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 (@samp{.}) 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 @c TODO: after deciding the link question, fix these. -gp
110 Durations are entered in the same way in @code{drummode},
111 @code{chordmode}, @code{figuremode}, and (optionally)
116 For ways of specifying durations for the syllables of lyrics
117 and ways of aligning lyrics to notes see @ref{Vocal music}.
119 For a description of how to enter rests see @ref{Writing rests}.
121 A note with the duration of a quadruple breve may be
122 entered with \maxima, but this is supported only within
123 ancient music notation; see @ref{Ancient notation}.
125 Optionally, notes can be spaced proportionately to their duration.
126 For details of this and other settings which control
127 proportional notation see @ref{Proportional notation}.
129 Snippets: @lsrdir{rhythms}
131 Internals Reference: @internalsref{Dots}, and
132 @internalsref{DotColumn}.
137 @c duplicated in Durations and Rests. -gp
138 There is no fundamental limit to note durations (both in terms of
139 longest and shortest), but the number of glyphs is limited: there
140 are flags up to 64th and rests up to 128th. At the other extreme,
141 there are note heads up to longa (4x whole note) and rests up to
142 maxima (8 x whole). Since beams can be stacked without needing
143 extra glyphs, beamed notes can be arbitrarily short.
148 @unnumberedsubsubsec Tuplets
154 @c TODO Add Tuplet to glossary
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 @funindex tupletNumberFormatFunction
196 @cindex tuplet formatting
198 The property @code{tupletSpannerDuration} specifies how long each
199 bracket should last. With this, you can make lots of tuplets
200 while typing @code{\times} only once, thus saving lots of typing.
201 In the next example, there are two triplets shown, while
202 @code{\times} was only used once.
204 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
205 \set tupletSpannerDuration = #(ly:make-moment 1 4)
206 \times 2/3 { c8 c c c c c }
210 For more information about @code{make-moment}, see
211 @ref{Time administration}.
213 The format of the number is determined by the property @code{text}
214 in @code{TupletNumber}. The default prints only the denominator,
215 but if the property is set with @code{\override
216 TupletNumber #'text = #tuplet-number::calc-fraction-text},
217 @var{num}:@var{den} will be printed instead.
219 To print tuplets without tuplet numbers, use
220 @code{\override TupletNumber #'transparent = ##t}:
222 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
223 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
224 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
225 \times 2/3 { c8 c c }
226 \override TupletNumber #'transparent = ##t
227 \times 2/3 { c8 c c }
230 To change the appearance of nested tuplets beginning at the same
231 music moment individually, the @code{\tweak} function must be used
232 (see @ref{Objects connected to the input}). In the following
233 example, @code{\tweak} specifies fraction text for the outer
234 @code{TupletNumber} and denominator text for the
235 @code{TupletNumber} of the first of the three inner tuplets.
237 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
238 \tweak #'text #tuplet-number::calc-fraction-text
240 \tweak #'text #tuplet-number::calc-denominator-text
241 \times 2/3 { c8[ c8 c8] }
242 \times 2/3 { c8[ c8 c8] }
243 \times 2/3 { c8[ c8 c8] }
247 @c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
248 @c It *should* be explained why \tweak must be used here, and why
249 @c \override doesn't work. I've made an attempt, but I'm not sure
250 @c if it is factually correct to say that \tweak must be used.
251 In the next example, @code{\tweak} and @code{\override} work
252 together to specify @code{TupletBracket} direction. The first
253 @code{\tweak} positions the @code{TupletBracket} of the outer
254 tuplet above the staff. The second @code{\tweak} positions the
255 @code{TupletBracket} of the first of the three inner tuplets below
256 the staff. Note that the @code{\tweak} function affects only
257 events that begin at the same music moment: the outer tuplet and
258 the first of the three inner tuplets. To position the
259 @code{TupletBrackets} of the second and third of the inner tuplets
260 below the staff, we use @code{\override} in the usual way.
262 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
263 \tweak #'text #tuplet-number::calc-fraction-text
264 \tweak #'direction #up
266 \tweak #'direction #down
267 \times 2/3 { c8[ c8 c8] }
268 \override TupletBracket #'direction = #down
269 \times 2/3 { c8[ c8 c8] }
270 \times 2/3 { c8[ c8 c8] }
274 Tuplet brackets can be made to run to prefatory matter or the next
277 @lilypond[ragged-right,verbatim,quote]
279 \set tupletFullLength = ##t
284 \set tupletFullLengthNote = ##t
296 Tuplets which cross bar lines will prevent a line break at that
301 @code{\compressMusic} works similarly to \times, but does not
302 create a tuplet bracket; see @ref{Polymetric notation}.
304 FIXME: totally irrelevant link to real-music for
305 discussion/demonstration purposes.
307 Snippets: @lsrdir{rhythms},
308 @lsr{real-music,creating-music-with-scheme.ly}.
310 Internals Reference: @internalsref{TupletBracket},
311 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
315 @node Scaling durations
316 @unnumberedsubsubsec Scaling durations
318 You can alter the length of a duration by a fraction @var{N/M}
319 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
320 This will not affect the appearance of the notes or rests
321 produced, but the altered duration will be used in calculating the
322 position within the measure and setting the duration in the MIDI
323 output. Multiplying factors may be combined
326 In the following example, the first three notes take up exactly
327 two beats, but no triplet bracket is printed.
329 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
331 a4*2/3 gis4*2/3 a4*2/3
336 The duration of skip or spacing notes may also be modified by
337 a multiplier. This is useful for skipping many measures, e.g.,
342 This manual: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
344 Snippets: @lsrdir{rhythms}
347 @unnumberedsubsubsec Ties
352 A tie connects two adjacent note heads of the same pitch. The tie
353 in effect extends the length of a note.
355 @warning{Ties should not be confused with @emph{slurs}, which
356 indicate articulation, or @emph{phrasing slurs}, which indicate
357 musical phrasing. A tie is just a way of extending a note
358 duration, similar to the augmentation dot.}
360 A tie is entered using the tilde symbol @code{~}
362 @lilypond[quote,ragged-right,fragment,verbatim]
368 Ties are used either when the note crosses a bar line, or when
369 dots cannot be used to denote the rhythm. Ties should also be
370 used when note values cross larger subdivisions of the measure:
372 @lilypond[fragment,quote,ragged-right]
374 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
378 If you need to tie a lot of notes across bar lines, it may be
379 easier to use automatic note splitting (see @ref{Automatic note
380 splitting}). This mechanism automatically splits long notes, and
381 ties them across bar lines.
384 @cindex repeating ties
385 @cindex volta brackets and ties
387 When a tie is applied to a chord, all note heads whose pitches
388 match are connected. When no note heads match, no ties will be
389 created. Chords may be partially tied by placing the tie inside
392 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
394 <c~ e g~ b> <c e g b>
397 When a second alternative of a repeat starts with a tied note, you
398 have to repeat the tie. This can be achieved with
401 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
402 \repeat volta 2 { c g <c e>2 ~ }
403 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
406 @cindex Laissez vibrer
407 @cindex Ties, laissez vibrer
409 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
410 notes must not be damped at the end. It is used in notation for
411 piano, harp and other string and percussion instruments. They can
412 be entered using @code{\laissezVibrer}:
414 @lilypond[fragment,ragged-right,verbatim,relative=1]
415 <c f g>\laissezVibrer
418 The direction of a tie can be specified with @code{\tieUp} or
419 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
420 to the default behaviour again.
422 However, as with other music elements of this kind, there is a
423 convenient shorthand for forcing tie directions. By adding
424 @code{_} or @code{^} before the tilde, the direction is also set:
426 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
433 Snippets: @lsrdir{rhythms}
436 @internalsref{LaissezVibrerTie}
437 @internalsref{LaissezVibrerTieColumn}
440 @lsr{connecting,laissez-vibrer-ties.ly}
445 Ties are sometimes used to write out arpeggios. In this case, two
446 tied notes need not be consecutive. This can be achieved by
447 setting the @code{tieWaitForNote} property to true. The same
448 feature is also useful, for example, to tie a tremolo to a chord,
449 but in principle, it can also be used for ordinary, consecutive
452 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
453 \set tieWaitForNote = ##t
454 \grace { c16[~ e~ g]~ } <c, e g>2
455 \repeat tremolo 8 { c32~ c'~ } <c c,>1
456 e8~ c~ a~ f~ <e' c a f>2
457 \tieUp c8~ a \tieDown \tieDotted g~ c g2
460 Ties may be engraved manually by changing the
461 @code{tie-configuration} property of the @code{TieColumn} object.
462 The first number indicates the distance from the center of the
463 staff in staff-spaces, and the second number indicates the
464 direction (1=up, -1=down).
466 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
468 \override TieColumn #'tie-configuration =
469 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
481 @funindex \tieNeutral
495 In this manual: @ref{Automatic note splitting}.
497 Snippets: @lsrdir{rhythms}
499 Internals Reference: @internalsref{Tie}.
504 Switching staves when a tie is active will not produce a slanted
507 Changing clefs or octavations during a tie is not really
508 well-defined. In these cases, a slur may be preferable.
515 @subsection Writing rests
520 * Multi measure rests::
524 @unnumberedsubsubsec Rests
531 Rests are entered like notes with the note name @code{r}:
533 @c \time 16/1 is used to avoid spurious bar lines
534 @c and long tracts of empty measures
535 @lilypond[fragment,quote,ragged-right,verbatim]
538 \override Staff.TimeSignature #'stencil = ##f
540 r\longa r\breve r1 r2
545 Whole measure rests, centered in middle of the measure, must be entered as
546 multi-measure rests. They can be used for a single measure as well as
547 many measures and are discussed in @ref{Multi measure rests}.
549 To explicitly specify a rest's vertical position, write a note
550 followed by @code{\rest}. A rest will be placed in the position
551 where the note would appear. This allows for precise manual
552 formatting of polyphonic music, since the automatic rest collision
553 formatter will leave these rests alone.
555 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
562 Snippets: @lsrdir{rhythms}
564 Internals Reference: @internalsref{Rest}.
569 @c duplicated in Durations and Rests. -gp
570 There is no fundamental limit to note durations (both in terms of
571 longest and shortest), but the number of glyphs is limited: there
572 are flags up 64th and rests up to 128th. At the other extreme,
573 there are note heads up to longa (4x whole note) and rests up to
574 maxima (8 x whole). Since beams can be stacked without needing
575 extra glyphs, beamed notes can be arbitrarily short.
579 @unnumberedsubsubsec Skips
582 @cindex Invisible rest
587 An invisible rest (also called a @q{skip}) can be entered like a
588 note with note name @code{s} or with @code{\skip @var{duration}}
590 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
591 a4 a4 s4 a4 \skip 1 a4
594 The @code{s} syntax is only available in note mode and chord mode.
595 In other situations, for example, when entering lyrics, one must
596 use the @code{\skip} command:
598 @lilypond[quote,ragged-right,verbatim,relative=2]
601 \new Lyrics \lyricmode { \skip 2 bla2 }
605 The skip command is merely an empty musical placeholder. It does
606 not produce any output, not even transparent output.
608 The @code{s} skip command does create @internalsref{Staff} and
609 @internalsref{Voice} when necessary, similar to note and rest
610 commands. For example, the following results in an empty staff.
612 @lilypond[quote,verbatim]
615 @c with ragged-right, the staff lines are cut BEFORE the time
616 @c signature, which makes for a VERY empty staff
618 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
619 @c Misleading -- it doesn't produce anything, not even an empty page.
620 @c Ppl who want to make empty sheets will see this and wonder what's
625 Snippets: @lsrdir{rhythms}
627 Internals Reference: @internalsref{SkipMusic}.
630 @node Multi measure rests
631 @unnumberedsubsubsec Multi measure rests
633 @cindex multi measure rests
634 @cindex full measure rests
635 @cindex Rests, multi measure
636 @cindex Rests, full measure
637 @cindex whole rests for a full measure
640 Rests for one or more full measures are entered using @code{R}
641 followed by a duration (see @ref{Durations}). The duration should
642 correspond to an integral number of measures, otherwise a barcheck
643 warning is printed. Multi-measure rests are principally used to
644 indicate that a part in a multi-part score should be silent:
646 @lilypond[quote,fragment,verbatim,relative=2]
647 \set Score.skipBars = ##t
654 A multi-measure rest can be expanded in the printed score
655 to show all the rest measures explicitly, or, as above, it can be
656 condensed to a single measure
657 containing a multi-measure rest symbol, with the number of
658 measures of rest printed above the measure. This expansion
659 is controlled by the property @code{Score.skipBars}. If this is
660 set to true, empty measures will be condensed to a single measure.
662 @lilypond[quote,ragged-right,fragment,verbatim]
663 \time 4/4 r1 | R1 | R1*2 |
666 \set Score.skipBars = ##t
670 The @code{1} in @code{R1} is similar to the duration notation
671 used for notes and is the length of a measure in 2/2 or 4/4 time.
672 The duration in a multi-measure rest must always be an integral
673 number of measure-lengths, so in other time signatures augmentation
674 dots or fractions must be used:
676 @lilypond[quote,ragged-right,fragment,verbatim]
677 \set Score.skipBars = ##t
681 R1*13/8 | R1*13/8*12 |
686 An @code{R} spanning a single measure is printed as either a whole
687 or breve rest, centered in the measure, regardless of the time
690 If there are 10 or fewer measures of rest, LilyPond prints
691 @rglos{church rests} (a series of longa and breve rests)
693 prints a simple line otherwise. This default number of 10
694 may be changed by overriding
695 @code{MultiMeasureRest.expand-limit}.
697 @lilypond[quote,ragged-right,fragment,verbatim]
698 \set Score.skipBars = ##t
700 \override MultiMeasureRest #'expand-limit = 3
704 Note that unlike ordinary rests, the vertical position on the
705 staff of the multi-measure rest symbol of either form cannot be
708 @cindex text on multi-measure rest
709 @cindex script on multi-measure rest
710 @cindex fermata on multi-measure rest
712 Text can be added to multi-measure rests by using the
713 @var{note}-@code{markup} syntax described in @ref{Text markup}.
714 The variable @code{\fermataMarkup} is provided for adding
717 @lilypond[quote,ragged-right,verbatim,fragment]
718 \set Score.skipBars = ##t
720 R2.*10^\markup { \italic "ad lib." }
724 @warning{Text attached to a multi-measure rest is created
725 by @code{MultiMeasureRestText}, not
726 @code{TextScript}. Overrides must be directed to the correct
727 object, or they will be ignored. See the following example.}
729 @lilypond[quote,ragged-right,verbatim,fragment]
730 \override TextScript #'padding = #5
732 \override MultiMeasureRestText #'padding = #5
736 Text attached to a multi-measure rest will be centered above or
737 below it. Long text attached in this way does not cause the
738 measure to expand, and may collide with text in adjacent measures.
739 Long text is better attached to a zero-length skip note preceding
740 the rest, preceded by @code{\fatText} (turn off again with
741 @code{\emptyText}), since this will cause the measure to expand to
742 accommodate the length of the text:
744 @lilypond[quote,ragged-right,verbatim,fragment]
745 \set Score.skipBars = ##t
747 s1*0^\markup {[MAJOR GENERAL]}
749 s1*0^\markup {[MABEL] }
750 s1*0_\markup {\italic {Cue: ... it is yours}}
752 s1^\markup {CHORUS} % Chorus notes would go here
759 This manual: @ref{Text}, @ref{Text scripts}.
761 Snippets: @lsrdir{rhythms}
765 @internalsref{MultiMeasureRest}.
767 The layout object @internalsref{MultiMeasureRestNumber} is for the
768 default number, and @internalsref{MultiMeasureRestText} for user
774 If an attempt is made to use fingerings (e.g.,
775 @code{R1*10-4}) to put numbers over multi-measure rests, the
776 fingering numeral (4) may collide with the bar counter
779 @cindex condensing rests
781 There is no way to automatically condense multiple rests into a
782 single multi-measure rest. Multi-measure rests do not take part
785 Be careful when entering multi-measure rests followed by whole
786 notes. The following will enter two notes lasting four measures
794 @node Displaying rhythms
795 @subsection Displaying rhythms
801 * Polymetric notation::
802 * Automatic note splitting::
803 * Setting automatic beam behavior::
807 @unnumberedsubsubsec Time signature
809 @cindex Time signature
813 The time signature is set with the @code{\time} command:
815 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
816 \time 2/4 c2 \time 3/4 c2.
821 The symbol that is printed can be customized with the @code{style}
822 property. Setting it to @code{#'()} uses fraction style for 4/4
825 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
828 \override Staff.TimeSignature #'style = #'()
833 A time signature symbol is normally printed whenever the time
834 signature changes. If this takes place at the end of a line a
835 warning time signature sign is printed at the end of the line and
836 again at the start of a new line. This default behaviour can be
837 modified by setting the value of the @code{break-visibility}
838 property. This takes three values which may be set to @code{#t}
839 or @code{#f} to specify whether the corresponding time signature
840 is visible or not. The order of the three values is @code{end of
841 line visible}, @code{middle of line visible}, @code{beginning of
844 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
845 % Do not print any time signatures at end of line
846 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
849 % Do not print the following 9/8 time signature
850 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
858 There are many more options for its layout. See @ref{Ancient time
859 signatures}, for more examples.
861 @code{\time} sets the properties @code{timeSignatureFraction},
862 @code{beatLength}, and @code{measureLength} in the @code{Timing}
863 context, which is normally aliased to @internalsref{Score}. The
864 property @code{measureLength} determines where bar lines should be
865 inserted, and how automatic beams should be generated. Changing
866 the value of @code{timeSignatureFraction} also causes the symbol
869 @cindex Measure groupings
871 More options are available through the Scheme function
872 @code{set-time-signature}, which takes three arguments: the number
873 of beats, the beat length, and the internal grouping of beats in
874 the measure. If the @internalsref{Measure_grouping_engraver} is
875 included, the function will also create
876 @internalsref{MeasureGrouping} signs. Such signs ease reading
877 rhythmically complex modern music. In the following example, the
878 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
879 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
881 @lilypond[quote,ragged-right,verbatim]
884 #(set-time-signature 9 8 '(2 2 2 3))
885 g8[ g] d[ d] g[ g] a8[( bes g]) |
886 #(set-time-signature 5 8 '(3 2))
892 \consists "Measure_grouping_engraver"
901 Snippets: @lsrdir{rhythms}
903 Internals Reference: @internalsref{TimeSignature}, and
904 @internalsref{Timing_translator}.
906 Examples: @lsr{contemporary,compound-time-signature.ly}.
911 Automatic beaming does not use the measure grouping specified with
912 @code{set-time-signature}.
916 @unnumberedsubsubsec Upbeats
920 @cindex partial measure
921 @cindex measure, partial
922 @cindex pickup measure
923 @cindex shorten measures
926 Partial or pickup measures, such as an anacrusis or upbeat, are
927 entered using the @code{\partial} command, with the syntax
930 \partial @var{duration}
933 where @code{duration} is the rhythmic length to be added before
936 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
937 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
940 Internally, this is translated into
943 \set Timing.measurePosition = -@var{length of duration}
946 The property @code{measurePosition} contains a rational number
947 indicating how much of the measure has passed at this point. Note
948 that this is a negative number; @code{\partial 4} is internally
949 translated to mean @qq{there is a quarter note left in the bar.}
954 This command does not take into account grace notes at the start
955 of the music. When a piece starts with grace notes in the
956 pickup, then the @code{\partial} should follow the grace notes:
958 @lilypond[verbatim,quote,ragged-right,relative,fragment]
965 @code{\partial} is only intended to be used at the beginning of a
966 piece. If you use it after the beginning, some odd warnings may
971 Snippets: @lsrdir{rhythms}
973 @node Unmetered music
974 @unnumberedsubsubsec Unmetered music
978 @funindex \cadenzaOff
980 Bar lines and bar numbers are calculated automatically. For
981 unmetered music (cadenzas, for example), this is not desirable.
982 To turn off automatic bar lines and bar numbers, use the commands
983 @code{\cadenzaOn} and @code{\cadenzaOff}.
985 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
997 LilyPond will only insert line breaks and page breaks at a
998 bar line. Unless the unmetered music ends before the end of the
999 staff line, you will need to insert invisible bar lines with
1006 to indicate where breaks can occur.
1010 Snippets: @lsrdir{rhythms}
1013 @node Polymetric notation
1014 @unnumberedsubsubsec Polymetric notation
1016 @cindex double time signatures
1017 @cindex signatures, polymetric
1018 @cindex polymetric signatures
1019 @cindex meter, polymetric
1021 Double time signatures are not supported explicitly, but they can
1022 be faked. In the next example, the markup for the time signature
1023 is created with a markup text. This markup text is inserted in
1024 the @internalsref{TimeSignature} grob. See also
1025 @lsr{contemporary,compound-time-signature}.
1027 @lilypond[verbatim,ragged-right]
1029 tsMarkup = \markup {
1030 \override #'(baseline-skip . 2) \number {
1033 \bracket \column { "5" "8" }
1038 \override Staff.TimeSignature #'stencil =
1039 #ly:text-interface::print
1040 \override Staff.TimeSignature #'text = #tsMarkup
1042 c'2 \bar ":" c'4 c'4.
1046 Each staff can also have its own time signature. This is done by
1047 moving the @internalsref{Timing_translator} to the
1048 @internalsref{Staff} context.
1050 @lilypond[quote,verbatim,ragged-right]
1054 \remove "Timing_translator"
1055 \remove "Default_bar_line_engraver"
1059 \consists "Timing_translator"
1060 \consists "Default_bar_line_engraver"
1063 %Now, each staff has its own time signature.
1076 c4. c8 c c c4. c8 c c
1082 A different form of polymetric notation is where note lengths have
1083 different values across staves, but the measures are all the same
1086 This notation can be created by setting a common time signature
1087 for each staff but replacing it manually using
1088 @code{timeSignatureFraction} to the desired fraction. Then the
1089 printed durations in each staff are scaled to the common time
1090 signature. The latter is done with @code{\compressMusic}, which
1091 is used in a similar way to @code{\times}, but does not create
1092 a tuplet bracket. The syntax is
1093 @funindex \compressMusic
1097 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1102 In this example, music with the time signatures of 3/4, 9/8, and
1103 10/8 are used in parallel. In the second staff, shown durations
1104 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1105 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1108 @lilypond[quote,ragged-right,verbatim,fragment]
1116 \set Staff.timeSignatureFraction = #'(9 . 8)
1117 \compressMusic #'(2 . 3)
1118 \repeat unfold 6 { c8[ c c] }
1122 \set Staff.timeSignatureFraction = #'(10 . 8)
1123 \compressMusic #'(3 . 5) {
1124 \repeat unfold 2 { c8[ c c] }
1125 \repeat unfold 2 { c8[ c] }
1126 | c4. c4. \times 2/3 { c8 c c } c4
1135 When using different time signatures in parallel, the spacing is
1136 aligned vertically, but bar lines distort the regular spacing.
1140 Snippets: @lsrdir{rhythms}
1143 @node Automatic note splitting
1144 @unnumberedsubsubsec Automatic note splitting
1146 Long notes which overrun bar lines can be converted automatically
1147 to tied notes. This is done by replacing the
1148 @internalsref{Note_heads_engraver} by the
1149 @internalsref{Completion_heads_engraver}. In the following
1150 examples, notes crossing the bar line are split and tied.
1152 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1154 \remove "Note_heads_engraver"
1155 \consists "Completion_heads_engraver"
1157 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1161 This engraver splits all running notes at the bar line, and
1162 inserts ties. One of its uses is to debug complex scores: if the
1163 measures are not entirely filled, then the ties exactly show how
1164 much each measure is off.
1166 If you want to allow line breaking on the bar lines where
1167 @internalsref{Completion_heads_engraver} splits notes, you must
1168 also remove @internalsref{Forbid_line_break_engraver}.
1173 Not all durations (especially those containing tuplets) can be
1174 represented exactly with normal notes and dots, but the engraver
1175 will not insert tuplets.
1177 @code{Completion_heads_engraver} only affects notes; it does not
1183 Snippets: @lsrdir{rhythms}
1185 Internals Reference: @internalsref{Completion_heads_engraver}.
1188 @node Setting automatic beam behavior
1189 @unnumberedsubsubsec Setting automatic beam behavior
1191 @funindex autoBeamSettings
1192 @funindex (end * * * *)
1193 @funindex (begin * * * *)
1194 @cindex automatic beams, tuning
1195 @cindex tuning automatic beaming
1197 @c [TODO: use \applyContext]
1199 In normal time signatures, automatic beams can start on any note
1200 but can only end in a few positions within the measure: beams can
1201 end on a beat, or at durations specified by the properties in
1202 @code{autoBeamSettings}. The properties in
1203 @code{autoBeamSettings} consist of a list of rules for where beams
1204 can begin and end. The default @code{autoBeamSettings} rules are
1205 defined in @file{scm/@/auto@/-beam@/.scm}.
1207 In order to add a rule to the list, use
1209 #(override-auto-beam-setting '(be p q n m) a b [context])
1214 @item @code{be} is either @code{begin} or @code{end}.
1216 @item @code{p/q} is the duration of the note for which you want
1217 to add a rule. A beam is considered to have the duration of its
1218 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1219 have this apply to any beam.
1221 @item @code{n/m} is the time signature to which
1222 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1223 to have this apply in any time signature.
1225 @item @code{a/b} is the position in the bar at which the beam should
1228 @item @code{context} is optional, and it specifies the context at which
1229 the change should be made. The default is @code{'Voice}.
1231 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1232 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1236 For example, if automatic beams should always end on the first quarter
1240 #(override-auto-beam-setting '(end * * * *) 1 4)
1243 You can force the beam settings to only take effect on beams whose shortest
1244 note is a certain duration
1246 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1248 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1250 a32 a a a a16 a a a a a |
1251 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1252 a32 a a a a16 a a a a a |
1255 You can force the beam settings to only take effect in certain time
1258 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1260 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1268 You can also remove a previously set beam-ending rule by using
1271 #(revert-auto-beam-setting '(be p q n m) a b [context])
1275 be, p, q, n, m, a, b and context are the same as above. Note that the
1276 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1277 so you can revert rules that you did not explicitly create.
1279 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1281 a16 a a a a a a a a a a a a a a a
1282 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1283 a16 a a a a a a a a a a a a a a a
1286 The rule in a revert-auto-beam-setting statement must exactly match the
1287 original rule. That is, no wildcard expansion is taken into account.
1289 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1291 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1293 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1295 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1301 @c TODO: old material -- not covered by above stuff, I think.
1302 If automatic beams should end on every quarter in 5/4 time, specify
1305 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1306 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1307 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1308 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1312 The same syntax can be used to specify beam starting points. In this
1313 example, automatic beams can only end on a dotted quarter note
1315 #(override-auto-beam-setting '(end * * * *) 3 8)
1316 #(override-auto-beam-setting '(end * * * *) 1 2)
1317 #(override-auto-beam-setting '(end * * * *) 7 8)
1319 In 4/4 time signature, this means that automatic beams could end only on
1320 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1321 3/8, has passed within the measure).
1323 If any unexpected beam behaviour occurs, check the default automatic beam
1324 settings in @file{scm/@/auto@/-beam@/.scm}
1325 for possible interference, because the beam
1326 endings defined there will still apply on top of your own overrides. Any
1327 unwanted endings in the default vales must be reverted for your time
1330 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1334 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1335 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1336 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1337 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1340 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1341 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1342 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1345 @cindex automatic beam generation
1347 @funindex autoBeaming
1350 If beams are used to indicate melismata in songs, then automatic
1351 beaming should be switched off with @code{\autoBeamOff}.
1356 @funindex \autoBeamOff
1357 @code{\autoBeamOff},
1358 @funindex \autoBeamOn
1363 Beaming patterns may be altered with the @code{beatGrouping} property,
1365 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1367 \set beatGrouping = #'(2 3)
1369 \set beatGrouping = #'(3 2)
1376 If a score ends while an automatic beam has not been ended and is
1377 still accepting notes, this last beam will not be typeset at all. The
1378 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1379 >>}. If a polyphonic voice ends while an automatic beam is still
1380 accepting notes, it is not typeset.
1384 Snippets: @lsrdir{rhythms}
1397 @node Automatic beams
1398 @unnumberedsubsubsec Automatic beams
1400 By default beams are inserted automatically
1402 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1404 \time 6/8 c c c c8. c16 c8
1407 When these automatic decisions are not good enough, beaming
1408 can be entered explicitly. It is also possible to define beaming
1409 patterns that differ from the defaults. See @ref{Manual beams}
1410 and @ref{Setting automatic beam behavior}.
1416 Automatic beaming may be turned off and on with
1417 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1419 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1420 c4 c8 c8. c16 c8. c16 c8
1430 @funindex stemLeftBeamCount
1431 @funindex stemRightBeamCount
1433 LilyPond can automatically determine beaming patterns within a
1434 beam, but this automatic behavior can sometimes produce odd
1435 results; therefore the @code{stemLeftBeamCount} and
1436 @code{stemRightBeamCount} properties can be used to override the
1437 defaults. If either property is set, its value will be used only
1438 once, and then it is erased.
1440 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1445 \set stemLeftBeamCount = #1
1450 The property @code{subdivideBeams} can be set in order to
1451 subdivide all 16th or shorter beams.
1452 When set, multiple beams will be sub-divided at beat
1453 positions, defined by the current value of @code{beatLength},
1454 by drawing only one beam over the beat.
1456 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1458 \set subdivideBeams = ##t
1460 \set Score.beatLength = #(ly:make-moment 1 8)
1463 @funindex subdivideBeams
1466 For more information about @code{make-moment}, see
1467 @ref{Time administration}.
1469 @c TODO Consider whether the section Setting automatic
1470 @c beam behavior should all be moved here. For now
1471 @c here's a link to it.
1473 For details about modifying the automatic beam behaviour
1474 see @ref{Setting automatic beam behavior}
1478 Line breaks are normally forbidden when beams cross barlines.
1479 This behavior can be changed by setting the @code{breakable}
1480 property: @code{\override Beam #'breakable = ##t}.
1482 @cindex beams and line breaks
1483 @cindex beams, kneed
1485 @cindex auto-knee-gap
1487 Kneed beams are inserted automatically when a large gap is
1488 detected between the note heads. This behavior can be tuned
1489 through the @code{auto-knee-gap} property. A kneed beam is
1490 drawn if the gap is larger than the value of
1491 @code{auto-knee-gap} plus the width of the beam object (which
1492 depends on the duration of the notes and the slope of the beam).
1493 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1495 @lilypond[fragment,ragged-right,quote,verbatim]
1497 \override Beam #'auto-knee-gap = #6
1504 Snippets: @lsrdir{rhythms}
1506 Internals Reference: @internalsref{Beam}.
1511 Automatically kneed cross-staff beams cannot be used together with
1512 hidden staves. See @ref{Hiding staves}.
1514 Beams can collide with noteheads and accidentals in other voices
1517 @unnumberedsubsubsec Manual beams
1519 @cindex beams, manual
1521 Individual notes may be marked with @code{\noBeam} to prevent them
1524 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1525 \time 2/4 c8 c\noBeam c c
1531 @funindex stemLeftBeamCount
1532 @funindex stemRightBeamCount
1534 Even more strict manual control with the beams can be achieved by
1535 setting the properties @code{stemLeftBeamCount} and
1536 @code{stemRightBeamCount}. They specify the number of beams to
1537 draw on the left and right side, respectively, of the next note.
1538 If either property is set, its value will be used only once, and
1539 then it is erased. In this example, the last @code{f} is printed
1540 with only one beam on the left side, i.e. the eigth-note beam of
1541 the group as a whole.
1543 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1547 \set stemLeftBeamCount = #1
1555 @cindex beams, feathered
1556 @funindex \featherDurations
1558 Feathered beams are used to indicate that a small group of notes
1559 should be played at an increasing (or decreasing) tempo, without
1560 changing the overall tempo of the piece. The extent of the
1561 feathered beam must be indicated manually using @code{[} and
1562 @code{]}, and the beam feathering is turned on by specifying a
1563 direction to the Beam property @code{grow-direction}.
1565 If the placement of the notes and the sound in the MIDI output
1566 is to reflect the ritardando or accelerando indicated by the
1567 feathered beam the notes must be grouped as a
1568 music expression delimited by braces and preceded by a
1569 @code{featheredDurations} command which specifies the ratio
1570 between the durations of the first and last notes in the group.
1573 show the extent of the beam and the braces show
1574 which notes are to have their durations modified. Normally
1575 these would delimit the same group of notes, but this is not
1576 required: the two commands are independent.
1578 In the following example the eight 16th notes occupy exactly
1579 the same time as a half note, but the first note is twice
1580 as short as the last one, with the intermediate notes gradually
1581 lengthening. The first four 32nd notes gradually speed up,
1582 while the last four 32nd notes are at a constant tempo.
1584 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1585 \override Beam #'grow-direction = #LEFT
1586 \featherDurations #(ly:make-moment 2 1)
1587 { c16[ c c c c c c c] }
1588 \override Beam #'grow-direction = #RIGHT
1589 \featherDurations #(ly:make-moment 2 3)
1591 % revert to non-feathered beams
1592 \override Beam #'grow-direction = #'()
1597 The spacing in the printed output represents the
1598 note durations only approximately, but the midi output is exact.
1603 Line breaking is prevented by beams which straddle barlines. The
1604 @samp{breakable} property of @code{Beam} allows this behaviour
1607 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1608 \override Beam #'breakable = ##t
1609 c8 \repeat unfold 15 {c[ c] } c
1615 The @code{\featherDurations} command only works with very short
1616 music snippets, and when numbers in the fraction are small.
1620 Snippets: @lsrdir{rhythms}
1631 * Bar and bar number checks::
1636 @unnumberedsubsubsec Bar lines
1641 @cindex measure lines
1644 Bar lines delimit measures, and are also used to indicate
1645 repeats. Normally, simple bar lines are automatically inserted
1646 into the printed output at places based on the current time
1649 The simple bar lines inserted automatically can be changed to
1650 other types with the @code{\bar} command. For example, a closing
1651 double bar line is usually placed at the end of a piece:
1653 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1657 @warning{An incorrect duration can lead to poorly formatted
1660 It is not invalid if the final note in a bar does not
1661 end on the automatically entered bar line: the note is assumed
1662 to carry over into the next bar. But if a long sequence
1663 of such carry-over bars appears the music can appear compressed
1664 or even flowing off the page. This is because automatic line
1665 breaks happen only at the end of complete bars, i.e. where
1666 the end of a note coincides with the end of a bar.
1668 Line breaks are also permitted at manually inserted bar lines
1669 even within incomplete bars. To allow a line break without
1670 printing a bar line, use
1677 This will insert an invisible bar line and allow (but not
1678 force) a line break to occur at this point. The bar number
1679 counter is not increased. To force a line break see
1680 @ref{Line breaking}.
1682 This and other special bar lines may be inserted manually at any
1683 point. When they coincide with the end of a bar they replace
1684 the simple bar line which would have been inserted there
1685 automatically. When they do not coincide
1686 with the end of a bar the specified bar line is inserted at that
1687 point in the printed output. Such insertions do not affect
1688 the calculation and placement of subsequent automatic bar lines.
1690 The simple bar line and four types of double bar line are available
1691 for manual insertion:
1693 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1694 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1698 together with dotted and dashed bar lines:
1700 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1701 f1 \bar ":" g \bar "dashed" a
1705 and three types of repeat bar line:
1707 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1708 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1711 Although the bar line types signifying repeats may be inserted
1712 manually they do not in themselves cause LilyPond to recognise
1713 a repeated section. Such repeated sections are better entered
1714 using the various repeat commands (see @ref{Repeats}), which
1715 automatically print the appropriate bar lines.
1717 In addition, you can specify @code{"||:"}, which is equivalent to
1718 @code{"|:"} except at line breaks, where it gives a double bar
1719 line at the end of the line and a start repeat at the beginning of
1722 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1723 \override Score.RehearsalMark #'padding = #3
1731 In scores with many staves, a @code{\bar} command in one staff is
1732 automatically applied to all staves. The resulting bar lines are
1733 connected between different staves of a @code{StaffGroup},
1734 @code{PianoStaff}, or @code{GrandStaff}.
1736 @lilypond[quote,ragged-right,fragment,verbatim]
1744 \new Staff { \clef bass c4 g e g }
1746 \new Staff { \clef bass c2 c2 }
1754 @funindex defaultBarType
1756 The command @code{\bar }@var{bartype} is a shortcut for
1757 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1758 created whenever the @code{whichBar} property is
1761 The default bar type used for automatically inserted bar lines is
1762 @code{"|"}. This may be changed at any time
1763 with @code{\set Timing.defaultBarType = }@var{bartype}.
1767 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1769 Snippets: @lsrdir{rhythms}
1771 Internals Reference: @internalsref{BarLine} (created at
1772 @internalsref{Staff} level), @internalsref{SpanBar} (across
1773 staves), @internalsref{Timing_translator} (for Timing
1778 @unnumberedsubsubsec Bar numbers
1781 @cindex measure numbers
1782 @funindex currentBarNumber
1784 Bar numbers are typeset by default at the start of every line
1785 except the first line. The
1786 number itself is stored in the @code{currentBarNumber} property,
1787 which is normally updated automatically for every measure. It
1788 may also be set manually:
1790 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1793 \set Score.currentBarNumber = #50
1800 @funindex barNumberVisibility
1801 @cindex bar numbers, regular spacing
1803 Bar numbers can be typeset at regular intervals instead of just at
1804 the beginning of every line. To do this the default behaviour
1805 must be overridden to permit bar numbers to be printed at places
1806 other than the start of a line. This is controlled by the
1807 @code{break-visibility} property of @code{BarNumber}. This takes
1808 three values which may be set to @code{#t} or @code{#f} to specify
1809 whether the corresponding bar number is visible or not. The order
1810 of the three values is @code{end of line visible}, @code{middle of
1811 line visible}, @code{beginning of line visible}. In the following
1812 example bar numbers are printed at all possible places:
1814 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1815 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1816 \set Score.currentBarNumber = #11
1817 \bar "" % Permit first bar number to be printed
1823 @c All the rest of these examples will be added to LSR
1824 @c and moved into the Snippets. -gp
1827 and here the bar numbers are printed every two bars
1828 except at the end of the line:
1830 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1831 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1832 \set Score.currentBarNumber = #11
1833 \bar "" % Permit first bar number to be printed
1834 % Print a bar number every 2nd bar
1835 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1841 The size of the bar number may be changed. This is illustrated
1842 in the following example, which also shows how to enclose bar
1843 numbers in boxes and circles, and shows an alternative way
1844 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1846 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1847 % Prevent bar numbers at the end of a line and permit them elsewhere
1848 \override Score.BarNumber #'break-visibility
1849 = #end-of-line-invisible
1851 % Increase the size of the bar number by 2
1852 \override Score.BarNumber #'font-size = #2
1853 \repeat unfold 3 { c1 } \bar "|"
1855 % Draw a box round the following bar number(s)
1856 \override Score.BarNumber #'stencil
1857 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1858 \repeat unfold 3 { c1 } \bar "|"
1860 % Draw a circle round the following bar number(s)
1861 \override Score.BarNumber #'stencil
1862 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1863 \repeat unfold 4 { c1 } \bar "|."
1866 @cindex Bar number alignment
1868 Bar numbers by default are left-aligned to their parent object.
1869 This is usually the left edge of a line or, if numbers are printed
1870 within a line, the left bar line of the bar. The numbers may also
1871 be positioned directly on the bar line or right-aligned to the
1874 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1875 \set Score.currentBarNumber = #111
1876 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1877 % Increase the size of the bar number by 2
1878 \override Score.BarNumber #'font-size = #2
1879 % Print a bar number every 2nd bar
1880 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1882 % Centre-align bar numbers
1883 \override Score.BarNumber #'self-alignment-X = #0
1885 % Right-align bar numbers
1886 \override Score.BarNumber #'self-alignment-X = #-1
1890 Bar numbers can be removed entirely by removing the Bar number
1891 engraver from the score context.
1893 @lilypond[verbatim,ragged-right,quote]
1897 \remove "Bar_number_engraver"
1909 Snippets: @lsrdir{rhythms}
1911 Internals Reference: @internalsref{BarNumber}.
1913 Examples: @lsrdir{bar number}
1918 Bar numbers may collide with the top of the
1919 @internalsref{StaffGroup} bracket, if there is one. To solve
1920 this, the @code{padding} property of @internalsref{BarNumber} can
1921 be used to position the number correctly.
1923 Bar numbers may only be printed at bar lines; to print a bar
1924 number at the beginning of a piece, an empty bar line must be
1925 inserted there, and a value other than @code{1} must be placed
1926 in @code{currentBarNumber}:
1928 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1929 \set Score.currentBarNumber = #50
1938 @node Bar and bar number checks
1939 @unnumberedsubsubsec Bar and bar number checks
1942 @funindex barCheckSynchronize
1945 Bar checks help detect errors in the entered durations.
1946 A bar check may be entered using the bar symbol, @samp{|},
1947 at any place where a bar line is expected to fall.
1948 If bar check lines are encountered at other places,
1949 a list of warnings is printed in the log file,
1950 showing the line numbers and lines
1951 in which the bar checks failed. In the next
1952 example, the second bar check will signal an error
1955 \time 3/4 c2 e4 | g2 |
1958 Bar checks can also be used in lyrics, for example
1963 Twin -- kle | Twin -- kle |
1967 An incorrect duration can result in a completely garbled score,
1968 especially if the score is polyphonic, so a good place to start
1969 correcting input is by scanning for failed bar checks and
1970 incorrect durations.
1973 @funindex pipeSymbol
1975 It is also possible to redefine the action taken when a bar check
1976 or pipe symbol, @samp{|}, is encountered in the input, so that
1977 it does something other than a bar check. This is done by
1978 assigning a music expression to @code{pipeSymbol}.
1979 In the following example @samp{|} is set to insert a double bar
1980 line wherever it appears in the input, rather than checking
1983 @lilypond[quote,ragged-right,verbatim]
1984 pipeSymbol = \bar "||"
1993 When copying large pieces of music, it can be helpful to check
1994 that the LilyPond bar number corresponds to the original that you
1995 are entering from. This can be checked with
1996 @code{\barNumberCheck}, for example,
1999 \barNumberCheck #123
2003 will print a warning if the @code{currentBarNumber} is not 123
2004 when it is processed.
2008 Snippets: @lsrdir{rhythms}
2011 @node Rehearsal marks
2012 @unnumberedsubsubsec Rehearsal marks
2014 @cindex Rehearsal marks
2017 To print a rehearsal mark, use the @code{\mark} command
2019 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2028 The letter@tie{}@q{I} is skipped in accordance with engraving
2029 traditions. If you wish to include the letter @q{I}, then use
2032 \set Score.markFormatter = #format-mark-alphabet
2035 The mark is incremented automatically if you use @code{\mark
2036 \default}, but you can also use an integer argument to set the
2037 mark manually. The value to use is stored in the property
2038 @code{rehearsalMark}.
2040 The style is defined by the property @code{markFormatter}. It is
2041 a function taking the current mark (an integer) and the current
2042 context as argument. It should return a markup object. In the
2043 following example, @code{markFormatter} is set to a pre-defined
2044 procedure. After a few measures, it is set to a procedure that
2045 produces a boxed number.
2047 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2048 \set Score.markFormatter = #format-mark-numbers
2051 \set Score.markFormatter = #format-mark-box-numbers
2057 The file @file{scm/@/translation@/-functions@/.scm} contains the
2058 definitions of @code{format-mark-numbers} (the default format),
2059 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2060 @code{format-mark-box-letters}. These can be used as inspiration
2061 for other formatting functions.
2063 You may use @code{format-mark-barnumbers},
2064 @code{format-mark-box-barnumbers}, and
2065 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2066 incremented numbers or letters.
2068 Other styles of rehearsal mark can be specified manually
2075 @code{Score.markFormatter} does not affect marks specified in this
2076 manner. However, it is possible to apply a @code{\markup} to the
2080 \mark \markup@{ \box A1 @}
2087 Music glyphs (such as the segno sign) may be printed inside a
2090 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2091 c1 \mark \markup { \musicglyph #"scripts.segno" }
2092 c1 \mark \markup { \musicglyph #"scripts.coda" }
2093 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2098 See @ref{The Feta font}, for a list of symbols which may be
2099 printed with @code{\musicglyph}.
2101 For common tweaks to the positioning of rehearsal marks, see
2106 Snippets: @lsrdir{rhythms}
2108 This manual: @ref{Text marks}.
2110 Internals Reference: @internalsref{RehearsalMark}.
2112 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2113 the definition of @code{format-mark-numbers} and
2114 @code{format-mark-letters}. They can be used as inspiration for
2115 other formatting functions.
2117 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2120 @node Special rhythmic concerns
2121 @subsection Special rhythmic concerns
2126 * Aligning to cadenzas::
2127 * Time administration::
2131 @unnumberedsubsubsec Grace notes
2136 @cindex appoggiatura
2137 @cindex acciaccatura
2139 Grace notes are ornaments that are written out. They are made with
2140 the @code{\grace} command. By prefixing this keyword to a music
2141 expression, a new one is formed, which will be printed in a
2142 smaller font and takes up no logical time in a measure.
2144 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2146 \grace { c16[ d16] } c2 c4
2149 Two special forms of the @code{\grace} command exist.
2150 An @emph{acciaccatura}, which should be played as very short,
2151 is denoted by a slurred small note with a slashed stem. The
2152 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2153 main note, is denoted as a slurred note in small print without
2154 a slash. They are entered with the commands @code{\acciaccatura}
2155 and @code{\appoggiatura}, as demonstrated in the following
2158 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2159 b4 \acciaccatura d8 c4
2161 \acciaccatura { g16[ f] } e4
2165 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2166 @code{\grace} does not.
2168 The placement of grace notes is synchronized between different
2169 staves. In the following example, there are two sixteenth grace
2170 notes for every eighth grace note
2172 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2173 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2174 \new Staff { c4 \grace { g8[ b] } c4 } >>
2177 @funindex \afterGrace
2179 If you want to end a note with a grace, use the @code{\afterGrace}
2180 command. It takes two arguments: the main note, and the grace
2181 notes following the main note.
2183 @lilypond[ragged-right, verbatim,relative=2,fragment]
2184 c1 \afterGrace d1 { c16[ d] } c4
2187 This will put the grace notes after a @q{space} lasting 3/4 of the
2188 length of the main note. The fraction 3/4 can be changed by
2189 setting @code{afterGraceFraction}, ie.
2192 #(define afterGraceFraction (cons 7 8))
2196 will put the grace note at 7/8 of the main note.
2198 The same effect can be achieved manually by doing
2200 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2203 { s2 \grace { c16[ d] } } >>
2209 By adjusting the duration of the skip note (here it is a
2210 half-note), the space between the main-note and the grace
2213 A @code{\grace} music expression will introduce special
2214 typesetting settings, for example, to produce smaller type, and
2215 set directions. Hence, when introducing layout tweaks, they
2216 should be inside the grace expression, for example,
2218 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2230 The overrides should also be reverted inside the grace expression.
2232 The layout of grace expressions can be changed throughout the
2233 music using the function @code{add-grace-property}. The following
2234 example undefines the @code{Stem} direction for this grace, so
2235 that stems do not always point up.
2239 #(add-grace-property 'Voice 'Stem 'direction '())
2245 Another option is to change the variables @code{startGraceMusic},
2246 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2247 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2248 @code{stopAppoggiaturaMusic}. The default values of these can be
2249 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2250 them other effects may be obtained.
2253 The slash through the stem in @emph{acciaccatura}s can be obtained in
2254 other situations by @code{\override Stem #'stroke-style =
2260 Grace notes may be forced to use align with regular notes
2261 in other staves by setting @code{strict-grace-spacing} to
2264 @lilypond[relative=2,ragged-right]
2266 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2275 c'16[ c'16 c'16 c'16]
2276 c'16[ c'16 c'16 c'16]
2285 Snippets: @lsrdir{rhythms}
2287 Internals Reference: @internalsref{GraceMusic}.
2292 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2293 and looks exactly the same as a multi-note beamed
2294 @emph{appoggiatura}.
2295 @c TODO Add link to LSR snippet to add slash when available
2297 Grace note synchronization can also lead to surprises. Staff
2298 notation, such as key signatures, bar lines, etc., are also
2299 synchronized. Take care when you mix staves with grace notes and
2300 staves without, for example,
2302 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2303 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2304 \new Staff { c4 \bar "|:" d4 } >>
2308 This can be remedied by inserting grace skips of the corresponding
2309 durations in the other staves. For the above example
2311 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2312 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2313 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2316 Grace sections should only be used within sequential music
2317 expressions. Nesting or juxtaposing grace sections is not
2318 supported, and might produce crashes or other errors.
2320 @node Aligning to cadenzas
2321 @unnumberedsubsubsec Aligning to cadenzas
2323 In an orchestral context, cadenzas present a special problem: when
2324 constructing a score that includes a cadenza, all other
2325 instruments should skip just as many notes as the length of the
2326 cadenza, otherwise they will start too soon or too late.
2328 A solution to this problem are the functions
2329 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2330 functions take a piece of music as argument, and generate a
2331 multi-rest or @code{\skip}, exactly as long as the piece. The use
2332 of @code{mmrest-of-length} is demonstrated in the following
2335 @lilypond[verbatim,ragged-right,quote]
2336 cadenza = \relative c' {
2337 c4 d8 << { e f g } \\ { d4. } >>
2342 \new Staff { \cadenza c'4 }
2344 #(ly:export (mmrest-of-length cadenza))
2352 Snippets: @lsrdir{rhythms}
2355 @node Time administration
2356 @unnumberedsubsubsec Time administration
2358 @cindex Time administration
2360 @funindex currentBarNumber
2361 @funindex measurePosition
2362 @funindex measureLength
2364 Time is administered by the @code{Timing_translator}, which by
2365 default is to be found in the @code{Score} context. An alias,
2366 @code{Timing}, is added to the context in which the
2367 @code{Timing_translator} is placed.
2369 The following properties of @code{Timing} are used
2370 to keep track of timing within the score.
2373 @item currentBarNumber
2374 The current measure number. For an example showing the
2375 use of this property see @ref{Bar numbers}.
2378 The length of the measures in the current time signature. For a
2379 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2380 determines when bar lines are inserted and how automatic beams
2381 should be generated.
2383 @item measurePosition
2384 The point within the measure where we currently are. This
2385 quantity is reset by subtracting @code{measureLength} whenever
2386 @code{measureLength} is reached or exceeded. When that happens,
2387 @code{currentBarNumber} is incremented.
2390 If set to true, the above variables are updated for every time
2391 step. When set to false, the engraver stays in the current
2392 measure indefinitely.
2396 Timing can be changed by setting any of these variables
2397 explicitly. In the next example, the default 4/4 time
2398 signature is printed, but @code{measureLength} is set to 5/4.
2399 At 4/8 through the third measure, the @code{measurePosition} is
2400 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2401 The next bar line then falls at 9/8 rather than 5/4.
2403 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2404 \set Score.measureLength = #(ly:make-moment 5 4)
2408 \set Score.measurePosition = #(ly:make-moment 5 8)
2414 As the example illustrates, @code{ly:make-moment n m} constructs a
2415 duration of n/m of a whole note. For example,
2416 @code{ly:make-moment 1 8} is an eighth note duration and
2417 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2423 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2425 Snippets: @lsrdir{rhythms}
2427 Internals Reference: @internalsref{Timing_translator},
2428 @internalsref{Score}