1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
15 This section discusses rhythms, durations, and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
45 When entering notes, durations are designated by numbers and dots:
46 durations are entered as their reciprocal values. For example, a
47 quarter note is entered using a @code{4} (since it is a 1/4 note),
48 while a half note is entered using a @code{2} (since it is a 1/2
49 note). For notes longer than a whole you must use the
50 @code{\longa} (a double breve) and @code{\breve} commands. Note
51 durations as short as 64th notes may be specified. Shorter values
52 are possible, but only as beamed notes.
54 @c Two 64th notes are needed to obtain beams
55 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
62 and the same durations with automatic beaming turned off
63 see @ref{Automatic beams}:
65 @c not strictly "writing rhythms"; more of a "displaying" thing,
66 @c but it's ok here. -gp
67 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
74 If the duration is omitted then it is set to the previously
75 entered duration. The default for the first note is a quarter
78 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
85 To obtain dotted note lengths, simply add a dot (@code{.}) to the
86 number. Double-dotted notes are produced in a similar way.
88 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
89 a4 b c4. b8 a4. b4.. c8.
92 Some durations cannot be entered using only binary durations
93 and dots, and can only be represented by tying two or more
94 notes together. Tied notes are covered in @ref{Ties}.
98 Dots are normally moved up to avoid staff lines, except in
99 polyphonic situations. The following commands may be used to
100 force a particular direction manually:
106 @funindex \dotsNeutral
109 For ways of specifying durations for the syllables of lyrics and
110 ways of aligning lyrics to notes see @ref{Vocal music}.
112 A note with the duration of a quadruple breve may be entered with
113 @code{\maxima}, but this is supported only within ancient music
114 notation; see @ref{Ancient notation}.
116 Optionally, notes can be spaced proportionately to their duration.
117 For details of this and other settings which control proportional
118 notation see @ref{Proportional notation}.
123 Music Glossary: @rglos{breve}, @rglos{longa}.
125 Notation Reference: @ref{Writing rests}, @ref{Vocal music},
126 @ref{Ancient notation}, @ref{Proportional notation}.
128 Snippets: @lsrdir{rhythms}
130 Internals Reference: @internalsref{Dots},
131 @internalsref{DotColumn}.
136 @c duplicated in Durations and Rests. -gp
137 There is no fundamental limit to note durations (both in terms of
138 longest and shortest), but the number of glyphs is limited: there
139 are flags up to 64th and rests up to 128th. At the other extreme,
140 there are note heads up to longa (4x whole note) and rests up to
141 maxima (8 x whole). Since beams can be stacked without needing
142 extra glyphs, beamed notes can be arbitrarily short.
147 @unnumberedsubsubsec Tuplets
153 @c TODO Add Tuplet to glossary
155 Tuplets are made out of a music expression by multiplying all
156 durations with a fraction:
159 \times @var{fraction} @var{musicexpr}
163 The duration of @var{musicexpr} will be multiplied by the
164 fraction. The fraction's denominator will be printed over or
165 under the notes, optionally with a bracket. The most common
166 tuplet is the triplet in which 3 notes have the length of 2, so
167 the notes are 2/3 of their written length.
169 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
170 g4 \times 2/3 {c4 c c} d4 d4
173 Tuplets may be nested, for example,
175 @lilypond[fragment,ragged-right,verbatim,relative=2]
178 \times 3/5 { a a a a a }
186 @funindex \tupletDown
188 @funindex \tupletNeutral
189 @code{\tupletNeutral}.
194 @funindex tupletNumberFormatFunction
195 @cindex tuplet formatting
197 The property @code{tupletSpannerDuration} specifies how long each
198 bracket should last. With this, you can make lots of tuplets
199 while typing @code{\times} only once, thus saving lots of typing.
200 In the next example, there are two triplets shown, while
201 @code{\times} was only used once.
203 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
204 \set tupletSpannerDuration = #(ly:make-moment 1 4)
205 \times 2/3 { c8 c c c c c }
209 For more information about @code{make-moment}, see
210 @ref{Time administration}.
212 The format of the number is determined by the property @code{text}
213 in @code{TupletNumber}. The default prints only the denominator,
214 but if the property is set with @code{\override
215 TupletNumber #'text = #tuplet-number::calc-fraction-text},
216 @var{num}:@var{den} will be printed instead.
218 To print tuplets without tuplet numbers, use
219 @code{\override TupletNumber #'transparent = ##t}:
221 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
222 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
223 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
224 \times 2/3 { c8 c c }
225 \override TupletNumber #'transparent = ##t
226 \times 2/3 { c8 c c }
229 To change the appearance of nested tuplets beginning at the same
230 music moment individually, the @code{\tweak} function must be used
231 (see @ref{Objects connected to the input}). In the following
232 example, @code{\tweak} specifies fraction text for the outer
233 @code{TupletNumber} and denominator text for the
234 @code{TupletNumber} of the first of the three inner tuplets.
236 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
237 \tweak #'text #tuplet-number::calc-fraction-text
239 \tweak #'text #tuplet-number::calc-denominator-text
240 \times 2/3 { c8[ c8 c8] }
241 \times 2/3 { c8[ c8 c8] }
242 \times 2/3 { c8[ c8 c8] }
246 @c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
247 @c It *should* be explained why \tweak must be used here, and why
248 @c \override doesn't work. I've made an attempt, but I'm not sure
249 @c if it is factually correct to say that \tweak must be used.
250 In the next example, @code{\tweak} and @code{\override} work
251 together to specify @code{TupletBracket} direction. The first
252 @code{\tweak} positions the @code{TupletBracket} of the outer
253 tuplet above the staff. The second @code{\tweak} positions the
254 @code{TupletBracket} of the first of the three inner tuplets below
255 the staff. Note that the @code{\tweak} function affects only
256 events that begin at the same music moment: the outer tuplet and
257 the first of the three inner tuplets. To position the
258 @code{TupletBrackets} of the second and third of the inner tuplets
259 below the staff, we use @code{\override} in the usual way.
261 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
262 \tweak #'text #tuplet-number::calc-fraction-text
263 \tweak #'direction #up
265 \tweak #'direction #down
266 \times 2/3 { c8[ c8 c8] }
267 \override TupletBracket #'direction = #down
268 \times 2/3 { c8[ c8 c8] }
269 \times 2/3 { c8[ c8 c8] }
273 Tuplet brackets can be made to run to prefatory matter or the next
276 @lilypond[ragged-right,verbatim,quote]
278 \set tupletFullLength = ##t
279 \set tupletFullLengthNote = ##t
281 \times 2/3 { c4 c c }
282 \set tupletFullLengthNote = ##f
292 Tuplets which cross bar lines will prevent a line break at that
297 @code{\compressMusic} works similarly to \times, but does not
298 create a tuplet bracket; see @ref{Polymetric notation}.
300 FIXME: totally irrelevant link to real-music for
301 discussion/demonstration purposes.
303 Snippets: @lsrdir{rhythms},
304 @lsr{real-music,creating-music-with-scheme.ly}.
306 Internals Reference: @internalsref{TupletBracket},
307 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 You can alter the length of a duration by a fraction @var{N/M}
315 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
316 This will not affect the appearance of the notes or rests
317 produced, but the altered duration will be used in calculating the
318 position within the measure and setting the duration in the MIDI
319 output. Multiplying factors may be combined
322 In the following example, the first three notes take up exactly
323 two beats, but no triplet bracket is printed.
325 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
327 a4*2/3 gis4*2/3 a4*2/3
332 The duration of skip or spacing notes may also be modified by
333 a multiplier. This is useful for skipping many measures, e.g.,
338 This manual: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
340 Snippets: @lsrdir{rhythms}
343 @unnumberedsubsubsec Ties
348 A tie connects two adjacent note heads of the same pitch. The tie
349 in effect extends the length of a note.
351 @warning{Ties should not be confused with @emph{slurs}, which
352 indicate articulation, or @emph{phrasing slurs}, which indicate
353 musical phrasing. A tie is just a way of extending a note
354 duration, similar to the augmentation dot.}
356 A tie is entered using the tilde symbol @code{~}
358 @lilypond[quote,ragged-right,fragment,verbatim]
364 Ties are used either when the note crosses a bar line, or when
365 dots cannot be used to denote the rhythm. Ties should also be
366 used when note values cross larger subdivisions of the measure:
368 @lilypond[fragment,quote,ragged-right]
370 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
374 If you need to tie a lot of notes across bar lines, it may be
375 easier to use automatic note splitting (see @ref{Automatic note
376 splitting}). This mechanism automatically splits long notes, and
377 ties them across bar lines.
380 @cindex repeating ties
381 @cindex volta brackets and ties
383 When a tie is applied to a chord, all note heads whose pitches
384 match are connected. When no note heads match, no ties will be
385 created. Chords may be partially tied by placing the tie inside
388 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
390 <c~ e g~ b> <c e g b>
393 When a second alternative of a repeat starts with a tied note, you
394 have to repeat the tie. This can be achieved with
397 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
398 \repeat volta 2 { c g <c e>2 ~ }
399 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
402 @cindex Laissez vibrer
403 @cindex Ties, laissez vibrer
405 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
406 notes must not be damped at the end. It is used in notation for
407 piano, harp and other string and percussion instruments. They can
408 be entered using @code{\laissezVibrer}:
410 @lilypond[fragment,ragged-right,verbatim,relative=1]
411 <c f g>\laissezVibrer
414 The direction of a tie can be specified with @code{\tieUp} or
415 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
416 to the default behaviour again.
418 However, as with other music elements of this kind, there is a
419 convenient shorthand for forcing tie directions. By adding
420 @code{_} or @code{^} before the tilde, the direction is also set:
422 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
429 Snippets: @lsrdir{rhythms}
432 @internalsref{LaissezVibrerTie}
433 @internalsref{LaissezVibrerTieColumn}
436 @lsr{connecting,laissez-vibrer-ties.ly}
441 Ties are sometimes used to write out arpeggios. In this case, two
442 tied notes need not be consecutive. This can be achieved by
443 setting the @code{tieWaitForNote} property to true. The same
444 feature is also useful, for example, to tie a tremolo to a chord,
445 but in principle, it can also be used for ordinary, consecutive
448 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
449 \set tieWaitForNote = ##t
450 \grace { c16[~ e~ g]~ } <c, e g>2
451 \repeat tremolo 8 { c32~ c'~ } <c c,>1
452 e8~ c~ a~ f~ <e' c a f>2
453 \tieUp c8~ a \tieDown \tieDotted g~ c g2
456 Ties may be engraved manually by changing the
457 @code{tie-configuration} property of the @code{TieColumn} object.
458 The first number indicates the distance from the center of the
459 staff in staff-spaces, and the second number indicates the
460 direction (1=up, -1=down).
462 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
464 \override TieColumn #'tie-configuration =
465 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
477 @funindex \tieNeutral
491 Notation Reference: @ref{Automatic note splitting}.
493 Snippets: @lsrdir{rhythms}
495 Internals Reference: @internalsref{Tie}.
500 Switching staves when a tie is active will not produce a slanted
503 Changing clefs or octavations during a tie is not really
504 well-defined. In these cases, a slur may be preferable.
511 @subsection Writing rests
516 * Multi measure rests::
520 @unnumberedsubsubsec Rests
527 Rests are entered like notes with the note name @code{r}:
529 @c \time 16/1 is used to avoid spurious bar lines
530 @c and long tracts of empty measures
531 @lilypond[fragment,quote,ragged-right,verbatim]
534 \override Staff.TimeSignature #'stencil = ##f
536 r\longa r\breve r1 r2
541 Whole measure rests, centered in middle of the measure, must be entered as
542 multi-measure rests. They can be used for a single measure as well as
543 many measures and are discussed in @ref{Multi measure rests}.
545 To explicitly specify a rest's vertical position, write a note
546 followed by @code{\rest}. A rest will be placed in the position
547 where the note would appear. This allows for precise manual
548 formatting of polyphonic music, since the automatic rest collision
549 formatter will leave these rests alone.
551 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
558 Snippets: @lsrdir{rhythms}
560 Internals Reference: @internalsref{Rest}.
565 @c duplicated in Durations and Rests. -gp
566 There is no fundamental limit to note durations (both in terms of
567 longest and shortest), but the number of glyphs is limited: there
568 are flags up 64th and rests up to 128th. At the other extreme,
569 there are note heads up to longa (4x whole note) and rests up to
570 maxima (8 x whole). Since beams can be stacked without needing
571 extra glyphs, beamed notes can be arbitrarily short.
575 @unnumberedsubsubsec Skips
578 @cindex Invisible rest
583 An invisible rest (also called a @q{skip}) can be entered like a
584 note with note name @code{s} or with @code{\skip @var{duration}}
586 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
587 a4 a4 s4 a4 \skip 1 a4
590 The @code{s} syntax is only available in note mode and chord mode.
591 In other situations, for example, when entering lyrics, one must
592 use the @code{\skip} command:
594 @lilypond[quote,ragged-right,verbatim,relative=2]
597 \new Lyrics \lyricmode { \skip 2 bla2 }
601 The skip command is merely an empty musical placeholder. It does
602 not produce any output, not even transparent output.
604 The @code{s} skip command does create @internalsref{Staff} and
605 @internalsref{Voice} when necessary, similar to note and rest
606 commands. For example, the following results in an empty staff.
608 @lilypond[quote,verbatim]
611 @c with ragged-right, the staff lines are cut BEFORE the time
612 @c signature, which makes for a VERY empty staff
614 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
615 @c Misleading -- it doesn't produce anything, not even an empty page.
616 @c Ppl who want to make empty sheets will see this and wonder what's
621 Snippets: @lsrdir{rhythms}
623 Internals Reference: @internalsref{SkipMusic}.
626 @node Multi measure rests
627 @unnumberedsubsubsec Multi measure rests
629 @cindex multi measure rests
630 @cindex full measure rests
631 @cindex Rests, multi measure
632 @cindex Rests, full measure
633 @cindex whole rests for a full measure
636 Rests for one or more full measures are entered using @code{R}
637 followed by a duration (see @ref{Durations}). The duration should
638 correspond to an integral number of measures, otherwise a barcheck
639 warning is printed. Multi-measure rests are principally used to
640 indicate that a part in a multi-part score should be silent:
642 @lilypond[quote,fragment,verbatim,relative=2]
643 \set Score.skipBars = ##t
650 A multi-measure rest can be expanded in the printed score
651 to show all the rest measures explicitly, or, as above, it can be
652 condensed to a single measure
653 containing a multi-measure rest symbol, with the number of
654 measures of rest printed above the measure. This expansion
655 is controlled by the property @code{Score.skipBars}. If this is
656 set to true, empty measures will be condensed to a single measure.
658 @lilypond[quote,ragged-right,fragment,verbatim]
659 \time 4/4 r1 | R1 | R1*2 |
662 \set Score.skipBars = ##t
666 The @code{1} in @code{R1} is similar to the duration notation
667 used for notes and is the length of a measure in 2/2 or 4/4 time.
668 The duration in a multi-measure rest must always be an integral
669 number of measure-lengths, so in other time signatures augmentation
670 dots or fractions must be used:
672 @lilypond[quote,ragged-right,fragment,verbatim]
673 \set Score.skipBars = ##t
677 R1*13/8 | R1*13/8*12 |
682 An @code{R} spanning a single measure is printed as either a whole
683 or breve rest, centered in the measure, regardless of the time
686 If there are 10 or fewer measures of rest, LilyPond prints
687 @rglos{church rests} (a series of longa and breve rests)
689 prints a simple line otherwise. This default number of 10
690 may be changed by overriding
691 @code{MultiMeasureRest.expand-limit}.
693 @lilypond[quote,ragged-right,fragment,verbatim]
694 \set Score.skipBars = ##t
696 \override MultiMeasureRest #'expand-limit = 3
700 Note that unlike ordinary rests, the vertical position on the
701 staff of the multi-measure rest symbol of either form cannot be
704 @cindex text on multi-measure rest
705 @cindex script on multi-measure rest
706 @cindex fermata on multi-measure rest
708 Text can be added to multi-measure rests by using the
709 @var{note}-@code{markup} syntax described in @ref{Text markup}.
710 The variable @code{\fermataMarkup} is provided for adding
713 @lilypond[quote,ragged-right,verbatim,fragment]
714 \set Score.skipBars = ##t
716 R2.*10^\markup { \italic "ad lib." }
720 @warning{Text attached to a multi-measure rest is created
721 by @code{MultiMeasureRestText}, not
722 @code{TextScript}. Overrides must be directed to the correct
723 object, or they will be ignored. See the following example.}
725 @lilypond[quote,ragged-right,verbatim,fragment]
726 \override TextScript #'padding = #5
728 \override MultiMeasureRestText #'padding = #5
732 Text attached to a multi-measure rest will be centered above or
733 below it. Long text attached in this way does not cause the
734 measure to expand, and may collide with text in adjacent measures.
735 Long text is better attached to a zero-length skip note preceding
736 the rest, preceded by @code{\fatText} (turn off again with
737 @code{\emptyText}), since this will cause the measure to expand to
738 accommodate the length of the text:
740 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
741 \set Score.skipBars = ##t
743 s1*0^\markup {[MAJOR GENERAL]}
745 s1*0^\markup {[MABEL] }
746 s1*0_\markup {\italic {Cue: ... it is yours}}
748 c4^\markup {CHORUS} d f c
754 This manual: @ref{Text}, @ref{Text scripts}.
756 Snippets: @lsrdir{rhythms}
760 @internalsref{MultiMeasureRest}.
762 The layout object @internalsref{MultiMeasureRestNumber} is for the
763 default number, and @internalsref{MultiMeasureRestText} for user
769 If an attempt is made to use fingerings (e.g.,
770 @code{R1*10-4}) to put numbers over multi-measure rests, the
771 fingering numeral (4) may collide with the bar counter
774 @cindex condensing rests
776 There is no way to automatically condense multiple rests into a
777 single multi-measure rest. Multi-measure rests do not take part
780 Be careful when entering multi-measure rests followed by whole
781 notes. The following will enter two notes lasting four measures
789 @node Displaying rhythms
790 @subsection Displaying rhythms
796 * Polymetric notation::
797 * Automatic note splitting::
801 @unnumberedsubsubsec Time signature
803 @cindex Time signature
807 The time signature is set with the @code{\time} command:
809 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
810 \time 2/4 c2 \time 3/4 c2.
815 The symbol that is printed can be customized with the @code{style}
816 property. Setting it to @code{#'()} uses fraction style for 4/4
819 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
822 \override Staff.TimeSignature #'style = #'()
827 A time signature symbol is normally printed whenever the time
828 signature changes. If this takes place at the end of a line a
829 warning time signature sign is printed at the end of the line and
830 again at the start of a new line. This default behaviour can be
831 modified by setting the value of the @code{break-visibility}
832 property. This takes three values which may be set to @code{#t}
833 or @code{#f} to specify whether the corresponding time signature
834 is visible or not. The order of the three values is @code{end of
835 line visible}, @code{middle of line visible}, @code{beginning of
838 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
839 % Do not print any time signatures at end of line
840 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
843 % Do not print the following 9/8 time signature
844 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
852 There are many more options for its layout. See @ref{Ancient time
853 signatures}, for more examples.
855 @code{\time} sets the properties @code{timeSignatureFraction},
856 @code{beatLength}, and @code{measureLength} in the @code{Timing}
857 context, which is normally aliased to @internalsref{Score}. The
858 property @code{measureLength} determines where bar lines should be
859 inserted, and how automatic beams should be generated. Changing
860 the value of @code{timeSignatureFraction} also causes the symbol
863 @cindex Measure groupings
865 More options are available through the Scheme function
866 @code{set-time-signature}, which takes three arguments: the number
867 of beats, the beat length, and the internal grouping of beats in
868 the measure. If the @internalsref{Measure_grouping_engraver} is
869 included, the function will also create
870 @internalsref{MeasureGrouping} signs. Such signs ease reading
871 rhythmically complex modern music. In the following example, the
872 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
873 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
875 @lilypond[quote,ragged-right,verbatim]
878 #(set-time-signature 9 8 '(2 2 2 3))
879 g8[ g] d[ d] g[ g] a8[( bes g]) |
880 #(set-time-signature 5 8 '(3 2))
886 \consists "Measure_grouping_engraver"
895 Snippets: @lsrdir{rhythms}
897 Internals Reference: @internalsref{TimeSignature}, and
898 @internalsref{Timing_translator}.
900 Examples: @lsr{contemporary,compound-time-signature.ly}.
905 Automatic beaming does not use the measure grouping specified with
906 @code{set-time-signature}.
910 @unnumberedsubsubsec Upbeats
914 @cindex partial measure
915 @cindex measure, partial
916 @cindex pickup measure
917 @cindex shorten measures
920 Partial or pickup measures, such as an anacrusis or upbeat, are
921 entered using the @code{\partial} command, with the syntax
924 \partial @var{duration}
927 where @code{duration} is the rhythmic length to be added before
930 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
931 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
934 Internally, this is translated into
937 \set Timing.measurePosition = -@var{length of duration}
940 The property @code{measurePosition} contains a rational number
941 indicating how much of the measure has passed at this point. Note
942 that this is a negative number; @code{\partial 4} is internally
943 translated to mean @qq{there is a quarter note left in the bar.}
948 This command does not take into account grace notes at the start
949 of the music. When a piece starts with grace notes in the
950 pickup, then the @code{\partial} should follow the grace notes:
952 @lilypond[verbatim,quote,ragged-right,relative,fragment]
959 @code{\partial} is only intended to be used at the beginning of a
960 piece. If you use it after the beginning, some odd warnings may
965 Snippets: @lsrdir{rhythms}
967 @node Unmetered music
968 @unnumberedsubsubsec Unmetered music
972 @funindex \cadenzaOff
974 Bar lines and bar numbers are calculated automatically. For
975 unmetered music (cadenzas, for example), this is not desirable.
976 To turn off automatic bar lines and bar numbers, use the commands
977 @code{\cadenzaOn} and @code{\cadenzaOff}.
979 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
991 LilyPond will only insert line breaks and page breaks at a
992 bar line. Unless the unmetered music ends before the end of the
993 staff line, you will need to insert invisible bar lines with
1000 to indicate where breaks can occur.
1004 Snippets: @lsrdir{rhythms}
1007 @node Polymetric notation
1008 @unnumberedsubsubsec Polymetric notation
1010 @cindex double time signatures
1011 @cindex signatures, polymetric
1012 @cindex polymetric signatures
1013 @cindex meter, polymetric
1015 Double time signatures are not supported explicitly, but they can
1016 be faked. In the next example, the markup for the time signature
1017 is created with a markup text. This markup text is inserted in
1018 the @internalsref{TimeSignature} grob. See also
1019 @lsr{contemporary,compound-time-signature}.
1021 @lilypond[verbatim,ragged-right]
1023 tsMarkup = \markup {
1024 \override #'(baseline-skip . 2) \number {
1027 \bracket \column { "5" "8" }
1032 \override Staff.TimeSignature #'stencil =
1033 #ly:text-interface::print
1034 \override Staff.TimeSignature #'text = #tsMarkup
1036 c'2 \bar ":" c'4 c'4.
1040 Each staff can also have its own time signature. This is done by
1041 moving the @internalsref{Timing_translator} to the
1042 @internalsref{Staff} context.
1044 @lilypond[quote,verbatim,ragged-right]
1048 \remove "Timing_translator"
1049 \remove "Default_bar_line_engraver"
1053 \consists "Timing_translator"
1054 \consists "Default_bar_line_engraver"
1057 %Now, each staff has its own time signature.
1070 c4. c8 c c c4. c8 c c
1076 A different form of polymetric notation is where note lengths have
1077 different values across staves, but the measures are all the same
1080 This notation can be created by setting a common time signature
1081 for each staff but replacing it manually using
1082 @code{timeSignatureFraction} to the desired fraction. Then the
1083 printed durations in each staff are scaled to the common time
1084 signature. The latter is done with @code{\compressMusic}, which
1085 is used in a similar way to @code{\times}, but does not create
1086 a tuplet bracket. The syntax is
1087 @funindex \compressMusic
1091 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1096 In this example, music with the time signatures of 3/4, 9/8, and
1097 10/8 are used in parallel. In the second staff, shown durations
1098 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1099 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1102 @lilypond[quote,ragged-right,verbatim,fragment]
1110 \set Staff.timeSignatureFraction = #'(9 . 8)
1111 \compressMusic #'(2 . 3)
1112 \repeat unfold 6 { c8[ c c] }
1116 \set Staff.timeSignatureFraction = #'(10 . 8)
1117 \compressMusic #'(3 . 5) {
1118 \repeat unfold 2 { c8[ c c] }
1119 \repeat unfold 2 { c8[ c] }
1120 | c4. c4. \times 2/3 { c8 c c } c4
1129 When using different time signatures in parallel, the spacing is
1130 aligned vertically, but bar lines distort the regular spacing.
1134 Snippets: @lsrdir{rhythms}
1137 @node Automatic note splitting
1138 @unnumberedsubsubsec Automatic note splitting
1140 Long notes which overrun bar lines can be converted automatically
1141 to tied notes. This is done by replacing the
1142 @internalsref{Note_heads_engraver} by the
1143 @internalsref{Completion_heads_engraver}. In the following
1144 examples, notes crossing the bar line are split and tied.
1146 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1148 \remove "Note_heads_engraver"
1149 \consists "Completion_heads_engraver"
1151 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1155 This engraver splits all running notes at the bar line, and
1156 inserts ties. One of its uses is to debug complex scores: if the
1157 measures are not entirely filled, then the ties exactly show how
1158 much each measure is off.
1160 If you want to allow line breaking on the bar lines where
1161 @internalsref{Completion_heads_engraver} splits notes, you must
1162 also remove @internalsref{Forbid_line_break_engraver}.
1167 Not all durations (especially those containing tuplets) can be
1168 represented exactly with normal notes and dots, but the engraver
1169 will not insert tuplets.
1171 @code{Completion_heads_engraver} only affects notes; it does not
1177 Snippets: @lsrdir{rhythms}
1179 Internals Reference: @internalsref{Completion_heads_engraver},
1180 @internalsref{Forbid_line_break_engraver}.
1191 * Setting automatic beam behavior::
1195 @node Automatic beams
1196 @unnumberedsubsubsec Automatic beams
1198 By default beams are inserted automatically:
1200 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1202 \time 6/8 c c c c8. c16 c8
1205 If these automatic decisions are not satisfactory, beaming can be
1206 entered explicitly; see @ref{Manual beams}. It is also possible
1207 to define beaming patterns that differ from the defaults; see
1208 @ref{Setting automatic beam behavior}. The default beaming rules
1209 are defined in @file{scm/@/auto@/-beam@/.scm}.
1215 Automatic beaming may be turned off and on with
1216 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1218 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1219 c4 c8 c8. c16 c8. c16 c8
1229 Beaming patterns may be altered with the @code{beatGrouping} property,
1231 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1233 \set beatGrouping = #'(2 3)
1235 \set beatGrouping = #'(3 2)
1239 The property @code{subdivideBeams} can be set in order to
1240 subdivide all 16th or shorter beams. When set, multiple beams
1241 will be sub-divided at beat positions, defined by the current
1242 value of @code{beatLength} (defaults to a quarter note), by
1243 drawing only one beam over the beat.
1245 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1247 \set subdivideBeams = ##t
1249 \set Score.beatLength = #(ly:make-moment 1 8)
1251 \set Score.beatLength = #(ly:make-moment 1 16)
1254 @funindex subdivideBeams
1257 For more information about @code{make-moment}, see
1258 @ref{Time administration}.
1262 Line breaks are normally forbidden when beams cross bar lines.
1263 This behavior can be changed by setting the @code{breakable}
1264 property: @code{\override Beam #'breakable = ##t}.
1266 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1267 \override Beam #'breakable = ##t
1268 c8 \repeat unfold 15 {c[ c] } c
1271 @cindex beams and line breaks
1272 @cindex beams, kneed
1274 @cindex auto-knee-gap
1276 Kneed beams are inserted automatically when a large gap is
1277 detected between the note heads. This behavior can be tuned
1278 through the @code{auto-knee-gap} property. A kneed beam is
1279 drawn if the gap is larger than the value of
1280 @code{auto-knee-gap} plus the width of the beam object (which
1281 depends on the duration of the notes and the slope of the beam).
1282 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1284 @lilypond[fragment,ragged-right,quote,verbatim]
1286 \override Beam #'auto-knee-gap = #6
1293 Snippets: @lsrdir{rhythms}
1295 Internals Reference: @internalsref{Beam}.
1300 Automatically kneed cross-staff beams cannot be used together with
1301 hidden staves. See @ref{Hiding staves}.
1303 Beams can collide with noteheads and accidentals in other voices
1306 @node Setting automatic beam behavior
1307 @unnumberedsubsubsec Setting automatic beam behavior
1309 @funindex autoBeamSettings
1310 @funindex (end * * * *)
1311 @funindex (begin * * * *)
1312 @cindex automatic beams, tuning
1313 @cindex tuning automatic beaming
1315 @c [TODO: use \applyContext]
1317 In normal time signatures, automatic beams can start on any note
1318 but can only end in a few positions within the measure: beams can
1319 end on a beat, or at durations specified by the properties in
1320 @code{autoBeamSettings}. The properties in
1321 @code{autoBeamSettings} consist of a list of rules for where beams
1322 can begin and end. The default @code{autoBeamSettings} rules are
1323 defined in @file{scm/@/auto@/-beam@/.scm}.
1325 In order to add a rule to the list, use
1327 #(override-auto-beam-setting '(be p q n m) a b [context])
1332 @item @code{be} is either @code{begin} or @code{end}.
1334 @item @code{p/q} is the duration of the note for which you want
1335 to add a rule. A beam is considered to have the duration of its
1336 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1337 have this apply to any beam.
1339 @item @code{n/m} is the time signature to which
1340 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1341 to have this apply in any time signature.
1343 @item @code{a/b} is the position in the bar at which the beam should
1346 @item @code{context} is optional, and it specifies the context at which
1347 the change should be made. The default is @code{'Voice}.
1349 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1350 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1354 For example, if automatic beams should always end on the first quarter
1358 #(override-auto-beam-setting '(end * * * *) 1 4)
1361 You can force the beam settings to only take effect on beams whose shortest
1362 note is a certain duration
1364 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1366 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1368 a32 a a a a16 a a a a a |
1369 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1370 a32 a a a a16 a a a a a |
1373 You can force the beam settings to only take effect in certain time
1376 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1378 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1386 You can also remove a previously set beam-ending rule by using
1389 #(revert-auto-beam-setting '(be p q n m) a b [context])
1393 be, p, q, n, m, a, b and context are the same as above. Note that the
1394 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1395 so you can revert rules that you did not explicitly create.
1397 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1399 a16 a a a a a a a a a a a a a a a
1400 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1401 a16 a a a a a a a a a a a a a a a
1404 The rule in a revert-auto-beam-setting statement must exactly match the
1405 original rule. That is, no wildcard expansion is taken into account.
1407 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1409 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1411 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1413 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1419 @c TODO: old material -- not covered by above stuff, I think.
1420 If automatic beams should end on every quarter in 5/4 time, specify
1423 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1424 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1425 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1426 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1430 The same syntax can be used to specify beam starting points. In this
1431 example, automatic beams can only end on a dotted quarter note
1433 #(override-auto-beam-setting '(end * * * *) 3 8)
1434 #(override-auto-beam-setting '(end * * * *) 1 2)
1435 #(override-auto-beam-setting '(end * * * *) 7 8)
1437 In 4/4 time signature, this means that automatic beams could end only on
1438 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1439 3/8, has passed within the measure).
1441 If any unexpected beam behaviour occurs, check the default automatic beam
1442 settings in @file{scm/@/auto@/-beam@/.scm}
1443 for possible interference, because the beam
1444 endings defined there will still apply on top of your own overrides. Any
1445 unwanted endings in the default vales must be reverted for your time
1448 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1452 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1453 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1454 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1455 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1458 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1459 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1460 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1463 @cindex automatic beam generation
1465 @funindex autoBeaming
1468 If beams are used to indicate melismata in songs, then automatic
1469 beaming should be switched off with @code{\autoBeamOff}.
1474 @funindex \autoBeamOff
1475 @code{\autoBeamOff},
1476 @funindex \autoBeamOn
1482 If a score ends while an automatic beam has not been ended and is
1483 still accepting notes, this last beam will not be typeset at all.
1484 The same holds for polyphonic voices, entered with @code{<<
1485 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1486 automatic beam is still accepting notes, it is not typeset.
1490 Snippets: @lsrdir{rhythms}
1494 @unnumberedsubsubsec Manual beams
1496 @cindex beams, manual
1498 In some cases it may be necessary to override the automatic
1499 beaming algorithm. For example, the autobeamer will not put beams
1500 over rests or bar lines, and in choral scores the beaming is
1501 often set to follow the meter of the lyrics rather than the
1502 notes. Such beams can be specified manually by
1503 marking the begin and end point with @code{[} and @code{]}
1505 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1507 r4 r8[ g' a r8] r8 g[ | a] r8
1512 Individual notes may be marked with @code{\noBeam} to prevent them
1515 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1516 \time 2/4 c8 c\noBeam c c
1522 @funindex stemLeftBeamCount
1523 @funindex stemRightBeamCount
1525 Even more strict manual control with the beams can be achieved by
1526 setting the properties @code{stemLeftBeamCount} and
1527 @code{stemRightBeamCount}. They specify the number of beams to
1528 draw on the left and right side, respectively, of the next note.
1529 If either property is set, its value will be used only once, and
1530 then it is erased. In this example, the last @code{f} is printed
1531 with only one beam on the left side, i.e. the eigth-note beam of
1532 the group as a whole.
1534 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1538 \set stemLeftBeamCount = #1
1546 @cindex beams, feathered
1547 @funindex \featherDurations
1549 Feathered beams are used to indicate that a small group of notes
1550 should be played at an increasing (or decreasing) tempo, without
1551 changing the overall tempo of the piece. The extent of the
1552 feathered beam must be indicated manually using @code{[} and
1553 @code{]}, and the beam feathering is turned on by specifying a
1554 direction to the Beam property @code{grow-direction}.
1556 If the placement of the notes and the sound in the MIDI output
1557 is to reflect the ritardando or accelerando indicated by the
1558 feathered beam the notes must be grouped as a
1559 music expression delimited by braces and preceded by a
1560 @code{featheredDurations} command which specifies the ratio
1561 between the durations of the first and last notes in the group.
1564 show the extent of the beam and the braces show
1565 which notes are to have their durations modified. Normally
1566 these would delimit the same group of notes, but this is not
1567 required: the two commands are independent.
1569 In the following example the eight 16th notes occupy exactly
1570 the same time as a half note, but the first note is twice
1571 as short as the last one, with the intermediate notes gradually
1572 lengthening. The first four 32nd notes gradually speed up,
1573 while the last four 32nd notes are at a constant tempo.
1575 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1576 \override Beam #'grow-direction = #LEFT
1577 \featherDurations #(ly:make-moment 2 1)
1578 { c16[ c c c c c c c] }
1579 \override Beam #'grow-direction = #RIGHT
1580 \featherDurations #(ly:make-moment 2 3)
1582 % revert to non-feathered beams
1583 \override Beam #'grow-direction = #'()
1588 The spacing in the printed output represents the
1589 note durations only approximately, but the midi output is exact.
1593 The @code{\featherDurations} command only works with very short
1594 music snippets, and when numbers in the fraction are small.
1598 Snippets: @lsrdir{rhythms}
1609 * Bar and bar number checks::
1614 @unnumberedsubsubsec Bar lines
1618 @cindex measure lines
1621 Bar lines delimit measures, and are also used to indicate
1622 repeats. Normally, simple bar lines are automatically inserted
1623 into the printed output at places based on the current time
1626 The simple bar lines inserted automatically can be changed to
1627 other types with the @code{\bar} command. For example, a closing
1628 double bar line is usually placed at the end of a piece:
1630 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1634 @warning{An incorrect duration can lead to poorly formatted
1637 It is not invalid if the final note in a bar does not
1638 end on the automatically entered bar line: the note is assumed
1639 to carry over into the next bar. But if a long sequence
1640 of such carry-over bars appears the music can appear compressed
1641 or even flowing off the page. This is because automatic line
1642 breaks happen only at the end of complete bars, i.e. where
1643 the end of a note coincides with the end of a bar.
1645 Line breaks are also permitted at manually inserted bar lines
1646 even within incomplete bars. To allow a line break without
1647 printing a bar line, use
1654 This will insert an invisible bar line and allow (but not
1655 force) a line break to occur at this point. The bar number
1656 counter is not increased. To force a line break see
1657 @ref{Line breaking}.
1659 This and other special bar lines may be inserted manually at any
1660 point. When they coincide with the end of a bar they replace
1661 the simple bar line which would have been inserted there
1662 automatically. When they do not coincide
1663 with the end of a bar the specified bar line is inserted at that
1664 point in the printed output. Such insertions do not affect
1665 the calculation and placement of subsequent automatic bar lines.
1667 The simple bar line and four types of double bar line are available
1668 for manual insertion:
1670 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1671 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1675 together with dotted and dashed bar lines:
1677 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1678 f1 \bar ":" g \bar "dashed" a
1682 and three types of repeat bar line:
1684 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1685 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1688 Although the bar line types signifying repeats may be inserted
1689 manually they do not in themselves cause LilyPond to recognise
1690 a repeated section. Such repeated sections are better entered
1691 using the various repeat commands (see @ref{Repeats}), which
1692 automatically print the appropriate bar lines.
1694 In addition, you can specify @code{"||:"}, which is equivalent to
1695 @code{"|:"} except at line breaks, where it gives a double bar
1696 line at the end of the line and a start repeat at the beginning of
1699 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1700 \override Score.RehearsalMark #'padding = #3
1708 In scores with many staves, a @code{\bar} command in one staff is
1709 automatically applied to all staves. The resulting bar lines are
1710 connected between different staves of a @code{StaffGroup},
1711 @code{PianoStaff}, or @code{GrandStaff}.
1713 @lilypond[quote,ragged-right,fragment,verbatim]
1721 \new Staff { \clef bass c4 g e g }
1723 \new Staff { \clef bass c2 c2 }
1731 @funindex defaultBarType
1733 The command @code{\bar }@var{bartype} is a shortcut for
1734 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1735 created whenever the @code{whichBar} property is
1738 The default bar type used for automatically inserted bar lines is
1739 @code{"|"}. This may be changed at any time
1740 with @code{\set Timing.defaultBarType = }@var{bartype}.
1744 Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
1746 Snippets: @lsrdir{rhythms}
1748 Internals Reference: @internalsref{BarLine} (created at
1749 @internalsref{Staff} level), @internalsref{SpanBar} (across
1750 staves), @internalsref{Timing_translator} (for Timing
1755 @unnumberedsubsubsec Bar numbers
1758 @cindex measure numbers
1759 @funindex currentBarNumber
1761 Bar numbers are typeset by default at the start of every line
1762 except the first line. The
1763 number itself is stored in the @code{currentBarNumber} property,
1764 which is normally updated automatically for every measure. It
1765 may also be set manually:
1767 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1770 \set Score.currentBarNumber = #50
1777 @funindex barNumberVisibility
1778 @cindex bar numbers, regular spacing
1780 Bar numbers can be typeset at regular intervals instead of just at
1781 the beginning of every line. To do this the default behaviour
1782 must be overridden to permit bar numbers to be printed at places
1783 other than the start of a line. This is controlled by the
1784 @code{break-visibility} property of @code{BarNumber}. This takes
1785 three values which may be set to @code{#t} or @code{#f} to specify
1786 whether the corresponding bar number is visible or not. The order
1787 of the three values is @code{end of line visible}, @code{middle of
1788 line visible}, @code{beginning of line visible}. In the following
1789 example bar numbers are printed at all possible places:
1791 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1792 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1793 \set Score.currentBarNumber = #11
1794 \bar "" % Permit first bar number to be printed
1800 @c All the rest of these examples will be added to LSR
1801 @c and moved into the Snippets. -gp
1804 and here the bar numbers are printed every two bars
1805 except at the end of the line:
1807 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1808 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1809 \set Score.currentBarNumber = #11
1810 \bar "" % Permit first bar number to be printed
1811 % Print a bar number every 2nd bar
1812 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1818 The size of the bar number may be changed. This is illustrated
1819 in the following example, which also shows how to enclose bar
1820 numbers in boxes and circles, and shows an alternative way
1821 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1823 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1824 % Prevent bar numbers at the end of a line and permit them elsewhere
1825 \override Score.BarNumber #'break-visibility
1826 = #end-of-line-invisible
1828 % Increase the size of the bar number by 2
1829 \override Score.BarNumber #'font-size = #2
1830 \repeat unfold 3 { c1 } \bar "|"
1832 % Draw a box round the following bar number(s)
1833 \override Score.BarNumber #'stencil
1834 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1835 \repeat unfold 3 { c1 } \bar "|"
1837 % Draw a circle round the following bar number(s)
1838 \override Score.BarNumber #'stencil
1839 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1840 \repeat unfold 4 { c1 } \bar "|."
1843 @cindex Bar number alignment
1845 Bar numbers by default are left-aligned to their parent object.
1846 This is usually the left edge of a line or, if numbers are printed
1847 within a line, the left bar line of the bar. The numbers may also
1848 be positioned directly on the bar line or right-aligned to the
1851 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1852 \set Score.currentBarNumber = #111
1853 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1854 % Increase the size of the bar number by 2
1855 \override Score.BarNumber #'font-size = #2
1856 % Print a bar number every 2nd bar
1857 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1859 % Centre-align bar numbers
1860 \override Score.BarNumber #'self-alignment-X = #0
1862 % Right-align bar numbers
1863 \override Score.BarNumber #'self-alignment-X = #-1
1867 Bar numbers can be removed entirely by removing the Bar number
1868 engraver from the score context.
1870 @lilypond[verbatim,ragged-right,quote]
1874 \remove "Bar_number_engraver"
1886 Snippets: @lsrdir{rhythms}
1888 Internals Reference: @internalsref{BarNumber}.
1890 Examples: @lsrdir{bar number}
1895 Bar numbers may collide with the top of the
1896 @internalsref{StaffGroup} bracket, if there is one. To solve
1897 this, the @code{padding} property of @internalsref{BarNumber} can
1898 be used to position the number correctly.
1900 Bar numbers may only be printed at bar lines; to print a bar
1901 number at the beginning of a piece, an empty bar line must be
1902 inserted there, and a value other than @code{1} must be placed
1903 in @code{currentBarNumber}:
1905 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1906 \set Score.currentBarNumber = #50
1915 @node Bar and bar number checks
1916 @unnumberedsubsubsec Bar and bar number checks
1919 @funindex barCheckSynchronize
1922 Bar checks help detect errors in the entered durations.
1923 A bar check may be entered using the bar symbol, @code{|},
1924 at any place where a bar line is expected to fall.
1925 If bar check lines are encountered at other places,
1926 a list of warnings is printed in the log file,
1927 showing the line numbers and lines
1928 in which the bar checks failed. In the next
1929 example, the second bar check will signal an error
1932 \time 3/4 c2 e4 | g2 |
1935 Bar checks can also be used in lyrics, for example
1940 Twin -- kle | Twin -- kle |
1944 An incorrect duration can result in a completely garbled score,
1945 especially if the score is polyphonic, so a good place to start
1946 correcting input is by scanning for failed bar checks and
1947 incorrect durations.
1950 @funindex pipeSymbol
1952 It is also possible to redefine the action taken when a bar check
1953 or pipe symbol, @code{|}, is encountered in the input, so that
1954 it does something other than a bar check. This is done by
1955 assigning a music expression to @code{pipeSymbol}.
1956 In the following example @code{|} is set to insert a double bar
1957 line wherever it appears in the input, rather than checking
1960 @lilypond[quote,ragged-right,verbatim]
1961 pipeSymbol = \bar "||"
1970 When copying large pieces of music, it can be helpful to check
1971 that the LilyPond bar number corresponds to the original that you
1972 are entering from. This can be checked with
1973 @code{\barNumberCheck}, for example,
1976 \barNumberCheck #123
1980 will print a warning if the @code{currentBarNumber} is not 123
1981 when it is processed.
1985 Snippets: @lsrdir{rhythms}
1988 @node Rehearsal marks
1989 @unnumberedsubsubsec Rehearsal marks
1991 @cindex Rehearsal marks
1994 To print a rehearsal mark, use the @code{\mark} command
1996 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2005 The letter@tie{}@q{I} is skipped in accordance with engraving
2006 traditions. If you wish to include the letter @q{I}, then use
2009 \set Score.markFormatter = #format-mark-alphabet
2012 The mark is incremented automatically if you use @code{\mark
2013 \default}, but you can also use an integer argument to set the
2014 mark manually. The value to use is stored in the property
2015 @code{rehearsalMark}.
2017 The style is defined by the property @code{markFormatter}. It is
2018 a function taking the current mark (an integer) and the current
2019 context as argument. It should return a markup object. In the
2020 following example, @code{markFormatter} is set to a pre-defined
2021 procedure. After a few measures, it is set to a procedure that
2022 produces a boxed number.
2024 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2025 \set Score.markFormatter = #format-mark-numbers
2028 \set Score.markFormatter = #format-mark-box-numbers
2034 The file @file{scm/@/translation@/-functions@/.scm} contains the
2035 definitions of @code{format-mark-numbers} (the default format),
2036 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2037 @code{format-mark-box-letters}. These can be used as inspiration
2038 for other formatting functions.
2040 You may use @code{format-mark-barnumbers},
2041 @code{format-mark-box-barnumbers}, and
2042 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2043 incremented numbers or letters.
2045 Other styles of rehearsal mark can be specified manually
2052 @code{Score.markFormatter} does not affect marks specified in this
2053 manner. However, it is possible to apply a @code{\markup} to the
2057 \mark \markup@{ \box A1 @}
2064 Music glyphs (such as the segno sign) may be printed inside a
2067 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2068 c1 \mark \markup { \musicglyph #"scripts.segno" }
2069 c1 \mark \markup { \musicglyph #"scripts.coda" }
2070 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2075 See @ref{The Feta font}, for a list of symbols which may be
2076 printed with @code{\musicglyph}.
2078 For common tweaks to the positioning of rehearsal marks, see
2083 Snippets: @lsrdir{rhythms}
2085 This manual: @ref{Text marks}.
2087 Internals Reference: @internalsref{RehearsalMark}.
2089 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2090 the definition of @code{format-mark-numbers} and
2091 @code{format-mark-letters}. They can be used as inspiration for
2092 other formatting functions.
2094 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2097 @node Special rhythmic concerns
2098 @subsection Special rhythmic concerns
2103 * Aligning to cadenzas::
2104 * Time administration::
2108 @unnumberedsubsubsec Grace notes
2113 @cindex appoggiatura
2114 @cindex acciaccatura
2116 Grace notes are ornaments that are written out. They are made with
2117 the @code{\grace} command. By prefixing this keyword to a music
2118 expression, a new one is formed, which will be printed in a
2119 smaller font and takes up no logical time in a measure.
2121 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2123 \grace { c16[ d16] } c2 c4
2126 Two special forms of the @code{\grace} command exist.
2127 An @emph{acciaccatura}, which should be played as very short,
2128 is denoted by a slurred small note with a slashed stem. The
2129 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2130 main note, is denoted as a slurred note in small print without
2131 a slash. They are entered with the commands @code{\acciaccatura}
2132 and @code{\appoggiatura}, as demonstrated in the following
2135 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2136 b4 \acciaccatura d8 c4
2138 \acciaccatura { g16[ f] } e4
2142 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2143 @code{\grace} does not.
2145 The placement of grace notes is synchronized between different
2146 staves. In the following example, there are two sixteenth grace
2147 notes for every eighth grace note
2149 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2150 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2151 \new Staff { c4 \grace { g8[ b] } c4 } >>
2154 @funindex \afterGrace
2156 If you want to end a note with a grace, use the @code{\afterGrace}
2157 command. It takes two arguments: the main note, and the grace
2158 notes following the main note.
2160 @lilypond[ragged-right, verbatim,relative=2,fragment]
2161 c1 \afterGrace d1 { c16[ d] } c4
2164 This will put the grace notes after a @q{space} lasting 3/4 of the
2165 length of the main note. The fraction 3/4 can be changed by
2166 setting @code{afterGraceFraction}, ie.
2169 #(define afterGraceFraction (cons 7 8))
2173 will put the grace note at 7/8 of the main note.
2175 The same effect can be achieved manually by doing
2177 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2180 { s2 \grace { c16[ d] } } >>
2186 By adjusting the duration of the skip note (here it is a
2187 half-note), the space between the main-note and the grace
2190 A @code{\grace} music expression will introduce special
2191 typesetting settings, for example, to produce smaller type, and
2192 set directions. Hence, when introducing layout tweaks, they
2193 should be inside the grace expression, for example,
2195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2207 The overrides should also be reverted inside the grace expression.
2209 The layout of grace expressions can be changed throughout the
2210 music using the function @code{add-grace-property}. The following
2211 example undefines the @code{Stem} direction for this grace, so
2212 that stems do not always point up.
2216 #(add-grace-property 'Voice 'Stem 'direction '())
2222 Another option is to change the variables @code{startGraceMusic},
2223 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2224 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2225 @code{stopAppoggiaturaMusic}. The default values of these can be
2226 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2227 them other effects may be obtained.
2230 The slash through the stem in @emph{acciaccatura}s can be obtained in
2231 other situations by @code{\override Stem #'stroke-style =
2237 Grace notes may be forced to use align with regular notes
2238 in other staves by setting @code{strict-grace-spacing} to
2241 @lilypond[relative=2,ragged-right]
2243 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2252 c'16[ c'16 c'16 c'16]
2253 c'16[ c'16 c'16 c'16]
2262 Snippets: @lsrdir{rhythms}
2264 Internals Reference: @internalsref{GraceMusic}.
2269 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2270 and looks exactly the same as a multi-note beamed
2271 @emph{appoggiatura}.
2272 @c TODO Add link to LSR snippet to add slash when available
2274 Grace note synchronization can also lead to surprises. Staff
2275 notation, such as key signatures, bar lines, etc., are also
2276 synchronized. Take care when you mix staves with grace notes and
2277 staves without, for example,
2279 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2280 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2281 \new Staff { c4 \bar "|:" d4 } >>
2285 This can be remedied by inserting grace skips of the corresponding
2286 durations in the other staves. For the above example
2288 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2289 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2290 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2293 Grace sections should only be used within sequential music
2294 expressions. Nesting or juxtaposing grace sections is not
2295 supported, and might produce crashes or other errors.
2297 @node Aligning to cadenzas
2298 @unnumberedsubsubsec Aligning to cadenzas
2300 In an orchestral context, cadenzas present a special problem: when
2301 constructing a score that includes a cadenza, all other
2302 instruments should skip just as many notes as the length of the
2303 cadenza, otherwise they will start too soon or too late.
2305 A solution to this problem are the functions
2306 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2307 functions take a piece of music as argument, and generate a
2308 multi-rest or @code{\skip}, exactly as long as the piece. The use
2309 of @code{mmrest-of-length} is demonstrated in the following
2312 @lilypond[verbatim,ragged-right,quote]
2313 cadenza = \relative c' {
2314 c4 d8 << { e f g } \\ { d4. } >>
2319 \new Staff { \cadenza c'4 }
2321 #(ly:export (mmrest-of-length cadenza))
2329 Snippets: @lsrdir{rhythms}
2332 @node Time administration
2333 @unnumberedsubsubsec Time administration
2335 @cindex Time administration
2337 @funindex currentBarNumber
2338 @funindex measurePosition
2339 @funindex measureLength
2341 Time is administered by the @code{Timing_translator}, which by
2342 default is to be found in the @code{Score} context. An alias,
2343 @code{Timing}, is added to the context in which the
2344 @code{Timing_translator} is placed.
2346 The following properties of @code{Timing} are used
2347 to keep track of timing within the score.
2350 @item currentBarNumber
2351 The current measure number. For an example showing the
2352 use of this property see @ref{Bar numbers}.
2355 The length of the measures in the current time signature. For a
2356 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2357 determines when bar lines are inserted and how automatic beams
2358 should be generated.
2360 @item measurePosition
2361 The point within the measure where we currently are. This
2362 quantity is reset by subtracting @code{measureLength} whenever
2363 @code{measureLength} is reached or exceeded. When that happens,
2364 @code{currentBarNumber} is incremented.
2367 If set to true, the above variables are updated for every time
2368 step. When set to false, the engraver stays in the current
2369 measure indefinitely.
2373 Timing can be changed by setting any of these variables
2374 explicitly. In the next example, the default 4/4 time
2375 signature is printed, but @code{measureLength} is set to 5/4.
2376 At 4/8 through the third measure, the @code{measurePosition} is
2377 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2378 The next bar line then falls at 9/8 rather than 5/4.
2380 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2381 \set Score.measureLength = #(ly:make-moment 5 4)
2385 \set Score.measurePosition = #(ly:make-moment 5 8)
2391 As the example illustrates, @code{ly:make-moment n m} constructs a
2392 duration of n/m of a whole note. For example,
2393 @code{ly:make-moment 1 8} is an eighth note duration and
2394 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2400 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2402 Snippets: @lsrdir{rhythms}
2404 Internals Reference: @internalsref{Timing_translator},
2405 @internalsref{Score}