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[quote]{rhythms-headword.ly}
14 This section discusses rhythms, rests, durations, beaming and bars.
19 * Displaying rhythms::
22 * Special rhythmic concerns::
27 @subsection Writing rhythms
37 @subsubsection Durations
39 @cindex durations, of notes
40 @cindex note durations
46 Durations are designated by numbers and dots.
47 Durations are entered as their reciprocal values. For example, a
48 quarter note is entered using a @code{4} (since it is a 1/4 note),
49 and a half note is entered using a @code{2} (since it is a 1/2
50 note). For notes longer than a whole you must use the
51 @code{\longa} (a double breve) and @code{\breve} commands.
52 Durations as short as 64th notes may be specified. Shorter values
53 are possible, but only as beamed notes.
55 @c Two 64th notes are needed to obtain beams
56 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
63 Here are the same durations with automatic beaming turned off.
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 A note with the duration of a quadruple breve may be entered with
75 @code{\maxima}, but this is supported only within ancient music
76 notation. For details, see @ref{Ancient notation}.
78 If the duration is omitted, it is set to the previously
79 entered duration. The default for the first note is a quarter
82 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
91 To obtain dotted note lengths, place a dot (@code{.}) after the
92 duration. Double-dotted notes are specified by appending two
95 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
96 a4 b c4. b8 a4. b4.. c8.
99 Some durations cannot be represented with just binary durations
100 and dots; they can be represented only by tying two or more
101 notes together. For details, see @ref{Ties}.
103 For ways of specifying durations for the syllables of lyrics and
104 ways of aligning lyrics to notes, see @ref{Vocal music}.
106 Optionally, notes can be spaced strictly proportionately to their
107 duration. For details of this and other settings which control
108 proportional notation, see @ref{Proportional notation}.
112 Dots are normally moved up to avoid staff lines, except in
113 polyphonic situations. The following commands may be used to
114 force a particular direction manually, and to return to the
121 @funindex \dotsNeutral
127 Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
128 @rglos{Duration names notes and rests}.
130 Notation Reference: @ref{Automatic beams}, @ref{Ties},
131 @ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
132 @ref{Ancient notation}, @ref{Proportional notation}.
134 Snippets: @lsrdir{Rhythms,Rhythms}
136 Internals Reference: @internalsref{Dots},
137 @internalsref{DotColumn}.
142 @c Deliberately duplicated in Durations and Rests. -gp
143 There is no fundamental limit to rest durations (both in terms of
144 longest and shortest), but the number of glyphs is limited:
145 rests from 128th to maxima (8 x whole) may be printed.
149 @subsubsection Tuplets
155 Tuplets are made from a music expression by multiplying all the
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 duration of 2, so
167 the notes are 2/3 of their written length.
169 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
170 a2 \times 2/3 {b4 b b}
171 c4 c \times 2/3 {b4 a g}
175 The automatic placement of the tuplet bracket above or below the
176 notes may be overridden manually, for details see
177 @ref{Controlling direction and placement}.
179 Tuplets may be nested:
181 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
183 c4 \times 4/5 { f8 e f \times 2/3 {e[ f g] } } f4 |
186 Modifying nested tuplets which begin at the same musical moment
187 must be done with @code{\tweak}.
189 @cindex compressing music
190 @funindex \compressMusic
192 Longer stretches of music may be compressed (without a tuplet
193 bracket) with the @code{\compressMusic} command. The syntax is
196 \compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
200 This will leave the appearance of @emph{music} unchanged but
201 the internal duration of the notes will be multiplied by the
202 fraction @emph{num}/@emph{den}:
204 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
206 \compressMusic #'(2 . 3) {
207 c8 c c b b b a a a g g g
212 One application of @code{\compressMusic} is in polymetric
213 notation, see @ref{Polymetric notation}.
220 @funindex \tupletDown
222 @funindex \tupletNeutral
223 @code{\tupletNeutral}.
228 @cindex tuplet formatting
229 @cindex triplet formatting
231 @funindex tupletNumberFormatFunction
232 @funindex tupletSpannerDuration
234 @lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
235 {entering-several-tuplets-using-only-one--times-command.ly}
237 @funindex TupletNumber
239 @c Sent to VV on 12 Feb - replace with @lilypondfile when available
240 @c TODO and delete from here ...
241 By default, only the numerator of the tuplet number
242 is printed over the tuplet bracket, i.e. the denominator
243 of the argument to the @code{\times} command. Alternatively,
244 @var{num}:@var{den} of the tuplet number may be printed, or
245 the tuplet number may be suppressed altogether.
248 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
249 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
250 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
251 \times 2/3 { c8 c c }
252 \override TupletNumber #'transparent = ##t
253 \times 2/3 { c8 c c }
259 @c Sent to VV on 12 Feb - replace with @lilypondfile when available
260 @c TODO and delete from here ...
261 This artificial example shows how both manual and automatic line
262 breaks may be permitted within a beamed tuplet. Note that such
263 off-beat tuplets have to be beamed manually.
265 @lilypond[quote,ragged-right,verbatim]
268 \repeat unfold 8 {\times 2/3 { c[ b a]}}
269 % Insert a manual line break within a tuplet
270 \times 2/3 { c[ b \bar "" \break a]}
271 \repeat unfold 2 {\times 2/3 { c[ b a]}}
277 % Permit line breaks within tuplets
278 \remove "Forbid_line_break_engraver"
279 % Allow beams to be broken at line breaks
280 \override Beam #'breakable = ##t
289 Music Glossary: @rglos{triplet}, @rglos{tuplet},
292 Notation Reference: @ref{Time administration},
293 @ref{Objects connected to the input}, @ref{Polymetric notation}.
295 Snippets: @lsrdir{Rhythms,Rhythms}.
297 Internals Reference: @internalsref{TupletBracket},
298 @internalsref{TupletNumber}, @internalsref{TimeScaledMusic}.
301 @node Scaling durations
302 @subsubsection Scaling durations
304 You can alter the length of a duration by a fraction @var{N/M}
305 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
306 This will not affect the appearance of the notes or rests
307 produced, but the altered duration will be used in calculating the
308 position within the measure and setting the duration in the MIDI
309 output. Multiplying factors may be combined
312 In the following example, the first three notes take up exactly
313 two beats, but no triplet bracket is printed.
315 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
317 a4*2/3 gis4*2/3 a4*2/3
322 The duration of skip or spacing notes may also be modified by
323 a multiplier. This is useful for skipping many measures, e.g.,
328 Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
330 Snippets: @lsrdir{Rhythms,Rhythms}
338 A tie connects two adjacent note heads of the same pitch. The tie
339 in effect extends the length of a note.
341 @warning{Ties should not be confused with @emph{slurs}, which
342 indicate articulation, or @emph{phrasing slurs}, which indicate
343 musical phrasing. A tie is just a way of extending a note
344 duration, similar to the augmentation dot.}
346 A tie is entered using the tilde symbol @code{~}
348 @lilypond[quote,ragged-right,fragment,verbatim]
354 Ties are used either when the note crosses a bar line, or when
355 dots cannot be used to denote the rhythm. Ties should also be
356 used when note values cross larger subdivisions of the measure:
358 @lilypond[fragment,quote,ragged-right]
360 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
364 If you need to tie a lot of notes across bar lines, it may be
365 easier to use automatic note splitting (see @ref{Automatic note
366 splitting}). This mechanism automatically splits long notes, and
367 ties them across bar lines.
370 @cindex repeating ties
371 @cindex volta brackets and ties
373 When a tie is applied to a chord, all note heads whose pitches
374 match are connected. When no note heads match, no ties will be
375 created. Chords may be partially tied by placing the tie inside
378 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
380 <c~ e g~ b> <c e g b>
383 When a second alternative of a repeat starts with a tied note, you
384 have to repeat the tie. This can be achieved with
387 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
388 \repeat volta 2 { c g <c e>2 ~ }
389 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
392 @cindex laissez vibrer
393 @cindex ties, laissez vibrer
394 @funindex \laissezVibrer
397 @funindex \tieNeutral
399 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
400 notes must not be damped at the end. It is used in notation for
401 piano, harp and other string and percussion instruments. They can
402 be entered using @code{\laissezVibrer}:
404 @lilypond[fragment,ragged-right,verbatim,relative=1]
405 <c f g>\laissezVibrer
408 The vertical placement of ties may be controlled; see
409 @ref{Controlling direction and placement}.
413 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
414 to the default behaviour again.
416 However, as with other music elements of this kind, there is a
417 convenient shorthand for forcing tie directions. By adding
418 @code{_} or @code{^} before the tilde, the direction is also set:
420 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
431 @funindex \tieNeutral
443 Ties are sometimes used to write out arpeggios. In this case, two
444 tied notes need not be consecutive. This can be achieved by
445 setting the @code{tieWaitForNote} property to true. The same
446 feature is also useful, for example, to tie a tremolo to a chord,
447 but in principle, it can also be used for ordinary, consecutive
450 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
451 \set tieWaitForNote = ##t
452 \grace { c16[~ e~ g]~ } <c, e g>2
453 \repeat tremolo 8 { c32~ c'~ } <c c,>1
454 e8~ c~ a~ f~ <e' c a f>2
455 \tieUp c8~ a \tieDown \tieDotted g~ c g2
458 Ties may be engraved manually by changing the
459 @code{tie-configuration} property of the @code{TieColumn} object.
460 The first number indicates the distance from the center of the
461 staff in staff-spaces, and the second number indicates the
462 direction (1=up, -1=down).
464 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
466 \override TieColumn #'tie-configuration =
467 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
475 Music Glossary: @rglos{tie},
476 @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
478 Snippets: @lsrdir{Rhythms,Rhythms}
481 @internalsref{LaissezVibrerTie}
482 @internalsref{LaissezVibrerTieColumn}
485 @c @lsr{connecting,laissez-vibrer-ties.ly}
490 Notation Reference: @ref{Automatic note splitting}.
492 Snippets: @lsrdir{Rhythms,Rhythms}
494 Internals Reference: @internalsref{Tie}.
499 Switching staves when a tie is active will not produce a slanted
502 Changing clefs or octavations during a tie is not really
503 well-defined. In these cases, a slur may be preferable.
510 @subsection Writing rests
515 * Full measure 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{Full 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 Notation Reference: @ref{Full measure rests}.
564 Snippets: @lsrdir{Rhythms,Rhythms}.
566 Internals Reference: @internalsref{Rest}.
571 @c Deliberately duplicated in Durations and Rests. -gp
572 There is no fundamental limit to rest durations (both in terms of
573 longest and shortest), but the number of glyphs is limited: there
574 are rests from 128th to maxima (8 x whole).
580 @cindex invisible rest
585 An invisible rest (also called a @q{skip}) can be entered like a
586 note with note name @code{s} or with @code{\skip @var{duration}}
588 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
589 a4 a4 s4 a4 \skip 1 a4
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,Rhythms}
627 Internals Reference: @internalsref{SkipMusic}.
630 @node Full measure rests
631 @subsubsection Full measure rests
633 @cindex multi measure rests
634 @cindex full measure rests
635 @cindex rest, multi measure
636 @cindex rest, full measure
637 @cindex whole rest 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. A @rglos{multi-measure rest} is used
644 principally to indicate that a part in a multi-part score should
647 @lilypond[quote,fragment,verbatim,relative=2]
648 \set Score.skipBars = ##t
655 A multi-measure rest can be expanded in the printed score
656 to show all the rest measures explicitly, or, as above, it can be
657 condensed to a single measure
658 containing a multi-measure rest symbol, with the number of
659 measures of rest printed above the measure. This expansion
660 is controlled by the property @code{Score.skipBars}. If this is
661 set to true, empty measures will be condensed to a single measure.
663 @lilypond[quote,ragged-right,fragment,verbatim]
664 \time 4/4 r1 | R1 | R1*2 |
667 \set Score.skipBars = ##t
671 The @code{1} in @code{R1} is similar to the duration notation
672 used for notes and is the length of a measure in 2/2 or 4/4 time.
673 The duration in a multi-measure rest must always be an integral
674 number of measure-lengths, so in other time signatures augmentation
675 dots or fractions must be used:
677 @lilypond[quote,ragged-right,fragment,verbatim]
678 \set Score.skipBars = ##t
682 R1*13/8 | R1*13/8*12 |
687 An @code{R} spanning a single measure is printed as either a whole
688 or breve rest, centered in the measure, regardless of the time
693 @cindex kirchenpausen
695 If there are 10 or fewer measures of rest, LilyPond prints
696 a series of longa and breve rests (called in German
697 Kirchenpausen - @q{church rests}) within the staff and
698 prints a simple line otherwise. This default number of 10
699 may be changed by overriding
700 @code{MultiMeasureRest.expand-limit}.
702 @lilypond[quote,ragged-right,fragment,verbatim]
703 \set Score.skipBars = ##t
705 \override MultiMeasureRest #'expand-limit = 3
709 Note that unlike ordinary rests, the vertical position on the
710 staff of the multi-measure rest symbol of either form cannot be
713 @cindex text on multi-measure rest
714 @cindex script on multi-measure rest
715 @cindex fermata on multi-measure rest
717 Text can be added to multi-measure rests by using the
718 @var{note}-@code{markup} syntax described in @ref{Text markup}.
719 The variable @code{\fermataMarkup} is provided for adding
722 @lilypond[quote,ragged-right,verbatim,fragment]
723 \set Score.skipBars = ##t
725 R2.*10^\markup { \italic "ad lib." }
729 @warning{Text attached to a multi-measure rest is created
730 by @code{MultiMeasureRestText}, not
731 @code{TextScript}. Overrides must be directed to the correct
732 object, or they will be ignored. See the following example.}
734 @lilypond[quote,ragged-right,verbatim,fragment]
735 \override TextScript #'padding = #5
737 \override MultiMeasureRestText #'padding = #5
741 Text attached to a multi-measure rest will be centered above or
742 below it. Long text attached in this way does not cause the
743 measure to expand, and may collide with text in adjacent measures.
744 Long text is better attached to a zero-length skip note preceding
745 the rest, preceded by @code{\textLengthOn} (turn off again with
746 @code{\textLengthOff}), since this will cause the measure to expand to
747 accommodate the length of the text:
749 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
750 \set Score.skipBars = ##t
752 s1*0^\markup {[MAJOR GENERAL]}
754 s1*0^\markup {[MABEL] }
755 s1*0_\markup {\italic {Cue: ... it is yours}}
758 c4^\markup {CHORUS} d f c
762 Text attached to a skip note in this way is left-aligned to the
763 position where the note would be placed in the bar, and placed
764 above the bar count numeral, but because the bar length is
765 determined by the length of the text, the text will appear to be
766 centered. If two (or more) texts are
767 attached to skip notes in a bar the bar length is determined by
768 the longer text, and the shorter text is then clearly
769 left-aligned, as shown in the second bar above. If the shorter
770 text of two marks is short enough to fit it will be placed
771 alongside and to the left of the bar count numeral.
775 Notation Reference: @ref{Durations}, @ref{Text},
776 @ref{Text markup}, @ref{Text scripts}.
778 Snippets: @lsrdir{Rhythms,Rhythms}
780 Internals Reference: @internalsref{MultiMeasureRest}.
782 The layout object @internalsref{MultiMeasureRestNumber} is for the
783 default number, and @internalsref{MultiMeasureRestText} for user
789 If an attempt is made to use fingerings (e.g.,
790 @code{R1*10-4}) to put numbers over multi-measure rests, the
791 fingering numeral (4) may collide with the bar counter
794 @cindex condensing rests
796 There is no way to automatically condense multiple rests into a
797 single multi-measure rest. Multi-measure rests do not take part
800 Be careful when entering multi-measure rests followed by whole
801 notes. The following will enter two notes lasting four measures
809 @node Displaying rhythms
810 @subsection Displaying rhythms
816 * Polymetric notation::
817 * Automatic note splitting::
821 @subsubsection Time signature
823 @cindex time signature
827 The time signature is set with the @code{\time} command:
829 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
830 \time 2/4 c2 \time 3/4 c2.
835 The symbol that is printed can be customized with the @code{style}
836 property. Setting it to @code{#'()} uses fraction style for 4/4
839 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
842 \override Staff.TimeSignature #'style = #'()
847 A time signature symbol is normally printed whenever the time
848 signature changes. If this takes place at the end of a line a
849 warning time signature sign is printed at the end of the line and
850 again at the start of a new line. This default behaviour can be
851 modified by setting the value of the @code{break-visibility}
852 property. This takes three values which may be set to @code{#t}
853 or @code{#f} to specify whether the corresponding time signature
854 is visible or not. The order of the three values is @code{end of
855 line visible}, @code{middle of line visible}, @code{beginning of
858 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
859 % Do not print any time signatures at end of line
860 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
863 % Do not print the following 9/8 time signature
864 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
872 There are many more options for its layout. See @ref{Ancient time
873 signatures}, for more examples.
875 @code{\time} sets the properties @code{timeSignatureFraction},
876 @code{beatLength}, and @code{measureLength} in the @code{Timing}
877 context, which is normally aliased to @internalsref{Score}. The
878 property @code{measureLength} determines where bar lines should be
879 inserted, and how automatic beams should be generated. Changing
880 the value of @code{timeSignatureFraction} also causes the symbol
883 @cindex measure groupings
885 More options are available through the Scheme function
886 @code{set-time-signature}, which takes three arguments: the number
887 of beats, the beat length, and the internal grouping of beats in
888 the measure. If the @internalsref{Measure_grouping_engraver} is
889 included, the function will also create
890 @internalsref{MeasureGrouping} signs. Such signs ease reading
891 rhythmically complex modern music. In the following example, the
892 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
893 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
895 @lilypond[quote,ragged-right,verbatim]
898 #(set-time-signature 9 8 '(2 2 2 3))
899 g8[ g] d[ d] g[ g] a8[( bes g]) |
900 #(set-time-signature 5 8 '(3 2))
906 \consists "Measure_grouping_engraver"
915 Snippets: @lsrdir{Rhythms,Rhythms}
917 Internals Reference: @internalsref{TimeSignature}, and
918 @internalsref{Timing_translator}.
920 Examples: @c @lsr{contemporary,compound-time-signature.ly}.
925 Automatic beaming does not use the measure grouping specified with
926 @code{set-time-signature}.
930 @subsubsection Upbeats
934 @cindex partial measure
935 @cindex measure, partial
936 @cindex pickup measure
937 @cindex shorten measures
940 Partial or pickup measures, such as an anacrusis or upbeat, are
941 entered using the @code{\partial} command, with the syntax
944 \partial @var{duration}
947 where @code{duration} is the rhythmic length to be added before
950 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
951 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
954 Internally, this is translated into
957 \set Timing.measurePosition = -@var{length of duration}
960 The property @code{measurePosition} contains a rational number
961 indicating how much of the measure has passed at this point. Note
962 that this is a negative number; @code{\partial 4} is internally
963 translated to mean @qq{there is a quarter note left in the bar.}
968 This command does not take into account grace notes at the start
969 of the music. When a piece starts with grace notes in the
970 pickup, then the @code{\partial} should follow the grace notes:
972 @lilypond[verbatim,quote,ragged-right,relative,fragment]
979 @code{\partial} is only intended to be used at the beginning of a
980 piece. If you use it after the beginning, some odd warnings may
985 Snippets: @lsrdir{Rhythms,Rhythms}
987 @node Unmetered music
988 @subsubsection Unmetered music
992 @funindex \cadenzaOff
994 Bar lines and bar numbers are calculated automatically. For
995 unmetered music (cadenzas, for example), this is not desirable.
996 To turn off automatic bar lines and bar numbers, use the commands
997 @code{\cadenzaOn} and @code{\cadenzaOff}.
999 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1008 Bar numbering is resumed at the end of the cadenza as if the
1009 cadenza were not there:
1011 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
1012 \override Score.BarNumber #'break-visibility = ##( #t #t #t )
1023 LilyPond will only insert line breaks and page breaks at a
1024 bar line. Unless the unmetered music ends before the end of the
1025 staff line, you will need to insert invisible bar lines with
1032 to indicate where breaks can occur.
1036 Snippets: @lsrdir{Rhythms,Rhythms}
1039 @node Polymetric notation
1040 @subsubsection Polymetric notation
1042 @c TODO Work this example into the main text
1043 @c @lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
1044 @c {printing-music-with-different-time-signatures.ly}
1046 @cindex double time signatures
1047 @cindex signatures, polymetric
1048 @cindex polymetric signatures
1049 @cindex meter, polymetric
1053 @rglos{polymetric time signature}
1056 Double time signatures are not supported explicitly, but they can
1057 be faked. In the next example, the markup for the time signature
1058 is created with a markup text. This markup text is inserted in
1059 the @internalsref{TimeSignature} grob. See also
1060 @c @lsr{contemporary,compound-time-signature}.
1062 @lilypond[verbatim,ragged-right]
1064 tsMarkup = \markup {
1065 \override #'(baseline-skip . 2) \number {
1068 \bracket \column { "5" "8" }
1073 \override Staff.TimeSignature #'stencil =
1074 #ly:text-interface::print
1075 \override Staff.TimeSignature #'text = #tsMarkup
1077 c'2 \bar ":" c'4 c'4.
1081 Each staff can also have its own time signature. This is done by
1082 moving the @internalsref{Timing_translator} to the
1083 @internalsref{Staff} context.
1085 @lilypond[quote,verbatim,ragged-right]
1089 \remove "Timing_translator"
1090 \remove "Default_bar_line_engraver"
1094 \consists "Timing_translator"
1095 \consists "Default_bar_line_engraver"
1098 %Now, each staff has its own time signature.
1111 c4. c8 c c c4. c8 c c
1117 A different form of polymetric notation is where note lengths have
1118 different values across staves, but the measures are all the same
1121 This notation can be created by setting a common time signature
1122 for each staff but replacing it manually using
1123 @code{timeSignatureFraction} to the desired fraction. Then the
1124 printed durations in each staff are scaled to the common time
1125 signature. The latter is done with @code{\compressMusic}, which
1126 is used in a similar way to @code{\times}, but does not create
1127 a tuplet bracket. The syntax is
1129 @funindex \compressMusic
1133 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1138 In this example, music with the time signatures of 3/4, 9/8, and
1139 10/8 are used in parallel. In the second staff, shown durations
1140 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1141 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1144 @lilypond[quote,ragged-right,verbatim,fragment]
1152 \set Staff.timeSignatureFraction = #'(9 . 8)
1153 \compressMusic #'(2 . 3)
1154 \repeat unfold 6 { c8[ c c] }
1158 \set Staff.timeSignatureFraction = #'(10 . 8)
1159 \compressMusic #'(3 . 5) {
1160 \repeat unfold 2 { c8[ c c] }
1161 \repeat unfold 2 { c8[ c] }
1162 | c4. c4. \times 2/3 { c8 c c } c4
1171 When using different time signatures in parallel, the spacing is
1172 aligned vertically, but bar lines distort the regular spacing.
1176 Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
1178 Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
1181 @node Automatic note splitting
1182 @subsubsection Automatic note splitting
1184 Long notes which overrun bar lines can be converted automatically
1185 to tied notes. This is done by replacing the
1186 @internalsref{Note_heads_engraver} by the
1187 @internalsref{Completion_heads_engraver}. In the following
1188 examples, notes crossing the bar line are split and tied.
1190 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1192 \remove "Note_heads_engraver"
1193 \consists "Completion_heads_engraver"
1195 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1199 This engraver splits all running notes at the bar line, and
1200 inserts ties. One of its uses is to debug complex scores: if the
1201 measures are not entirely filled, then the ties exactly show how
1202 much each measure is off.
1204 If you want to allow line breaking on the bar lines where
1205 @internalsref{Completion_heads_engraver} splits notes, you must
1206 also remove @internalsref{Forbid_line_break_engraver}.
1211 Not all durations (especially those containing tuplets) can be
1212 represented exactly with normal notes and dots, but the engraver
1213 will not insert tuplets.
1215 @code{Completion_heads_engraver} only affects notes; it does not
1221 Snippets: @lsrdir{Rhythms,Rhythms}
1223 Internals Reference: @internalsref{Note_heads_engraver},
1224 @internalsref{Completion_heads_engraver},
1225 @internalsref{Forbid_line_break_engraver}.
1236 * Setting automatic beam behavior::
1241 @node Automatic beams
1242 @subsubsection Automatic beams
1244 By default, beams are inserted automatically:
1246 @cindex beams, manual
1247 @cindex manual beams
1249 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1251 \time 6/8 c c c c8. c16 c8
1254 If these automatic decisions are not satisfactory, beaming can be
1255 entered explicitly; see @ref{Manual beams}. It is also possible
1256 to define beaming patterns that differ from the defaults; see
1257 @ref{Setting automatic beam behavior}. The default beaming rules
1258 are defined in @file{scm/@/auto@/-beam@/.scm}.
1264 Automatic beaming may be turned off and on with
1265 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1267 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1268 c4 c8 c8. c16 c8. c16 c8
1278 Beaming patterns may be altered with the @code{beatGrouping} property,
1280 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1282 \set beatGrouping = #'(2 3)
1284 \set beatGrouping = #'(3 2)
1288 The beams of consecutive 16th (or shorter) notes are, by default,
1289 not sub-divided. That is, the three (or more) beams stretch
1290 unbroken over entire groups of notes. This behaviour can
1291 be modified to sub-divide the beams into sub-groups by setting
1292 the property @code{subdivideBeams}. When set, multiple beams
1293 will be sub-divided at intervals defined by the current value of
1294 @code{beatLength} by reducing the multiple beams to just one beam
1295 between the sub-groups. Note that @code{beatLength} lives in the
1296 @code{Score} context and defaults to a quarter note. It must be
1297 set to a fraction giving the duration of the beam sub-group
1298 using the @code{make-moment} function, as shown here:
1300 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1302 \set subdivideBeams = ##t
1304 % Set beam sub-group length to an eighth note
1305 \set Score.beatLength = #(ly:make-moment 1 8)
1307 % Set beam sub-group length to a sixteenth note
1308 \set Score.beatLength = #(ly:make-moment 1 16)
1311 @funindex subdivideBeams
1314 For more information about @code{make-moment}, see
1315 @ref{Time administration}.
1321 Line breaks are normally forbidden when beams cross bar lines.
1322 This behavior can be changed by setting the @code{breakable}
1323 property: @code{\override Beam #'breakable = ##t}.
1325 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1326 \override Beam #'breakable = ##t
1327 c8 \repeat unfold 15 {c[ c] } c
1330 @cindex beams and line breaks
1331 @cindex beams, kneed
1333 @cindex auto-knee-gap
1335 Kneed beams are inserted automatically when a large gap is
1336 detected between the note heads. This behavior can be tuned
1337 through the @code{auto-knee-gap} property. A kneed beam is
1338 drawn if the gap is larger than the value of
1339 @code{auto-knee-gap} plus the width of the beam object (which
1340 depends on the duration of the notes and the slope of the beam).
1341 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1343 @lilypond[fragment,ragged-right,quote,verbatim]
1345 \override Beam #'auto-knee-gap = #6
1352 Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
1354 Snippets: @lsrdir{Rhythms,Rhythms}
1356 Internals Reference: @internalsref{Beam}.
1361 Automatically kneed cross-staff beams cannot be used together with
1362 hidden staves. See @ref{Hiding staves}.
1364 Beams can collide with note heads and accidentals in other voices
1367 @node Setting automatic beam behavior
1368 @subsubsection Setting automatic beam behavior
1370 @funindex autoBeamSettings
1371 @funindex (end * * * *)
1372 @funindex (begin * * * *)
1373 @cindex automatic beams, tuning
1374 @cindex tuning automatic beaming
1376 @c [TODO: use \applyContext]
1378 In normal time signatures, automatic beams can start on any note
1379 but can end in only a few positions within the measure: beams can
1380 end on a beat, or at durations specified by the properties in
1381 @code{autoBeamSettings}. The properties in
1382 @code{autoBeamSettings} consist of a list of rules for where beams
1383 can begin and end. The default @code{autoBeamSettings} rules are
1384 defined in @file{scm/@/auto@/-beam@/.scm}.
1386 In order to add a rule to the list, use
1388 #(override-auto-beam-setting '(be p q n m) a b [context])
1393 @item @code{be} is either @code{begin} or @code{end}.
1395 @item @code{p/q} is the duration of the note for which you want
1396 to add a rule. A beam is considered to have the duration of its
1397 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1398 have this apply to any beam.
1400 @item @code{n/m} is the time signature to which
1401 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1402 to have this apply in any time signature.
1404 @item @code{a/b} is the position in the bar at which the beam should
1407 @item @code{context} is optional, and it specifies the context at which
1408 the change should be made. The default is @code{'Voice}.
1410 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1411 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1415 For example, if automatic beams should always end on the first quarter
1419 #(override-auto-beam-setting '(end * * * *) 1 4)
1422 You can force the beam settings to only take effect on beams whose shortest
1423 note is a certain duration
1425 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1427 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1429 a32 a a a a16 a a a a a |
1430 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1431 a32 a a a a16 a a a a a |
1434 You can force the beam settings to only take effect in certain time
1437 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1439 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1447 You can also remove a previously set beam-ending rule by using
1450 #(revert-auto-beam-setting '(be p q n m) a b [context])
1454 be, p, q, n, m, a, b and context are the same as above. Note that the
1455 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1456 so you can revert rules that you did not explicitly create.
1458 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1460 a16 a a a a a a a a a a a a a a a
1461 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1462 a16 a a a a a a a a a a a a a a a
1465 The rule in a revert-auto-beam-setting statement must exactly match the
1466 original rule. That is, no wildcard expansion is taken into account.
1468 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1470 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1472 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1474 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1480 @c TODO: old material -- not covered by above stuff, I think.
1481 If automatic beams should end on every quarter in 5/4 time, specify
1484 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1485 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1486 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1487 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1491 The same syntax can be used to specify beam starting points. In this
1492 example, automatic beams can only end on a dotted quarter note
1494 #(override-auto-beam-setting '(end * * * *) 3 8)
1495 #(override-auto-beam-setting '(end * * * *) 1 2)
1496 #(override-auto-beam-setting '(end * * * *) 7 8)
1498 In 4/4 time signature, this means that automatic beams could end only on
1499 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1500 3/8, has passed within the measure).
1502 If any unexpected beam behaviour occurs, check the default automatic beam
1503 settings in @file{scm/@/auto@/-beam@/.scm}
1504 for possible interference, because the beam
1505 endings defined there will still apply on top of your own overrides. Any
1506 unwanted endings in the default vales must be reverted for your time
1509 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1513 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1514 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1515 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1516 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1519 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1520 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1521 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1524 @cindex automatic beam generation
1526 @funindex autoBeaming
1529 If beams are used to indicate melismata in songs, then automatic
1530 beaming should be switched off with @code{\autoBeamOff}.
1535 @funindex \autoBeamOff
1536 @code{\autoBeamOff},
1537 @funindex \autoBeamOn
1543 If a score ends while an automatic beam has not been ended and is
1544 still accepting notes, this last beam will not be typeset at all.
1545 The same holds for polyphonic voices, entered with @code{<<
1546 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1547 automatic beam is still accepting notes, it is not typeset.
1551 Snippets: @lsrdir{Rhythms,Rhythms}
1555 @subsubsection Manual beams
1557 @cindex beams, manual
1559 In some cases it may be necessary to override the automatic
1560 beaming algorithm. For example, the autobeamer will not put beams
1561 over rests or bar lines, and in choral scores the beaming is
1562 often set to follow the meter of the lyrics rather than the
1563 notes. Such beams can be specified manually by
1564 marking the begin and end point with @code{[} and @code{]}
1566 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1568 r4 r8[ g' a r8] r8 g[ | a] r8
1573 Individual notes may be marked with @code{\noBeam} to prevent them
1576 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1577 \time 2/4 c8 c\noBeam c c
1583 @funindex stemLeftBeamCount
1584 @funindex stemRightBeamCount
1586 Even more strict manual control with the beams can be achieved by
1587 setting the properties @code{stemLeftBeamCount} and
1588 @code{stemRightBeamCount}. They specify the number of beams to
1589 draw on the left and right side, respectively, of the next note.
1590 If either property is set, its value will be used only once, and
1591 then it is erased. In this example, the last @code{f} is printed
1592 with only one beam on the left side, i.e. the eigth-note beam of
1593 the group as a whole.
1595 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1599 \set stemLeftBeamCount = #1
1607 @node Feathered beams
1608 @subsubsection Feathered beams
1610 @cindex beams, feathered
1611 @funindex \featherDurations
1613 Feathered beams are used to indicate that a small group of notes
1614 should be played at an increasing (or decreasing) tempo, without
1615 changing the overall tempo of the piece. The extent of the
1616 feathered beam must be indicated manually using @code{[} and
1617 @code{]}, and the beam feathering is turned on by specifying a
1618 direction to the Beam property @code{grow-direction}.
1620 If the placement of the notes and the sound in the MIDI output
1621 is to reflect the ritardando or accelerando indicated by the
1622 feathered beam the notes must be grouped as a
1623 music expression delimited by braces and preceded by a
1624 @code{featheredDurations} command which specifies the ratio
1625 between the durations of the first and last notes in the group.
1628 show the extent of the beam and the braces show
1629 which notes are to have their durations modified. Normally
1630 these would delimit the same group of notes, but this is not
1631 required: the two commands are independent.
1633 In the following example the eight 16th notes occupy exactly the
1634 same time as a half note, but the first note is one half as long
1635 as the last one, with the intermediate notes gradually
1636 lengthening. The first four 32nd notes gradually speed up, while
1637 the last four 32nd notes are at a constant tempo.
1639 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1640 \override Beam #'grow-direction = #LEFT
1641 \featherDurations #(ly:make-moment 2 1)
1642 { c16[ c c c c c c c] }
1643 \override Beam #'grow-direction = #RIGHT
1644 \featherDurations #(ly:make-moment 2 3)
1646 % revert to non-feathered beams
1647 \override Beam #'grow-direction = #'()
1652 The spacing in the printed output represents the
1653 note durations only approximately, but the midi output is exact.
1657 The @code{\featherDurations} command only works with very short
1658 music snippets, and when numbers in the fraction are small.
1662 Snippets: @lsrdir{Rhythms,Rhythms}
1673 * Bar and bar number checks::
1678 @subsubsection Bar lines
1682 @cindex measure lines
1685 Bar lines delimit measures, and are also used to indicate
1686 repeats. Normally, simple bar lines are automatically inserted
1687 into the printed output at places based on the current time
1690 The simple bar lines inserted automatically can be changed to
1691 other types with the @code{\bar} command. For example, a closing
1692 double bar line is usually placed at the end of a piece:
1694 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1698 @warning{An incorrect duration can lead to poorly formatted
1701 It is not invalid if the final note in a bar does not
1702 end on the automatically entered bar line: the note is assumed
1703 to carry over into the next bar. But if a long sequence
1704 of such carry-over bars appears the music can appear compressed
1705 or even flowing off the page. This is because automatic line
1706 breaks happen only at the end of complete bars, i.e. where
1707 the end of a note coincides with the end of a bar.
1710 @cindex bar lines, invisible
1711 @cindex measure lines, invisible
1713 Line breaks are also permitted at manually inserted bar lines
1714 even within incomplete bars. To allow a line break without
1715 printing a bar line, use
1722 This will insert an invisible bar line and allow (but not
1723 force) a line break to occur at this point. The bar number
1724 counter is not increased. To force a line break see
1725 @ref{Line breaking}.
1727 This and other special bar lines may be inserted manually at any
1728 point. When they coincide with the end of a bar they replace
1729 the simple bar line which would have been inserted there
1730 automatically. When they do not coincide
1731 with the end of a bar the specified bar line is inserted at that
1732 point in the printed output. Such insertions do not affect
1733 the calculation and placement of subsequent automatic bar lines.
1735 The simple bar line and four types of double bar line are available
1736 for manual insertion:
1738 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1739 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1743 together with dotted and dashed bar lines:
1745 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1746 f1 \bar ":" g \bar "dashed" a
1750 and three types of repeat bar line:
1752 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1753 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1758 Although the bar line types signifying repeats may be inserted
1759 manually they do not in themselves cause LilyPond to recognise
1760 a repeated section. Such repeated sections are better entered
1761 using the various repeat commands (see @ref{Repeats}), which
1762 automatically print the appropriate bar lines.
1764 In addition, you can specify @code{"||:"}, which is equivalent to
1765 @code{"|:"} except at line breaks, where it gives a double bar
1766 line at the end of the line and a start repeat at the beginning of
1769 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1770 \override Score.RehearsalMark #'padding = #3
1778 In scores with many staves, a @code{\bar} command in one staff is
1779 automatically applied to all staves. The resulting bar lines are
1780 connected between different staves of a @code{StaffGroup},
1781 @code{PianoStaff}, or @code{GrandStaff}.
1783 @lilypond[quote,ragged-right,fragment,verbatim]
1791 \new Staff { \clef bass c4 g e g }
1793 \new Staff { \clef bass c2 c2 }
1801 @funindex defaultBarType
1803 The command @code{\bar }@var{bartype} is a shortcut for
1804 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1805 created whenever the @code{whichBar} property is
1808 The default bar type used for automatically inserted bar lines is
1809 @code{"|"}. This may be changed at any time
1810 with @code{\set Timing.defaultBarType = }@var{bartype}.
1814 Notation Reference: @ref{Line breaking}, @ref{Repeats},
1815 @c FIXME: node name changed, but is subject to further changes.
1816 @c @ref{System start delimiters}.
1818 Snippets: @lsrdir{Rhythms,Rhythms}
1820 Internals Reference: @internalsref{BarLine} (created at
1821 @internalsref{Staff} level), @internalsref{SpanBar} (across
1822 staves), @internalsref{Timing_translator} (for Timing
1827 @subsubsection Bar numbers
1830 @cindex measure numbers
1831 @funindex currentBarNumber
1833 Bar numbers are typeset by default at the start of every line except
1834 the first line. The number itself is stored in the
1835 @code{currentBarNumber} property, which is normally updated
1836 automatically for every measure. It may also be set manually:
1838 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1841 \set Score.currentBarNumber = #50
1848 @funindex barNumberVisibility
1849 @cindex bar numbers, regular spacing
1851 Bar numbers can be typeset at regular intervals instead of just at
1852 the beginning of every line. To do this the default behaviour
1853 must be overridden to permit bar numbers to be printed at places
1854 other than the start of a line. This is controlled by the
1855 @code{break-visibility} property of @code{BarNumber}. This takes
1856 three values which may be set to @code{#t} or @code{#f} to specify
1857 whether the corresponding bar number is visible or not. The order
1858 of the three values is @code{end of line visible}, @code{middle of
1859 line visible}, @code{beginning of line visible}. In the following
1860 example bar numbers are printed at all possible places:
1862 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1863 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1864 \set Score.currentBarNumber = #11
1865 \bar "" % Permit first bar number to be printed
1871 @c All the rest of these examples will be added to LSR
1872 @c and moved into the Snippets. -gp
1875 and here the bar numbers are printed every two bars
1876 except at the end of the line:
1878 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1879 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1880 \set Score.currentBarNumber = #11
1881 \bar "" % Permit first bar number to be printed
1882 % Print a bar number every 2nd bar
1883 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1889 @cindex measure number, format
1890 @cindex bar number, format
1892 The size of the bar number may be changed. This is illustrated
1893 in the following example, which also shows how to enclose bar
1894 numbers in boxes and circles, and shows an alternative way
1895 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1897 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1898 % Prevent bar numbers at the end of a line and permit them elsewhere
1899 \override Score.BarNumber #'break-visibility
1900 = #end-of-line-invisible
1902 % Increase the size of the bar number by 2
1903 \override Score.BarNumber #'font-size = #2
1904 \repeat unfold 3 { c1 } \bar "|"
1906 % Draw a box round the following bar number(s)
1907 \override Score.BarNumber #'stencil
1908 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1909 \repeat unfold 3 { c1 } \bar "|"
1911 % Draw a circle round the following bar number(s)
1912 \override Score.BarNumber #'stencil
1913 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1914 \repeat unfold 4 { c1 } \bar "|."
1917 @cindex bar number alignment
1919 Bar numbers by default are left-aligned to their parent object.
1920 This is usually the left edge of a line or, if numbers are printed
1921 within a line, the left bar line of the bar. The numbers may also
1922 be positioned directly on the bar line or right-aligned to the
1925 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1926 \set Score.currentBarNumber = #111
1927 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1928 % Increase the size of the bar number by 2
1929 \override Score.BarNumber #'font-size = #2
1930 % Print a bar number every 2nd bar
1931 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1933 % Centre-align bar numbers
1934 \override Score.BarNumber #'self-alignment-X = #0
1936 % Right-align bar numbers
1937 \override Score.BarNumber #'self-alignment-X = #-1
1941 Bar numbers can be removed entirely by removing the Bar number
1942 engraver from the score context.
1944 @lilypond[verbatim,ragged-right,quote]
1948 \remove "Bar_number_engraver"
1960 Snippets: @lsrdir{Rhythms,Rhythms}
1962 Internals Reference: @internalsref{BarNumber}.
1967 Bar numbers may collide with the top of the
1968 @internalsref{StaffGroup} bracket, if there is one. To solve
1969 this, the @code{padding} property of @internalsref{BarNumber} can
1970 be used to position the number correctly.
1972 Bar numbers may only be printed at bar lines; to print a bar
1973 number at the beginning of a piece, an empty bar line must be
1974 inserted there, and a value other than @code{1} must be placed
1975 in @code{currentBarNumber}:
1977 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1978 \set Score.currentBarNumber = #50
1987 @node Bar and bar number checks
1988 @subsubsection Bar and bar number checks
1991 @funindex barCheckSynchronize
1994 Bar checks help detect errors in the entered durations.
1995 A bar check may be entered using the bar symbol, @code{|},
1996 at any place where a bar line is expected to fall.
1997 If bar check lines are encountered at other places,
1998 a list of warnings is printed in the log file,
1999 showing the line numbers and lines
2000 in which the bar checks failed. In the next
2001 example, the second bar check will signal an error.
2004 \time 3/4 c2 e4 | g2 |
2007 Bar checks can also be used in lyrics, for example
2012 Twin -- kle | Twin -- kle |
2016 An incorrect duration can result in a completely garbled score,
2017 especially if the score is polyphonic, so a good place to start
2018 correcting input is by scanning for failed bar checks and
2019 incorrect durations.
2022 @funindex pipeSymbol
2024 It is also possible to redefine the action taken when a bar check
2025 or pipe symbol, @code{|}, is encountered in the input, so that
2026 it does something other than a bar check. This is done by
2027 assigning a music expression to @code{pipeSymbol}.
2028 In the following example @code{|} is set to insert a double bar
2029 line wherever it appears in the input, rather than checking
2032 @lilypond[quote,ragged-right,verbatim]
2033 pipeSymbol = \bar "||"
2042 When copying large pieces of music, it can be helpful to check
2043 that the LilyPond bar number corresponds to the original that you
2044 are entering from. This can be checked with
2045 @code{\barNumberCheck}, for example,
2048 \barNumberCheck #123
2052 will print a warning if the @code{currentBarNumber} is not 123
2053 when it is processed.
2057 Snippets: @lsrdir{Rhythms,Rhythms}
2060 @node Rehearsal marks
2061 @subsubsection Rehearsal marks
2063 @cindex rehearsal marks
2064 @cindex mark, rehearsal
2067 To print a rehearsal mark, use the @code{\mark} command
2069 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2078 The letter@tie{}@q{I} is skipped in accordance with engraving
2079 traditions. If you wish to include the letter @q{I}, then use
2082 \set Score.markFormatter = #format-mark-alphabet
2085 The mark is incremented automatically if you use @code{\mark
2086 \default}, but you can also use an integer argument to set the
2087 mark manually. The value to use is stored in the property
2088 @code{rehearsalMark}.
2090 @cindex rehearsal mark format
2091 @cindex rehearsal mark style
2092 @cindex style, rehearsal mark
2093 @cindex format, rehearsal mark
2094 @cindex mark, rehearsal, style
2095 @cindex mark, rehearsal, format
2097 The style is defined by the property @code{markFormatter}. It is
2098 a function taking the current mark (an integer) and the current
2099 context as argument. It should return a markup object. In the
2100 following example, @code{markFormatter} is set to a pre-defined
2101 procedure. After a few measures, it is set to a procedure that
2102 produces a boxed number.
2104 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2105 \set Score.markFormatter = #format-mark-numbers
2108 \set Score.markFormatter = #format-mark-box-numbers
2114 The file @file{scm/@/translation@/-functions@/.scm} contains the
2115 definitions of @code{format-mark-numbers} (the default format),
2116 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2117 @code{format-mark-box-letters}. These can be used as inspiration
2118 for other formatting functions.
2120 You may use @code{format-mark-barnumbers},
2121 @code{format-mark-box-barnumbers}, and
2122 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2123 incremented numbers or letters.
2125 Other styles of rehearsal mark can be specified manually
2132 @code{Score.markFormatter} does not affect marks specified in this
2133 manner. However, it is possible to apply a @code{\markup} to the
2137 \mark \markup@{ \box A1 @}
2144 Music glyphs (such as the segno sign) may be printed inside a
2147 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2148 c1 \mark \markup { \musicglyph #"scripts.segno" }
2149 c1 \mark \markup { \musicglyph #"scripts.coda" }
2150 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2155 See @ref{The Feta font}, for a list of symbols which may be
2156 printed with @code{\musicglyph}.
2158 For common tweaks to the positioning of rehearsal marks, see
2163 Snippets: @lsrdir{Rhythms,Rhythms}
2165 This manual: @ref{The Feta font}, @ref{Text marks}.
2167 Internals Reference: @internalsref{RehearsalMark}.
2169 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2170 the definition of @code{format-mark-numbers} and
2171 @code{format-mark-letters}. They can be used as inspiration for
2172 other formatting functions.
2174 Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
2177 @node Special rhythmic concerns
2178 @subsection Special rhythmic concerns
2183 * Aligning to cadenzas::
2184 * Time administration::
2188 @subsubsection Grace notes
2193 @cindex appoggiatura
2194 @cindex acciaccatura
2196 Grace notes are ornaments that are written out. They are made with
2197 the @code{\grace} command. By prefixing this keyword to a music
2198 expression, a new one is formed, which will be printed in a
2199 smaller font and takes up no logical time in a measure.
2201 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2203 \grace { c16[ d16] } c2 c4
2206 Two special forms of the @code{\grace} command exist.
2207 An @emph{acciaccatura}, which should be played as very short,
2208 is denoted by a slurred small note with a slashed stem. The
2209 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2210 main note, is denoted as a slurred note in small print without
2211 a slash. They are entered with the commands @code{\acciaccatura}
2212 and @code{\appoggiatura}, as demonstrated in the following
2215 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2216 b4 \acciaccatura d8 c4
2218 \acciaccatura { g16[ f] } e4
2222 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2223 @code{\grace} does not.
2225 The placement of grace notes is synchronized between different
2226 staves. In the following example, there are two sixteenth grace
2227 notes for every eighth grace note
2229 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2230 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2231 \new Staff { c4 \grace { g8[ b] } c4 } >>
2234 @funindex \afterGrace
2236 @cindex grace notes, following
2238 If you want to end a note with a grace, use the @code{\afterGrace}
2239 command. It takes two arguments: the main note, and the grace
2240 notes following the main note.
2242 @lilypond[ragged-right, verbatim,relative=2,fragment]
2243 c1 \afterGrace d1 { c16[ d] } c4
2246 This will put the grace notes after a @q{space} lasting 3/4 of the
2247 length of the main note. The fraction 3/4 can be changed by
2248 setting @code{afterGraceFraction}, ie.
2251 #(define afterGraceFraction (cons 7 8))
2255 will put the grace note at 7/8 of the main note.
2257 The same effect can be achieved manually by doing
2259 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2262 { s2 \grace { c16[ d] } } >>
2268 By adjusting the duration of the skip note (here it is a
2269 half-note), the space between the main-note and the grace
2272 A @code{\grace} music expression will introduce special
2273 typesetting settings, for example, to produce smaller type, and
2274 set directions. Hence, when introducing layout tweaks, they
2275 should be inside the grace expression, for example,
2277 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2289 The overrides should also be reverted inside the grace expression.
2291 The layout of grace expressions can be changed throughout the
2292 music using the function @code{add-grace-property}. The following
2293 example undefines the @code{Stem} direction for this grace, so
2294 that stems do not always point up.
2298 #(add-grace-property 'Voice 'Stem 'direction '())
2304 Another option is to change the variables @code{startGraceMusic},
2305 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2306 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2307 @code{stopAppoggiaturaMusic}. The default values of these can be
2308 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2309 them other effects may be obtained.
2311 @cindex stem, with slash
2314 The slash through the stem in @emph{acciaccatura}s can be obtained in
2315 other situations by @code{\override Stem #'stroke-style =
2321 Grace notes may be forced to use align with regular notes
2322 in other staves by setting @code{strict-grace-spacing} to
2325 @lilypond[relative=2,ragged-right]
2327 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2336 c'16[ c'16 c'16 c'16]
2337 c'16[ c'16 c'16 c'16]
2347 @rglos{grace notes},
2348 @rglos{acciaccatura},
2349 @rglos{appoggiatura}
2351 Snippets: @lsrdir{Rhythms,Rhythms}
2353 Internals Reference: @internalsref{GraceMusic}.
2358 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2359 and looks exactly the same as a multi-note beamed
2360 @emph{appoggiatura}.
2361 @c TODO Add link to LSR snippet to add slash when available
2363 Grace note synchronization can also lead to surprises. Staff
2364 notation, such as key signatures, bar lines, etc., are also
2365 synchronized. Take care when you mix staves with grace notes and
2366 staves without, for example,
2368 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2369 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2370 \new Staff { c4 \bar "|:" d4 } >>
2374 This can be remedied by inserting grace skips of the corresponding
2375 durations in the other staves. For the above example
2377 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2378 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2379 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2382 Grace sections should only be used within sequential music
2383 expressions. Nesting or juxtaposing grace sections is not
2384 supported, and might produce crashes or other errors.
2386 @node Aligning to cadenzas
2387 @subsubsection Aligning to cadenzas
2390 @cindex cadenza, aligning to
2391 @cindex aligning to cadenza
2393 In an orchestral context, cadenzas present a special problem: when
2394 constructing a score that includes a cadenza, all other
2395 instruments should skip just as many notes as the length of the
2396 cadenza, otherwise they will start too soon or too late.
2398 A solution to this problem is to use the functions
2399 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2400 functions take a piece of music as argument, and generate a multi-rest
2401 or @code{\skip}, exactly as long as the piece. The use of
2402 @code{mmrest-of-length} is demonstrated in the following example.
2404 @lilypond[verbatim,ragged-right,quote]
2405 cadenza = \relative c' {
2406 c4 d8 << { e f g } \\ { d4. } >>
2411 \new Staff { \cadenza c'4 }
2413 #(ly:export (mmrest-of-length cadenza))
2421 Snippets: @lsrdir{Rhythms,Rhythms}
2424 @node Time administration
2425 @subsubsection Time administration
2427 @cindex time administration
2428 @cindex timing (within the score)
2429 @cindex music, unmetered
2430 @cindex unmetered music
2432 @funindex currentBarNumber
2433 @funindex measurePosition
2434 @funindex measureLength
2436 Time is administered by the @code{Timing_translator}, which by
2437 default is to be found in the @code{Score} context. An alias,
2438 @code{Timing}, is added to the context in which the
2439 @code{Timing_translator} is placed.
2441 The following properties of @code{Timing} are used
2442 to keep track of timing within the score.
2445 @cindex measure number
2448 @item currentBarNumber
2449 The current measure number. For an example showing the
2450 use of this property see @ref{Bar numbers}.
2453 The length of the measures in the current time signature. For a
2454 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2455 determines when bar lines are inserted and how automatic beams
2456 should be generated.
2458 @item measurePosition
2459 The point within the measure where we currently are. This
2460 quantity is reset by subtracting @code{measureLength} whenever
2461 @code{measureLength} is reached or exceeded. When that happens,
2462 @code{currentBarNumber} is incremented.
2465 If set to true, the above variables are updated for every time
2466 step. When set to false, the engraver stays in the current
2467 measure indefinitely.
2471 Timing can be changed by setting any of these variables
2472 explicitly. In the next example, the default 4/4 time
2473 signature is printed, but @code{measureLength} is set to 5/4.
2474 At 4/8 through the third measure, the @code{measurePosition} is
2475 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2476 The next bar line then falls at 9/8 rather than 5/4.
2478 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2479 \set Score.measureLength = #(ly:make-moment 5 4)
2483 \set Score.measurePosition = #(ly:make-moment 5 8)
2489 As the example illustrates, @code{ly:make-moment n m} constructs a
2490 duration of n/m of a whole note. For example,
2491 @code{ly:make-moment 1 8} is an eighth note duration and
2492 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2498 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2500 Snippets: @lsrdir{Rhythms,Rhythms}
2502 Internals Reference: @internalsref{Timing_translator},
2503 @internalsref{Score}