a16 a a a a a |
1510 You can force the beam settings to only take effect in certain time
1513 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1515 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1523 You can also remove a previously set beam-ending rule by using
1526 #(revert-auto-beam-setting '(be p q n m) a b [context])
1530 be, p, q, n, m, a, b and context are the same as above. Note that the
1531 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1532 so you can revert rules that you did not explicitly create.
1534 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1536 a16 a a a a a a a a a a a a a a a
1537 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1538 a16 a a a a a a a a a a a a a a a
1541 The rule in a revert-auto-beam-setting statement must exactly match the
1542 original rule. That is, no wildcard expansion is taken into account.
1544 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1546 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1548 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1550 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1556 @c TODO: old material -- not covered by above stuff, I think.
1557 If automatic beams should end on every quarter in 5/4 time, specify
1560 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1561 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1562 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1563 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1567 The same syntax can be used to specify beam starting points. In this
1568 example, automatic beams can only end on a dotted quarter note
1570 #(override-auto-beam-setting '(end * * * *) 3 8)
1571 #(override-auto-beam-setting '(end * * * *) 1 2)
1572 #(override-auto-beam-setting '(end * * * *) 7 8)
1574 In 4/4 time signature, this means that automatic beams could end only on
1575 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1576 3/8, has passed within the measure).
1578 If any unexpected beam behaviour occurs, check the default automatic beam
1579 settings in @file{scm/@/auto@/-beam@/.scm}
1580 for possible interference, because the beam
1581 endings defined there will still apply on top of your own overrides. Any
1582 unwanted endings in the default vales must be reverted for your time
1585 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1589 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1590 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1591 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1592 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1595 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1596 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1597 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1600 @cindex automatic beam generation
1602 @funindex autoBeaming
1605 If beams are used to indicate melismata in songs, then automatic
1606 beaming should be switched off with @code{\autoBeamOff}.
1611 @funindex \autoBeamOff
1612 @code{\autoBeamOff},
1613 @funindex \autoBeamOn
1619 If a score ends while an automatic beam has not been ended and is
1620 still accepting notes, this last beam will not be typeset at all.
1621 The same holds for polyphonic voices, entered with @code{<<
1622 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1623 automatic beam is still accepting notes, it is not typeset.
1627 Snippets: @lsrdir{Rhythms,Rhythms}
1631 @subsubsection Manual beams
1633 @cindex beams, manual
1635 In some cases it may be necessary to override the automatic
1636 beaming algorithm. For example, the autobeamer will not put beams
1637 over rests or bar lines, and in choral scores the beaming is
1638 often set to follow the meter of the lyrics rather than the
1639 notes. Such beams can be specified manually by
1640 marking the begin and end point with @code{[} and @code{]}
1642 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1644 r4 r8[ g' a r8] r8 g[ | a] r8
1649 Individual notes may be marked with @code{\noBeam} to prevent them
1652 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1653 \time 2/4 c8 c\noBeam c c
1659 @funindex stemLeftBeamCount
1660 @funindex stemRightBeamCount
1662 Even more strict manual control with the beams can be achieved by
1663 setting the properties @code{stemLeftBeamCount} and
1664 @code{stemRightBeamCount}. They specify the number of beams to
1665 draw on the left and right side, respectively, of the next note.
1666 If either property is set, its value will be used only once, and
1667 then it is erased. In this example, the last @code{f} is printed
1668 with only one beam on the left side, i.e. the eigth-note beam of
1669 the group as a whole.
1671 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1675 \set stemLeftBeamCount = #1
1683 @node Feathered beams
1684 @subsubsection Feathered beams
1686 @cindex beams, feathered
1687 @funindex \featherDurations
1689 Feathered beams are used to indicate that a small group of notes
1690 should be played at an increasing (or decreasing) tempo, without
1691 changing the overall tempo of the piece. The extent of the
1692 feathered beam must be indicated manually using @code{[} and
1693 @code{]}, and the beam feathering is turned on by specifying a
1694 direction to the Beam property @code{grow-direction}.
1696 If the placement of the notes and the sound in the MIDI output
1697 is to reflect the ritardando or accelerando indicated by the
1698 feathered beam the notes must be grouped as a
1699 music expression delimited by braces and preceded by a
1700 @code{featheredDurations} command which specifies the ratio
1701 between the durations of the first and last notes in the group.
1704 show the extent of the beam and the braces show
1705 which notes are to have their durations modified. Normally
1706 these would delimit the same group of notes, but this is not
1707 required: the two commands are independent.
1709 In the following example the eight 16th notes occupy exactly the
1710 same time as a half note, but the first note is one half as long
1711 as the last one, with the intermediate notes gradually
1712 lengthening. The first four 32nd notes gradually speed up, while
1713 the last four 32nd notes are at a constant tempo.
1715 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1716 \override Beam #'grow-direction = #LEFT
1717 \featherDurations #(ly:make-moment 2 1)
1718 { c16[ c c c c c c c] }
1719 \override Beam #'grow-direction = #RIGHT
1720 \featherDurations #(ly:make-moment 2 3)
1722 % revert to non-feathered beams
1723 \override Beam #'grow-direction = #'()
1728 The spacing in the printed output represents the
1729 note durations only approximately, but the midi output is exact.
1733 The @code{\featherDurations} command only works with very short
1734 music snippets, and when numbers in the fraction are small.
1738 Snippets: @lsrdir{Rhythms,Rhythms}
1749 * Bar and bar number checks::
1754 @subsubsection Bar lines
1758 @cindex measure lines
1761 Bar lines delimit measures, and are also used to indicate
1762 repeats. Normally, simple bar lines are automatically inserted
1763 into the printed output at places based on the current time
1766 The simple bar lines inserted automatically can be changed to
1767 other types with the @code{\bar} command. For example, a closing
1768 double bar line is usually placed at the end of a piece:
1770 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1774 @warning{An incorrect duration can lead to poorly formatted
1777 It is not invalid if the final note in a bar does not
1778 end on the automatically entered bar line: the note is assumed
1779 to carry over into the next bar. But if a long sequence
1780 of such carry-over bars appears the music can appear compressed
1781 or even flowing off the page. This is because automatic line
1782 breaks happen only at the end of complete bars, i.e. where
1783 the end of a note coincides with the end of a bar.
1786 @cindex bar lines, invisible
1787 @cindex measure lines, invisible
1789 Line breaks are also permitted at manually inserted bar lines
1790 even within incomplete bars. To allow a line break without
1791 printing a bar line, use
1798 This will insert an invisible bar line and allow (but not
1799 force) a line break to occur at this point. The bar number
1800 counter is not increased. To force a line break see
1801 @ref{Line breaking}.
1803 This and other special bar lines may be inserted manually at any
1804 point. When they coincide with the end of a bar they replace
1805 the simple bar line which would have been inserted there
1806 automatically. When they do not coincide
1807 with the end of a bar the specified bar line is inserted at that
1808 point in the printed output. Such insertions do not affect
1809 the calculation and placement of subsequent automatic bar lines.
1811 The simple bar line and four types of double bar line are available
1812 for manual insertion:
1814 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1815 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1819 together with dotted and dashed bar lines:
1821 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1822 f1 \bar ":" g \bar "dashed" a
1826 and three types of repeat bar line:
1828 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1829 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1834 Although the bar line types signifying repeats may be inserted
1835 manually they do not in themselves cause LilyPond to recognise
1836 a repeated section. Such repeated sections are better entered
1837 using the various repeat commands (see @ref{Repeats}), which
1838 automatically print the appropriate bar lines.
1840 In addition, you can specify @code{"||:"}, which is equivalent to
1841 @code{"|:"} except at line breaks, where it gives a double bar
1842 line at the end of the line and a start repeat at the beginning of
1845 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1846 \override Score.RehearsalMark #'padding = #3
1854 In scores with many staves, a @code{\bar} command in one staff is
1855 automatically applied to all staves. The resulting bar lines are
1856 connected between different staves of a @code{StaffGroup},
1857 @code{PianoStaff}, or @code{GrandStaff}.
1859 @lilypond[quote,ragged-right,fragment,verbatim]
1867 \new Staff { \clef bass c4 g e g }
1869 \new Staff { \clef bass c2 c2 }
1877 @funindex defaultBarType
1879 The command @code{\bar }@var{bartype} is a shortcut for
1880 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1881 created whenever the @code{whichBar} property is
1884 The default bar type used for automatically inserted bar lines is
1885 @code{"|"}. This may be changed at any time
1886 with @code{\set Timing.defaultBarType = }@var{bartype}.
1890 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1891 @ref{System start delimiters}.
1893 Snippets: @lsrdir{Rhythms,Rhythms}
1895 Internals Reference: @internalsref{BarLine} (created at
1896 @internalsref{Staff} level), @internalsref{SpanBar} (across
1897 staves), @internalsref{Timing_translator} (for Timing
1902 @subsubsection Bar numbers
1905 @cindex measure numbers
1906 @funindex currentBarNumber
1908 Bar numbers are typeset by default at the start of every line except
1909 the first line. The number itself is stored in the
1910 @code{currentBarNumber} property, which is normally updated
1911 automatically for every measure. It may also be set manually:
1913 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1916 \set Score.currentBarNumber = #50
1923 @funindex barNumberVisibility
1924 @cindex bar numbers, regular spacing
1926 Bar numbers can be typeset at regular intervals instead of just at
1927 the beginning of every line. To do this the default behaviour
1928 must be overridden to permit bar numbers to be printed at places
1929 other than the start of a line. This is controlled by the
1930 @code{break-visibility} property of @code{BarNumber}. This takes
1931 three values which may be set to @code{#t} or @code{#f} to specify
1932 whether the corresponding bar number is visible or not. The order
1933 of the three values is @code{end of line visible}, @code{middle of
1934 line visible}, @code{beginning of line visible}. In the following
1935 example bar numbers are printed at all possible places:
1937 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1938 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1939 \set Score.currentBarNumber = #11
1940 \bar "" % Permit first bar number to be printed
1946 @c All the rest of these examples will be added to LSR
1947 @c and moved into the Snippets. -gp
1950 and here the bar numbers are printed every two bars
1951 except at the end of the line:
1953 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1954 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1955 \set Score.currentBarNumber = #11
1956 \bar "" % Permit first bar number to be printed
1957 % Print a bar number every 2nd bar
1958 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1964 @cindex measure number, format
1965 @cindex bar number, format
1967 The size of the bar number may be changed. This is illustrated
1968 in the following example, which also shows how to enclose bar
1969 numbers in boxes and circles, and shows an alternative way
1970 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1972 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1973 % Prevent bar numbers at the end of a line and permit them elsewhere
1974 \override Score.BarNumber #'break-visibility
1975 = #end-of-line-invisible
1977 % Increase the size of the bar number by 2
1978 \override Score.BarNumber #'font-size = #2
1979 \repeat unfold 3 { c1 } \bar "|"
1981 % Draw a box round the following bar number(s)
1982 \override Score.BarNumber #'stencil
1983 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1984 \repeat unfold 3 { c1 } \bar "|"
1986 % Draw a circle round the following bar number(s)
1987 \override Score.BarNumber #'stencil
1988 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1989 \repeat unfold 4 { c1 } \bar "|."
1992 @cindex bar number alignment
1994 Bar numbers by default are left-aligned to their parent object.
1995 This is usually the left edge of a line or, if numbers are printed
1996 within a line, the left bar line of the bar. The numbers may also
1997 be positioned directly on the bar line or right-aligned to the
2000 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2001 \set Score.currentBarNumber = #111
2002 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
2003 % Increase the size of the bar number by 2
2004 \override Score.BarNumber #'font-size = #2
2005 % Print a bar number every 2nd bar
2006 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2008 % Centre-align bar numbers
2009 \override Score.BarNumber #'self-alignment-X = #0
2011 % Right-align bar numbers
2012 \override Score.BarNumber #'self-alignment-X = #-1
2016 Bar numbers can be removed entirely by removing the Bar number
2017 engraver from the score context.
2019 @lilypond[verbatim,ragged-right,quote]
2023 \remove "Bar_number_engraver"
2035 Snippets: @lsrdir{Rhythms,Rhythms}
2037 Internals Reference: @internalsref{BarNumber}.
2042 Bar numbers may collide with the top of the
2043 @internalsref{StaffGroup} bracket, if there is one. To solve
2044 this, the @code{padding} property of @internalsref{BarNumber} can
2045 be used to position the number correctly.
2047 Bar numbers may only be printed at bar lines; to print a bar
2048 number at the beginning of a piece, an empty bar line must be
2049 inserted there, and a value other than @code{1} must be placed
2050 in @code{currentBarNumber}:
2052 @lilypond[verbatim,ragged-right,quote,fragment,relative]
2053 \set Score.currentBarNumber = #50
2062 @node Bar and bar number checks
2063 @subsubsection Bar and bar number checks
2066 @funindex barCheckSynchronize
2069 Bar checks help detect errors in the entered durations.
2070 A bar check may be entered using the bar symbol, @code{|},
2071 at any place where a bar line is expected to fall.
2072 If bar check lines are encountered at other places,
2073 a list of warnings is printed in the log file,
2074 showing the line numbers and lines
2075 in which the bar checks failed. In the next
2076 example, the second bar check will signal an error.
2079 \time 3/4 c2 e4 | g2 |
2082 Bar checks can also be used in lyrics, for example
2087 Twin -- kle | Twin -- kle |
2091 An incorrect duration can result in a completely garbled score,
2092 especially if the score is polyphonic, so a good place to start
2093 correcting input is by scanning for failed bar checks and
2094 incorrect durations.
2097 @funindex pipeSymbol
2099 It is also possible to redefine the action taken when a bar check
2100 or pipe symbol, @code{|}, is encountered in the input, so that
2101 it does something other than a bar check. This is done by
2102 assigning a music expression to @code{pipeSymbol}.
2103 In the following example @code{|} is set to insert a double bar
2104 line wherever it appears in the input, rather than checking
2107 @lilypond[quote,ragged-right,verbatim]
2108 pipeSymbol = \bar "||"
2117 When copying large pieces of music, it can be helpful to check
2118 that the LilyPond bar number corresponds to the original that you
2119 are entering from. This can be checked with
2120 @code{\barNumberCheck}, for example,
2123 \barNumberCheck #123
2127 will print a warning if the @code{currentBarNumber} is not 123
2128 when it is processed.
2132 Snippets: @lsrdir{Rhythms,Rhythms}
2135 @node Rehearsal marks
2136 @subsubsection Rehearsal marks
2138 @cindex rehearsal marks
2139 @cindex mark, rehearsal
2142 To print a rehearsal mark, use the @code{\mark} command
2144 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2153 The letter@tie{}@q{I} is skipped in accordance with engraving
2154 traditions. If you wish to include the letter @q{I}, then use
2157 \set Score.markFormatter = #format-mark-alphabet
2160 The mark is incremented automatically if you use @code{\mark
2161 \default}, but you can also use an integer argument to set the
2162 mark manually. The value to use is stored in the property
2163 @code{rehearsalMark}.
2165 @cindex rehearsal mark format
2166 @cindex rehearsal mark style
2167 @cindex style, rehearsal mark
2168 @cindex format, rehearsal mark
2169 @cindex mark, rehearsal, style
2170 @cindex mark, rehearsal, format
2172 The style is defined by the property @code{markFormatter}. It is
2173 a function taking the current mark (an integer) and the current
2174 context as argument. It should return a markup object. In the
2175 following example, @code{markFormatter} is set to a pre-defined
2176 procedure. After a few measures, it is set to a procedure that
2177 produces a boxed number.
2179 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2180 \set Score.markFormatter = #format-mark-numbers
2183 \set Score.markFormatter = #format-mark-box-numbers
2189 The file @file{scm/@/translation@/-functions@/.scm} contains the
2190 definitions of @code{format-mark-numbers} (the default format),
2191 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2192 @code{format-mark-box-letters}. These can be used as inspiration
2193 for other formatting functions.
2195 You may use @code{format-mark-barnumbers},
2196 @code{format-mark-box-barnumbers}, and
2197 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2198 incremented numbers or letters.
2200 Other styles of rehearsal mark can be specified manually
2207 @code{Score.markFormatter} does not affect marks specified in this
2208 manner. However, it is possible to apply a @code{\markup} to the
2212 \mark \markup@{ \box A1 @}
2219 Music glyphs (such as the segno sign) may be printed inside a
2222 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2223 c1 \mark \markup { \musicglyph #"scripts.segno" }
2224 c1 \mark \markup { \musicglyph #"scripts.coda" }
2225 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2230 See @ref{The Feta font}, for a list of symbols which may be
2231 printed with @code{\musicglyph}.
2233 For common tweaks to the positioning of rehearsal marks, see
2238 Snippets: @lsrdir{Rhythms,Rhythms}
2240 This manual: @ref{The Feta font}, @ref{Text marks}.
2242 Internals Reference: @internalsref{RehearsalMark}.
2244 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2245 the definition of @code{format-mark-numbers} and
2246 @code{format-mark-letters}. They can be used as inspiration for
2247 other formatting functions.
2249 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2252 @node Special rhythmic concerns
2253 @subsection Special rhythmic concerns
2258 * Aligning to cadenzas::
2259 * Time administration::
2263 @subsubsection Grace notes
2268 @cindex appoggiatura
2269 @cindex acciaccatura
2271 Grace notes are ornaments that are written out. They are made with
2272 the @code{\grace} command. By prefixing this keyword to a music
2273 expression, a new one is formed, which will be printed in a
2274 smaller font and takes up no logical time in a measure.
2276 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2278 \grace { c16[ d16] } c2 c4
2281 Two special forms of the @code{\grace} command exist.
2282 An @emph{acciaccatura}, which should be played as very short,
2283 is denoted by a slurred small note with a slashed stem. The
2284 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2285 main note, is denoted as a slurred note in small print without
2286 a slash. They are entered with the commands @code{\acciaccatura}
2287 and @code{\appoggiatura}, as demonstrated in the following
2290 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2291 b4 \acciaccatura d8 c4
2293 \acciaccatura { g16[ f] } e4
2297 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2298 @code{\grace} does not.
2300 The placement of grace notes is synchronized between different
2301 staves. In the following example, there are two sixteenth grace
2302 notes for every eighth grace note
2304 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2305 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2306 \new Staff { c4 \grace { g8[ b] } c4 } >>
2309 @funindex \afterGrace
2311 @cindex grace notes, following
2313 If you want to end a note with a grace, use the @code{\afterGrace}
2314 command. It takes two arguments: the main note, and the grace
2315 notes following the main note.
2317 @lilypond[ragged-right, verbatim,relative=2,fragment]
2318 c1 \afterGrace d1 { c16[ d] } c4
2321 This will put the grace notes after a @q{space} lasting 3/4 of the
2322 length of the main note. The fraction 3/4 can be changed by
2323 setting @code{afterGraceFraction}, ie.
2326 #(define afterGraceFraction (cons 7 8))
2330 will put the grace note at 7/8 of the main note.
2332 The same effect can be achieved manually by doing
2334 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2337 { s2 \grace { c16[ d] } } >>
2343 By adjusting the duration of the skip note (here it is a
2344 half-note), the space between the main-note and the grace
2347 A @code{\grace} music expression will introduce special
2348 typesetting settings, for example, to produce smaller type, and
2349 set directions. Hence, when introducing layout tweaks, they
2350 should be inside the grace expression, for example,
2352 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2364 The overrides should also be reverted inside the grace expression.
2366 The layout of grace expressions can be changed throughout the
2367 music using the function @code{add-grace-property}. The following
2368 example undefines the @code{Stem} direction for this grace, so
2369 that stems do not always point up.
2373 #(add-grace-property 'Voice 'Stem 'direction '())
2379 Another option is to change the variables @code{startGraceMusic},
2380 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2381 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2382 @code{stopAppoggiaturaMusic}. The default values of these can be
2383 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2384 them other effects may be obtained.
2386 @cindex stem, with slash
2389 The slash through the stem in @emph{acciaccatura}s can be obtained in
2390 other situations by @code{\override Stem #'stroke-style =
2396 Grace notes may be forced to use align with regular notes
2397 in other staves by setting @code{strict-grace-spacing} to
2400 @lilypond[relative=2,ragged-right]
2402 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2411 c'16[ c'16 c'16 c'16]
2412 c'16[ c'16 c'16 c'16]
2422 @rglos{grace notes},
2423 @rglos{acciaccatura},
2424 @rglos{appoggiatura}
2426 Snippets: @lsrdir{Rhythms,Rhythms}
2428 Internals Reference: @internalsref{GraceMusic}.
2433 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2434 and looks exactly the same as a multi-note beamed
2435 @emph{appoggiatura}.
2436 @c TODO Add link to LSR snippet to add slash when available
2438 Grace note synchronization can also lead to surprises. Staff
2439 notation, such as key signatures, bar lines, etc., are also
2440 synchronized. Take care when you mix staves with grace notes and
2441 staves without, for example,
2443 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2444 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2445 \new Staff { c4 \bar "|:" d4 } >>
2449 This can be remedied by inserting grace skips of the corresponding
2450 durations in the other staves. For the above example
2452 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2453 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2454 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2457 Grace sections should only be used within sequential music
2458 expressions. Nesting or juxtaposing grace sections is not
2459 supported, and might produce crashes or other errors.
2461 @node Aligning to cadenzas
2462 @subsubsection Aligning to cadenzas
2465 @cindex cadenza, aligning to
2466 @cindex aligning to cadenza
2468 In an orchestral context, cadenzas present a special problem: when
2469 constructing a score that includes a cadenza, all other
2470 instruments should skip just as many notes as the length of the
2471 cadenza, otherwise they will start too soon or too late.
2473 A solution to this problem is to use the functions
2474 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2475 functions take a piece of music as argument, and generate a multi-rest
2476 or @code{\skip}, exactly as long as the piece. The use of
2477 @code{mmrest-of-length} is demonstrated in the following example.
2479 @lilypond[verbatim,ragged-right,quote]
2480 cadenza = \relative c' {
2481 c4 d8 << { e f g } \\ { d4. } >>
2486 \new Staff { \cadenza c'4 }
2488 #(ly:export (mmrest-of-length cadenza))
2496 Snippets: @lsrdir{Rhythms,Rhythms}
2499 @node Time administration
2500 @subsubsection Time administration
2502 @cindex time administration
2503 @cindex timing (within the score)
2504 @cindex music, unmetered
2505 @cindex unmetered music
2507 @funindex currentBarNumber
2508 @funindex measurePosition
2509 @funindex measureLength
2511 Time is administered by the @code{Timing_translator}, which by
2512 default is to be found in the @code{Score} context. An alias,
2513 @code{Timing}, is added to the context in which the
2514 @code{Timing_translator} is placed.
2516 The following properties of @code{Timing} are used
2517 to keep track of timing within the score.
2520 @cindex measure number
2523 @item currentBarNumber
2524 The current measure number. For an example showing the
2525 use of this property see @ref{Bar numbers}.
2528 The length of the measures in the current time signature. For a
2529 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2530 determines when bar lines are inserted and how automatic beams
2531 should be generated.
2533 @item measurePosition
2534 The point within the measure where we currently are. This
2535 quantity is reset by subtracting @code{measureLength} whenever
2536 @code{measureLength} is reached or exceeded. When that happens,
2537 @code{currentBarNumber} is incremented.
2540 If set to true, the above variables are updated for every time
2541 step. When set to false, the engraver stays in the current
2542 measure indefinitely.
2546 Timing can be changed by setting any of these variables
2547 explicitly. In the next example, the default 4/4 time
2548 signature is printed, but @code{measureLength} is set to 5/4.
2549 At 4/8 through the third measure, the @code{measurePosition} is
2550 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2551 The next bar line then falls at 9/8 rather than 5/4.
2553 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2554 \set Score.measureLength = #(ly:make-moment 5 4)
2558 \set Score.measurePosition = #(ly:make-moment 5 8)
2564 As the example illustrates, @code{ly:make-moment n m} constructs a
2565 duration of n/m of a whole note. For example,
2566 @code{ly:make-moment 1 8} is an eighth note duration and
2567 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2573 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2575 Snippets: @lsrdir{Rhythms,Rhythms}
2577 Internals Reference: @internalsref{Timing_translator},
2578 @internalsref{Score}