1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
12 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
15 This section discusses rhythms, durations, and bars.
20 * Displaying rhythms::
23 * Special rhythmic concerns::
28 @subsection Writing rhythms
38 @unnumberedsubsubsec Durations
45 When entering notes, durations are designated by numbers and dots:
46 durations are entered as their reciprocal values. For example, a
47 quarter note is entered using a @code{4} (since it is a 1/4 note),
48 while a half note is entered using a @code{2} (since it is a 1/2
49 note). For notes longer than a whole you must use the
50 @code{\longa} (a double breve) and @code{\breve} commands. Note
51 durations as short as 64th notes may be specified. Shorter values
52 are possible, but only as beamed notes.
54 @c Two 64th notes are needed to obtain beams
55 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
62 and the same durations with automatic beaming turned off
63 see @ref{Automatic beams}:
65 @c not strictly "writing rhythms"; more of a "displaying" thing,
66 @c but it's ok here. -gp
67 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
74 If the duration is omitted then it is set to the previously
75 entered duration. The default for the first note is a quarter
78 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
85 To obtain dotted note lengths, simply add a dot (@code{.}) to the
86 number. Double-dotted notes are produced in a similar way.
88 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
89 a4 b c4. b8 a4. b4.. c8.
92 Some durations cannot be entered using only binary durations
93 and dots, and can only be represented by tying two or more
94 notes together. Tied notes are covered in @ref{Ties}.
98 Dots are normally moved up to avoid staff lines, except in
99 polyphonic situations. The following commands may be used to
100 force a particular direction manually:
106 @funindex \dotsNeutral
109 @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
280 \set tupletFullLengthNote = ##t
282 \times 2/3 { c4 c c }
283 \set tupletFullLengthNote = ##f
293 Tuplets which cross bar lines will prevent a line break at that
298 @code{\compressMusic} works similarly to \times, but does not
299 create a tuplet bracket; see @ref{Polymetric notation}.
301 FIXME: totally irrelevant link to real-music for
302 discussion/demonstration purposes.
304 Snippets: @lsrdir{rhythms},
305 @lsr{real-music,creating-music-with-scheme.ly}.
307 Internals Reference: @internalsref{TupletBracket},
308 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
312 @node Scaling durations
313 @unnumberedsubsubsec Scaling durations
315 You can alter the length of a duration by a fraction @var{N/M}
316 by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
317 This will not affect the appearance of the notes or rests
318 produced, but the altered duration will be used in calculating the
319 position within the measure and setting the duration in the MIDI
320 output. Multiplying factors may be combined
323 In the following example, the first three notes take up exactly
324 two beats, but no triplet bracket is printed.
326 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
328 a4*2/3 gis4*2/3 a4*2/3
333 The duration of skip or spacing notes may also be modified by
334 a multiplier. This is useful for skipping many measures, e.g.,
339 This manual: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
341 Snippets: @lsrdir{rhythms}
344 @unnumberedsubsubsec Ties
349 A tie connects two adjacent note heads of the same pitch. The tie
350 in effect extends the length of a note.
352 @warning{Ties should not be confused with @emph{slurs}, which
353 indicate articulation, or @emph{phrasing slurs}, which indicate
354 musical phrasing. A tie is just a way of extending a note
355 duration, similar to the augmentation dot.}
357 A tie is entered using the tilde symbol @code{~}
359 @lilypond[quote,ragged-right,fragment,verbatim]
365 Ties are used either when the note crosses a bar line, or when
366 dots cannot be used to denote the rhythm. Ties should also be
367 used when note values cross larger subdivisions of the measure:
369 @lilypond[fragment,quote,ragged-right]
371 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
375 If you need to tie a lot of notes across bar lines, it may be
376 easier to use automatic note splitting (see @ref{Automatic note
377 splitting}). This mechanism automatically splits long notes, and
378 ties them across bar lines.
381 @cindex repeating ties
382 @cindex volta brackets and ties
384 When a tie is applied to a chord, all note heads whose pitches
385 match are connected. When no note heads match, no ties will be
386 created. Chords may be partially tied by placing the tie inside
389 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
391 <c~ e g~ b> <c e g b>
394 When a second alternative of a repeat starts with a tied note, you
395 have to repeat the tie. This can be achieved with
398 @lilypond[fragment,quote,ragged-right,relative=2,verbatim]
399 \repeat volta 2 { c g <c e>2 ~ }
400 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
403 @cindex Laissez vibrer
404 @cindex Ties, laissez vibrer
406 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
407 notes must not be damped at the end. It is used in notation for
408 piano, harp and other string and percussion instruments. They can
409 be entered using @code{\laissezVibrer}:
411 @lilypond[fragment,ragged-right,verbatim,relative=1]
412 <c f g>\laissezVibrer
415 The direction of a tie can be specified with @code{\tieUp} or
416 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
417 to the default behaviour again.
419 However, as with other music elements of this kind, there is a
420 convenient shorthand for forcing tie directions. By adding
421 @code{_} or @code{^} before the tilde, the direction is also set:
423 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
430 Snippets: @lsrdir{rhythms}
433 @internalsref{LaissezVibrerTie}
434 @internalsref{LaissezVibrerTieColumn}
437 @lsr{connecting,laissez-vibrer-ties.ly}
442 Ties are sometimes used to write out arpeggios. In this case, two
443 tied notes need not be consecutive. This can be achieved by
444 setting the @code{tieWaitForNote} property to true. The same
445 feature is also useful, for example, to tie a tremolo to a chord,
446 but in principle, it can also be used for ordinary, consecutive
449 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
450 \set tieWaitForNote = ##t
451 \grace { c16[~ e~ g]~ } <c, e g>2
452 \repeat tremolo 8 { c32~ c'~ } <c c,>1
453 e8~ c~ a~ f~ <e' c a f>2
454 \tieUp c8~ a \tieDown \tieDotted g~ c g2
457 Ties may be engraved manually by changing the
458 @code{tie-configuration} property of the @code{TieColumn} object.
459 The first number indicates the distance from the center of the
460 staff in staff-spaces, and the second number indicates the
461 direction (1=up, -1=down).
463 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
465 \override TieColumn #'tie-configuration =
466 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
478 @funindex \tieNeutral
492 Notation Reference: @ref{Automatic note splitting}.
494 Snippets: @lsrdir{rhythms}
496 Internals Reference: @internalsref{Tie}.
501 Switching staves when a tie is active will not produce a slanted
504 Changing clefs or octavations during a tie is not really
505 well-defined. In these cases, a slur may be preferable.
512 @subsection Writing rests
517 * Multi measure rests::
521 @unnumberedsubsubsec Rests
528 Rests are entered like notes with the note name @code{r}:
530 @c \time 16/1 is used to avoid spurious bar lines
531 @c and long tracts of empty measures
532 @lilypond[fragment,quote,ragged-right,verbatim]
535 \override Staff.TimeSignature #'stencil = ##f
537 r\longa r\breve r1 r2
542 Whole measure rests, centered in middle of the measure, must be entered as
543 multi-measure rests. They can be used for a single measure as well as
544 many measures and are discussed in @ref{Multi measure rests}.
546 To explicitly specify a rest's vertical position, write a note
547 followed by @code{\rest}. A rest will be placed in the position
548 where the note would appear. This allows for precise manual
549 formatting of polyphonic music, since the automatic rest collision
550 formatter will leave these rests alone.
552 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
559 Snippets: @lsrdir{rhythms}
561 Internals Reference: @internalsref{Rest}.
566 @c duplicated in Durations and Rests. -gp
567 There is no fundamental limit to note durations (both in terms of
568 longest and shortest), but the number of glyphs is limited: there
569 are flags up 64th and rests up to 128th. At the other extreme,
570 there are note heads up to longa (4x whole note) and rests up to
571 maxima (8 x whole). Since beams can be stacked without needing
572 extra glyphs, beamed notes can be arbitrarily short.
576 @unnumberedsubsubsec Skips
579 @cindex Invisible rest
584 An invisible rest (also called a @q{skip}) can be entered like a
585 note with note name @code{s} or with @code{\skip @var{duration}}
587 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
588 a4 a4 s4 a4 \skip 1 a4
591 The @code{s} syntax is only available in note mode and chord mode.
592 In other situations, for example, when entering lyrics, one must
593 use the @code{\skip} command:
595 @lilypond[quote,ragged-right,verbatim,relative=2]
598 \new Lyrics \lyricmode { \skip 2 bla2 }
602 The skip command is merely an empty musical placeholder. It does
603 not produce any output, not even transparent output.
605 The @code{s} skip command does create @internalsref{Staff} and
606 @internalsref{Voice} when necessary, similar to note and rest
607 commands. For example, the following results in an empty staff.
609 @lilypond[quote,verbatim]
612 @c with ragged-right, the staff lines are cut BEFORE the time
613 @c signature, which makes for a VERY empty staff
615 @c The fragment @code{@{ \skip 4 @} } would produce an empty page.
616 @c Misleading -- it doesn't produce anything, not even an empty page.
617 @c Ppl who want to make empty sheets will see this and wonder what's
622 Snippets: @lsrdir{rhythms}
624 Internals Reference: @internalsref{SkipMusic}.
627 @node Multi measure rests
628 @unnumberedsubsubsec Multi measure rests
630 @cindex multi measure rests
631 @cindex full measure rests
632 @cindex Rests, multi measure
633 @cindex Rests, full measure
634 @cindex whole rests for a full measure
637 Rests for one or more full measures are entered using @code{R}
638 followed by a duration (see @ref{Durations}). The duration should
639 correspond to an integral number of measures, otherwise a barcheck
640 warning is printed. Multi-measure rests are principally used to
641 indicate that a part in a multi-part score should be silent:
643 @lilypond[quote,fragment,verbatim,relative=2]
644 \set Score.skipBars = ##t
651 A multi-measure rest can be expanded in the printed score
652 to show all the rest measures explicitly, or, as above, it can be
653 condensed to a single measure
654 containing a multi-measure rest symbol, with the number of
655 measures of rest printed above the measure. This expansion
656 is controlled by the property @code{Score.skipBars}. If this is
657 set to true, empty measures will be condensed to a single measure.
659 @lilypond[quote,ragged-right,fragment,verbatim]
660 \time 4/4 r1 | R1 | R1*2 |
663 \set Score.skipBars = ##t
667 The @code{1} in @code{R1} is similar to the duration notation
668 used for notes and is the length of a measure in 2/2 or 4/4 time.
669 The duration in a multi-measure rest must always be an integral
670 number of measure-lengths, so in other time signatures augmentation
671 dots or fractions must be used:
673 @lilypond[quote,ragged-right,fragment,verbatim]
674 \set Score.skipBars = ##t
678 R1*13/8 | R1*13/8*12 |
683 An @code{R} spanning a single measure is printed as either a whole
684 or breve rest, centered in the measure, regardless of the time
687 If there are 10 or fewer measures of rest, LilyPond prints
688 @rglos{church rests} (a series of longa and breve rests)
690 prints a simple line otherwise. This default number of 10
691 may be changed by overriding
692 @code{MultiMeasureRest.expand-limit}.
694 @lilypond[quote,ragged-right,fragment,verbatim]
695 \set Score.skipBars = ##t
697 \override MultiMeasureRest #'expand-limit = 3
701 Note that unlike ordinary rests, the vertical position on the
702 staff of the multi-measure rest symbol of either form cannot be
705 @cindex text on multi-measure rest
706 @cindex script on multi-measure rest
707 @cindex fermata on multi-measure rest
709 Text can be added to multi-measure rests by using the
710 @var{note}-@code{markup} syntax described in @ref{Text markup}.
711 The variable @code{\fermataMarkup} is provided for adding
714 @lilypond[quote,ragged-right,verbatim,fragment]
715 \set Score.skipBars = ##t
717 R2.*10^\markup { \italic "ad lib." }
721 @warning{Text attached to a multi-measure rest is created
722 by @code{MultiMeasureRestText}, not
723 @code{TextScript}. Overrides must be directed to the correct
724 object, or they will be ignored. See the following example.}
726 @lilypond[quote,ragged-right,verbatim,fragment]
727 \override TextScript #'padding = #5
729 \override MultiMeasureRestText #'padding = #5
733 Text attached to a multi-measure rest will be centered above or
734 below it. Long text attached in this way does not cause the
735 measure to expand, and may collide with text in adjacent measures.
736 Long text is better attached to a zero-length skip note preceding
737 the rest, preceded by @code{\fatText} (turn off again with
738 @code{\emptyText}), since this will cause the measure to expand to
739 accommodate the length of the text:
741 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
742 \set Score.skipBars = ##t
744 s1*0^\markup {[MAJOR GENERAL]}
746 s1*0^\markup {[MABEL] }
747 s1*0_\markup {\italic {Cue: ... it is yours}}
749 c4^\markup {CHORUS} d f c
755 This manual: @ref{Text}, @ref{Text scripts}.
757 Snippets: @lsrdir{rhythms}
761 @internalsref{MultiMeasureRest}.
763 The layout object @internalsref{MultiMeasureRestNumber} is for the
764 default number, and @internalsref{MultiMeasureRestText} for user
770 If an attempt is made to use fingerings (e.g.,
771 @code{R1*10-4}) to put numbers over multi-measure rests, the
772 fingering numeral (4) may collide with the bar counter
775 @cindex condensing rests
777 There is no way to automatically condense multiple rests into a
778 single multi-measure rest. Multi-measure rests do not take part
781 Be careful when entering multi-measure rests followed by whole
782 notes. The following will enter two notes lasting four measures
790 @node Displaying rhythms
791 @subsection Displaying rhythms
797 * Polymetric notation::
798 * Automatic note splitting::
802 @unnumberedsubsubsec Time signature
804 @cindex Time signature
808 The time signature is set with the @code{\time} command:
810 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
811 \time 2/4 c2 \time 3/4 c2.
816 The symbol that is printed can be customized with the @code{style}
817 property. Setting it to @code{#'()} uses fraction style for 4/4
820 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
823 \override Staff.TimeSignature #'style = #'()
828 A time signature symbol is normally printed whenever the time
829 signature changes. If this takes place at the end of a line a
830 warning time signature sign is printed at the end of the line and
831 again at the start of a new line. This default behaviour can be
832 modified by setting the value of the @code{break-visibility}
833 property. This takes three values which may be set to @code{#t}
834 or @code{#f} to specify whether the corresponding time signature
835 is visible or not. The order of the three values is @code{end of
836 line visible}, @code{middle of line visible}, @code{beginning of
839 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
840 % Do not print any time signatures at end of line
841 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
844 % Do not print the following 9/8 time signature
845 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
853 There are many more options for its layout. See @ref{Ancient time
854 signatures}, for more examples.
856 @code{\time} sets the properties @code{timeSignatureFraction},
857 @code{beatLength}, and @code{measureLength} in the @code{Timing}
858 context, which is normally aliased to @internalsref{Score}. The
859 property @code{measureLength} determines where bar lines should be
860 inserted, and how automatic beams should be generated. Changing
861 the value of @code{timeSignatureFraction} also causes the symbol
864 @cindex Measure groupings
866 More options are available through the Scheme function
867 @code{set-time-signature}, which takes three arguments: the number
868 of beats, the beat length, and the internal grouping of beats in
869 the measure. If the @internalsref{Measure_grouping_engraver} is
870 included, the function will also create
871 @internalsref{MeasureGrouping} signs. Such signs ease reading
872 rhythmically complex modern music. In the following example, the
873 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
874 @code{set-time-signature} as the third argument @code{(2 2 2 3)}:
876 @lilypond[quote,ragged-right,verbatim]
879 #(set-time-signature 9 8 '(2 2 2 3))
880 g8[ g] d[ d] g[ g] a8[( bes g]) |
881 #(set-time-signature 5 8 '(3 2))
887 \consists "Measure_grouping_engraver"
896 Snippets: @lsrdir{rhythms}
898 Internals Reference: @internalsref{TimeSignature}, and
899 @internalsref{Timing_translator}.
901 Examples: @lsr{contemporary,compound-time-signature.ly}.
906 Automatic beaming does not use the measure grouping specified with
907 @code{set-time-signature}.
911 @unnumberedsubsubsec Upbeats
915 @cindex partial measure
916 @cindex measure, partial
917 @cindex pickup measure
918 @cindex shorten measures
921 Partial or pickup measures, such as an anacrusis or upbeat, are
922 entered using the @code{\partial} command, with the syntax
925 \partial @var{duration}
928 where @code{duration} is the rhythmic length to be added before
931 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
932 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
935 Internally, this is translated into
938 \set Timing.measurePosition = -@var{length of duration}
941 The property @code{measurePosition} contains a rational number
942 indicating how much of the measure has passed at this point. Note
943 that this is a negative number; @code{\partial 4} is internally
944 translated to mean @qq{there is a quarter note left in the bar.}
949 This command does not take into account grace notes at the start
950 of the music. When a piece starts with grace notes in the
951 pickup, then the @code{\partial} should follow the grace notes:
953 @lilypond[verbatim,quote,ragged-right,relative,fragment]
960 @code{\partial} is only intended to be used at the beginning of a
961 piece. If you use it after the beginning, some odd warnings may
966 Snippets: @lsrdir{rhythms}
968 @node Unmetered music
969 @unnumberedsubsubsec Unmetered music
973 @funindex \cadenzaOff
975 Bar lines and bar numbers are calculated automatically. For
976 unmetered music (cadenzas, for example), this is not desirable.
977 To turn off automatic bar lines and bar numbers, use the commands
978 @code{\cadenzaOn} and @code{\cadenzaOff}.
980 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
992 LilyPond will only insert line breaks and page breaks at a
993 bar line. Unless the unmetered music ends before the end of the
994 staff line, you will need to insert invisible bar lines with
1001 to indicate where breaks can occur.
1005 Snippets: @lsrdir{rhythms}
1008 @node Polymetric notation
1009 @unnumberedsubsubsec Polymetric notation
1011 @cindex double time signatures
1012 @cindex signatures, polymetric
1013 @cindex polymetric signatures
1014 @cindex meter, polymetric
1016 Double time signatures are not supported explicitly, but they can
1017 be faked. In the next example, the markup for the time signature
1018 is created with a markup text. This markup text is inserted in
1019 the @internalsref{TimeSignature} grob. See also
1020 @lsr{contemporary,compound-time-signature}.
1022 @lilypond[verbatim,ragged-right]
1024 tsMarkup = \markup {
1025 \override #'(baseline-skip . 2) \number {
1028 \bracket \column { "5" "8" }
1033 \override Staff.TimeSignature #'stencil =
1034 #ly:text-interface::print
1035 \override Staff.TimeSignature #'text = #tsMarkup
1037 c'2 \bar ":" c'4 c'4.
1041 Each staff can also have its own time signature. This is done by
1042 moving the @internalsref{Timing_translator} to the
1043 @internalsref{Staff} context.
1045 @lilypond[quote,verbatim,ragged-right]
1049 \remove "Timing_translator"
1050 \remove "Default_bar_line_engraver"
1054 \consists "Timing_translator"
1055 \consists "Default_bar_line_engraver"
1058 %Now, each staff has its own time signature.
1071 c4. c8 c c c4. c8 c c
1077 A different form of polymetric notation is where note lengths have
1078 different values across staves, but the measures are all the same
1081 This notation can be created by setting a common time signature
1082 for each staff but replacing it manually using
1083 @code{timeSignatureFraction} to the desired fraction. Then the
1084 printed durations in each staff are scaled to the common time
1085 signature. The latter is done with @code{\compressMusic}, which
1086 is used in a similar way to @code{\times}, but does not create
1087 a tuplet bracket. The syntax is
1088 @funindex \compressMusic
1092 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1097 In this example, music with the time signatures of 3/4, 9/8, and
1098 10/8 are used in parallel. In the second staff, shown durations
1099 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1100 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1103 @lilypond[quote,ragged-right,verbatim,fragment]
1111 \set Staff.timeSignatureFraction = #'(9 . 8)
1112 \compressMusic #'(2 . 3)
1113 \repeat unfold 6 { c8[ c c] }
1117 \set Staff.timeSignatureFraction = #'(10 . 8)
1118 \compressMusic #'(3 . 5) {
1119 \repeat unfold 2 { c8[ c c] }
1120 \repeat unfold 2 { c8[ c] }
1121 | c4. c4. \times 2/3 { c8 c c } c4
1130 When using different time signatures in parallel, the spacing is
1131 aligned vertically, but bar lines distort the regular spacing.
1135 Snippets: @lsrdir{rhythms}
1138 @node Automatic note splitting
1139 @unnumberedsubsubsec Automatic note splitting
1141 Long notes which overrun bar lines can be converted automatically
1142 to tied notes. This is done by replacing the
1143 @internalsref{Note_heads_engraver} by the
1144 @internalsref{Completion_heads_engraver}. In the following
1145 examples, notes crossing the bar line are split and tied.
1147 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1149 \remove "Note_heads_engraver"
1150 \consists "Completion_heads_engraver"
1152 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1156 This engraver splits all running notes at the bar line, and
1157 inserts ties. One of its uses is to debug complex scores: if the
1158 measures are not entirely filled, then the ties exactly show how
1159 much each measure is off.
1161 If you want to allow line breaking on the bar lines where
1162 @internalsref{Completion_heads_engraver} splits notes, you must
1163 also remove @internalsref{Forbid_line_break_engraver}.
1168 Not all durations (especially those containing tuplets) can be
1169 represented exactly with normal notes and dots, but the engraver
1170 will not insert tuplets.
1172 @code{Completion_heads_engraver} only affects notes; it does not
1178 Snippets: @lsrdir{rhythms}
1180 Internals Reference: @internalsref{Completion_heads_engraver},
1181 @internalsref{Forbid_line_break_engraver}.
1192 * Setting automatic beam behavior::
1196 @node Automatic beams
1197 @unnumberedsubsubsec Automatic beams
1199 By default beams are inserted automatically:
1201 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1203 \time 6/8 c c c c8. c16 c8
1206 If these automatic decisions are not satisfactory, beaming can be
1207 entered explicitly; see @ref{Manual beams}. It is also possible
1208 to define beaming patterns that differ from the defaults; see
1209 @ref{Setting automatic beam behavior}. The default beaming rules
1210 are defined in @file{scm/@/auto@/-beam@/.scm}.
1216 Automatic beaming may be turned off and on with
1217 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1219 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1220 c4 c8 c8. c16 c8. c16 c8
1230 Beaming patterns may be altered with the @code{beatGrouping} property,
1232 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1234 \set beatGrouping = #'(2 3)
1236 \set beatGrouping = #'(3 2)
1240 The property @code{subdivideBeams} can be set in order to
1241 subdivide all 16th or shorter beams. When set, multiple beams
1242 will be sub-divided at beat positions, defined by the current
1243 value of @code{beatLength} (defaults to a quarter note), by
1244 drawing only one beam over the beat.
1246 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1248 \set subdivideBeams = ##t
1250 \set Score.beatLength = #(ly:make-moment 1 8)
1252 \set Score.beatLength = #(ly:make-moment 1 16)
1255 @funindex subdivideBeams
1258 For more information about @code{make-moment}, see
1259 @ref{Time administration}.
1263 Line breaks are normally forbidden when beams cross bar lines.
1264 This behavior can be changed by setting the @code{breakable}
1265 property: @code{\override Beam #'breakable = ##t}.
1267 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1268 \override Beam #'breakable = ##t
1269 c8 \repeat unfold 15 {c[ c] } c
1272 @cindex beams and line breaks
1273 @cindex beams, kneed
1275 @cindex auto-knee-gap
1277 Kneed beams are inserted automatically when a large gap is
1278 detected between the note heads. This behavior can be tuned
1279 through the @code{auto-knee-gap} property. A kneed beam is
1280 drawn if the gap is larger than the value of
1281 @code{auto-knee-gap} plus the width of the beam object (which
1282 depends on the duration of the notes and the slope of the beam).
1283 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1285 @lilypond[fragment,ragged-right,quote,verbatim]
1287 \override Beam #'auto-knee-gap = #6
1294 Snippets: @lsrdir{rhythms}
1296 Internals Reference: @internalsref{Beam}.
1301 Automatically kneed cross-staff beams cannot be used together with
1302 hidden staves. See @ref{Hiding staves}.
1304 Beams can collide with noteheads and accidentals in other voices
1307 @node Setting automatic beam behavior
1308 @unnumberedsubsubsec Setting automatic beam behavior
1310 @funindex autoBeamSettings
1311 @funindex (end * * * *)
1312 @funindex (begin * * * *)
1313 @cindex automatic beams, tuning
1314 @cindex tuning automatic beaming
1316 @c [TODO: use \applyContext]
1318 In normal time signatures, automatic beams can start on any note
1319 but can only end in a few positions within the measure: beams can
1320 end on a beat, or at durations specified by the properties in
1321 @code{autoBeamSettings}. The properties in
1322 @code{autoBeamSettings} consist of a list of rules for where beams
1323 can begin and end. The default @code{autoBeamSettings} rules are
1324 defined in @file{scm/@/auto@/-beam@/.scm}.
1326 In order to add a rule to the list, use
1328 #(override-auto-beam-setting '(be p q n m) a b [context])
1333 @item @code{be} is either @code{begin} or @code{end}.
1335 @item @code{p/q} is the duration of the note for which you want
1336 to add a rule. A beam is considered to have the duration of its
1337 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1338 have this apply to any beam.
1340 @item @code{n/m} is the time signature to which
1341 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1342 to have this apply in any time signature.
1344 @item @code{a/b} is the position in the bar at which the beam should
1347 @item @code{context} is optional, and it specifies the context at which
1348 the change should be made. The default is @code{'Voice}.
1350 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1351 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1355 For example, if automatic beams should always end on the first quarter
1359 #(override-auto-beam-setting '(end * * * *) 1 4)
1362 You can force the beam settings to only take effect on beams whose shortest
1363 note is a certain duration
1365 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1367 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1369 a32 a a a a16 a a a a a |
1370 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1371 a32 a a a a16 a a a a a |
1374 You can force the beam settings to only take effect in certain time
1377 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1379 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1387 You can also remove a previously set beam-ending rule by using
1390 #(revert-auto-beam-setting '(be p q n m) a b [context])
1394 be, p, q, n, m, a, b and context are the same as above. Note that the
1395 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1396 so you can revert rules that you did not explicitly create.
1398 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1400 a16 a a a a a a a a a a a a a a a
1401 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1402 a16 a a a a a a a a a a a a a a a
1405 The rule in a revert-auto-beam-setting statement must exactly match the
1406 original rule. That is, no wildcard expansion is taken into account.
1408 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1410 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1412 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1414 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1420 @c TODO: old material -- not covered by above stuff, I think.
1421 If automatic beams should end on every quarter in 5/4 time, specify
1424 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1425 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1426 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1427 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1431 The same syntax can be used to specify beam starting points. In this
1432 example, automatic beams can only end on a dotted quarter note
1434 #(override-auto-beam-setting '(end * * * *) 3 8)
1435 #(override-auto-beam-setting '(end * * * *) 1 2)
1436 #(override-auto-beam-setting '(end * * * *) 7 8)
1438 In 4/4 time signature, this means that automatic beams could end only on
1439 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1440 3/8, has passed within the measure).
1442 If any unexpected beam behaviour occurs, check the default automatic beam
1443 settings in @file{scm/@/auto@/-beam@/.scm}
1444 for possible interference, because the beam
1445 endings defined there will still apply on top of your own overrides. Any
1446 unwanted endings in the default vales must be reverted for your time
1449 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1453 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1454 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1455 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1456 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1459 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1460 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1461 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1464 @cindex automatic beam generation
1466 @funindex autoBeaming
1469 If beams are used to indicate melismata in songs, then automatic
1470 beaming should be switched off with @code{\autoBeamOff}.
1475 @funindex \autoBeamOff
1476 @code{\autoBeamOff},
1477 @funindex \autoBeamOn
1483 If a score ends while an automatic beam has not been ended and is
1484 still accepting notes, this last beam will not be typeset at all.
1485 The same holds for polyphonic voices, entered with @code{<<
1486 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1487 automatic beam is still accepting notes, it is not typeset.
1491 Snippets: @lsrdir{rhythms}
1495 @unnumberedsubsubsec Manual beams
1497 @cindex beams, manual
1499 In some cases it may be necessary to override the automatic
1500 beaming algorithm. For example, the autobeamer will not put beams
1501 over rests or bar lines, and in choral scores the beaming is
1502 often set to follow the meter of the lyrics rather than the
1503 notes. Such beams can be specified manually by
1504 marking the begin and end point with @code{[} and @code{]}
1506 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1508 r4 r8[ g' a r8] r8 g[ | a] r8
1513 Individual notes may be marked with @code{\noBeam} to prevent them
1516 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1517 \time 2/4 c8 c\noBeam c c
1523 @funindex stemLeftBeamCount
1524 @funindex stemRightBeamCount
1526 Even more strict manual control with the beams can be achieved by
1527 setting the properties @code{stemLeftBeamCount} and
1528 @code{stemRightBeamCount}. They specify the number of beams to
1529 draw on the left and right side, respectively, of the next note.
1530 If either property is set, its value will be used only once, and
1531 then it is erased. In this example, the last @code{f} is printed
1532 with only one beam on the left side, i.e. the eigth-note beam of
1533 the group as a whole.
1535 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1539 \set stemLeftBeamCount = #1
1547 @cindex beams, feathered
1548 @funindex \featherDurations
1550 Feathered beams are used to indicate that a small group of notes
1551 should be played at an increasing (or decreasing) tempo, without
1552 changing the overall tempo of the piece. The extent of the
1553 feathered beam must be indicated manually using @code{[} and
1554 @code{]}, and the beam feathering is turned on by specifying a
1555 direction to the Beam property @code{grow-direction}.
1557 If the placement of the notes and the sound in the MIDI output
1558 is to reflect the ritardando or accelerando indicated by the
1559 feathered beam the notes must be grouped as a
1560 music expression delimited by braces and preceded by a
1561 @code{featheredDurations} command which specifies the ratio
1562 between the durations of the first and last notes in the group.
1565 show the extent of the beam and the braces show
1566 which notes are to have their durations modified. Normally
1567 these would delimit the same group of notes, but this is not
1568 required: the two commands are independent.
1570 In the following example the eight 16th notes occupy exactly
1571 the same time as a half note, but the first note is twice
1572 as short as the last one, with the intermediate notes gradually
1573 lengthening. The first four 32nd notes gradually speed up,
1574 while the last four 32nd notes are at a constant tempo.
1576 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1577 \override Beam #'grow-direction = #LEFT
1578 \featherDurations #(ly:make-moment 2 1)
1579 { c16[ c c c c c c c] }
1580 \override Beam #'grow-direction = #RIGHT
1581 \featherDurations #(ly:make-moment 2 3)
1583 % revert to non-feathered beams
1584 \override Beam #'grow-direction = #'()
1589 The spacing in the printed output represents the
1590 note durations only approximately, but the midi output is exact.
1594 The @code{\featherDurations} command only works with very short
1595 music snippets, and when numbers in the fraction are small.
1599 Snippets: @lsrdir{rhythms}
1610 * Bar and bar number checks::
1615 @unnumberedsubsubsec Bar lines
1620 @cindex measure lines
1623 Bar lines delimit measures, and are also used to indicate
1624 repeats. Normally, simple bar lines are automatically inserted
1625 into the printed output at places based on the current time
1628 The simple bar lines inserted automatically can be changed to
1629 other types with the @code{\bar} command. For example, a closing
1630 double bar line is usually placed at the end of a piece:
1632 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1636 @warning{An incorrect duration can lead to poorly formatted
1639 It is not invalid if the final note in a bar does not
1640 end on the automatically entered bar line: the note is assumed
1641 to carry over into the next bar. But if a long sequence
1642 of such carry-over bars appears the music can appear compressed
1643 or even flowing off the page. This is because automatic line
1644 breaks happen only at the end of complete bars, i.e. where
1645 the end of a note coincides with the end of a bar.
1647 Line breaks are also permitted at manually inserted bar lines
1648 even within incomplete bars. To allow a line break without
1649 printing a bar line, use
1656 This will insert an invisible bar line and allow (but not
1657 force) a line break to occur at this point. The bar number
1658 counter is not increased. To force a line break see
1659 @ref{Line breaking}.
1661 This and other special bar lines may be inserted manually at any
1662 point. When they coincide with the end of a bar they replace
1663 the simple bar line which would have been inserted there
1664 automatically. When they do not coincide
1665 with the end of a bar the specified bar line is inserted at that
1666 point in the printed output. Such insertions do not affect
1667 the calculation and placement of subsequent automatic bar lines.
1669 The simple bar line and four types of double bar line are available
1670 for manual insertion:
1672 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1673 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1677 together with dotted and dashed bar lines:
1679 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1680 f1 \bar ":" g \bar "dashed" a
1684 and three types of repeat bar line:
1686 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1687 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1690 Although the bar line types signifying repeats may be inserted
1691 manually they do not in themselves cause LilyPond to recognise
1692 a repeated section. Such repeated sections are better entered
1693 using the various repeat commands (see @ref{Repeats}), which
1694 automatically print the appropriate bar lines.
1696 In addition, you can specify @code{"||:"}, which is equivalent to
1697 @code{"|:"} except at line breaks, where it gives a double bar
1698 line at the end of the line and a start repeat at the beginning of
1701 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1702 \override Score.RehearsalMark #'padding = #3
1710 In scores with many staves, a @code{\bar} command in one staff is
1711 automatically applied to all staves. The resulting bar lines are
1712 connected between different staves of a @code{StaffGroup},
1713 @code{PianoStaff}, or @code{GrandStaff}.
1715 @lilypond[quote,ragged-right,fragment,verbatim]
1723 \new Staff { \clef bass c4 g e g }
1725 \new Staff { \clef bass c2 c2 }
1733 @funindex defaultBarType
1735 The command @code{\bar }@var{bartype} is a shortcut for
1736 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
1737 created whenever the @code{whichBar} property is
1740 The default bar type used for automatically inserted bar lines is
1741 @code{"|"}. This may be changed at any time
1742 with @code{\set Timing.defaultBarType = }@var{bartype}.
1746 Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
1748 Snippets: @lsrdir{rhythms}
1750 Internals Reference: @internalsref{BarLine} (created at
1751 @internalsref{Staff} level), @internalsref{SpanBar} (across
1752 staves), @internalsref{Timing_translator} (for Timing
1757 @unnumberedsubsubsec Bar numbers
1760 @cindex measure numbers
1761 @funindex currentBarNumber
1763 Bar numbers are typeset by default at the start of every line
1764 except the first line. The
1765 number itself is stored in the @code{currentBarNumber} property,
1766 which is normally updated automatically for every measure. It
1767 may also be set manually:
1769 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1772 \set Score.currentBarNumber = #50
1779 @funindex barNumberVisibility
1780 @cindex bar numbers, regular spacing
1782 Bar numbers can be typeset at regular intervals instead of just at
1783 the beginning of every line. To do this the default behaviour
1784 must be overridden to permit bar numbers to be printed at places
1785 other than the start of a line. This is controlled by the
1786 @code{break-visibility} property of @code{BarNumber}. This takes
1787 three values which may be set to @code{#t} or @code{#f} to specify
1788 whether the corresponding bar number is visible or not. The order
1789 of the three values is @code{end of line visible}, @code{middle of
1790 line visible}, @code{beginning of line visible}. In the following
1791 example bar numbers are printed at all possible places:
1793 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1794 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1795 \set Score.currentBarNumber = #11
1796 \bar "" % Permit first bar number to be printed
1802 @c All the rest of these examples will be added to LSR
1803 @c and moved into the Snippets. -gp
1806 and here the bar numbers are printed every two bars
1807 except at the end of the line:
1809 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1810 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1811 \set Score.currentBarNumber = #11
1812 \bar "" % Permit first bar number to be printed
1813 % Print a bar number every 2nd bar
1814 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1820 The size of the bar number may be changed. This is illustrated
1821 in the following example, which also shows how to enclose bar
1822 numbers in boxes and circles, and shows an alternative way
1823 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
1825 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1826 % Prevent bar numbers at the end of a line and permit them elsewhere
1827 \override Score.BarNumber #'break-visibility
1828 = #end-of-line-invisible
1830 % Increase the size of the bar number by 2
1831 \override Score.BarNumber #'font-size = #2
1832 \repeat unfold 3 { c1 } \bar "|"
1834 % Draw a box round the following bar number(s)
1835 \override Score.BarNumber #'stencil
1836 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1837 \repeat unfold 3 { c1 } \bar "|"
1839 % Draw a circle round the following bar number(s)
1840 \override Score.BarNumber #'stencil
1841 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1842 \repeat unfold 4 { c1 } \bar "|."
1845 @cindex Bar number alignment
1847 Bar numbers by default are left-aligned to their parent object.
1848 This is usually the left edge of a line or, if numbers are printed
1849 within a line, the left bar line of the bar. The numbers may also
1850 be positioned directly on the bar line or right-aligned to the
1853 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1854 \set Score.currentBarNumber = #111
1855 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1856 % Increase the size of the bar number by 2
1857 \override Score.BarNumber #'font-size = #2
1858 % Print a bar number every 2nd bar
1859 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1861 % Centre-align bar numbers
1862 \override Score.BarNumber #'self-alignment-X = #0
1864 % Right-align bar numbers
1865 \override Score.BarNumber #'self-alignment-X = #-1
1869 Bar numbers can be removed entirely by removing the Bar number
1870 engraver from the score context.
1872 @lilypond[verbatim,ragged-right,quote]
1876 \remove "Bar_number_engraver"
1888 Snippets: @lsrdir{rhythms}
1890 Internals Reference: @internalsref{BarNumber}.
1892 Examples: @lsrdir{bar number}
1897 Bar numbers may collide with the top of the
1898 @internalsref{StaffGroup} bracket, if there is one. To solve
1899 this, the @code{padding} property of @internalsref{BarNumber} can
1900 be used to position the number correctly.
1902 Bar numbers may only be printed at bar lines; to print a bar
1903 number at the beginning of a piece, an empty bar line must be
1904 inserted there, and a value other than @code{1} must be placed
1905 in @code{currentBarNumber}:
1907 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1908 \set Score.currentBarNumber = #50
1917 @node Bar and bar number checks
1918 @unnumberedsubsubsec Bar and bar number checks
1921 @funindex barCheckSynchronize
1924 Bar checks help detect errors in the entered durations.
1925 A bar check may be entered using the bar symbol, @code{|},
1926 at any place where a bar line is expected to fall.
1927 If bar check lines are encountered at other places,
1928 a list of warnings is printed in the log file,
1929 showing the line numbers and lines
1930 in which the bar checks failed. In the next
1931 example, the second bar check will signal an error
1934 \time 3/4 c2 e4 | g2 |
1937 Bar checks can also be used in lyrics, for example
1942 Twin -- kle | Twin -- kle |
1946 An incorrect duration can result in a completely garbled score,
1947 especially if the score is polyphonic, so a good place to start
1948 correcting input is by scanning for failed bar checks and
1949 incorrect durations.
1952 @funindex pipeSymbol
1954 It is also possible to redefine the action taken when a bar check
1955 or pipe symbol, @code{|}, is encountered in the input, so that
1956 it does something other than a bar check. This is done by
1957 assigning a music expression to @code{pipeSymbol}.
1958 In the following example @code{|} is set to insert a double bar
1959 line wherever it appears in the input, rather than checking
1962 @lilypond[quote,ragged-right,verbatim]
1963 pipeSymbol = \bar "||"
1972 When copying large pieces of music, it can be helpful to check
1973 that the LilyPond bar number corresponds to the original that you
1974 are entering from. This can be checked with
1975 @code{\barNumberCheck}, for example,
1978 \barNumberCheck #123
1982 will print a warning if the @code{currentBarNumber} is not 123
1983 when it is processed.
1987 Snippets: @lsrdir{rhythms}
1990 @node Rehearsal marks
1991 @unnumberedsubsubsec Rehearsal marks
1993 @cindex Rehearsal marks
1996 To print a rehearsal mark, use the @code{\mark} command
1998 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2007 The letter@tie{}@q{I} is skipped in accordance with engraving
2008 traditions. If you wish to include the letter @q{I}, then use
2011 \set Score.markFormatter = #format-mark-alphabet
2014 The mark is incremented automatically if you use @code{\mark
2015 \default}, but you can also use an integer argument to set the
2016 mark manually. The value to use is stored in the property
2017 @code{rehearsalMark}.
2019 The style is defined by the property @code{markFormatter}. It is
2020 a function taking the current mark (an integer) and the current
2021 context as argument. It should return a markup object. In the
2022 following example, @code{markFormatter} is set to a pre-defined
2023 procedure. After a few measures, it is set to a procedure that
2024 produces a boxed number.
2026 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
2027 \set Score.markFormatter = #format-mark-numbers
2030 \set Score.markFormatter = #format-mark-box-numbers
2036 The file @file{scm/@/translation@/-functions@/.scm} contains the
2037 definitions of @code{format-mark-numbers} (the default format),
2038 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2039 @code{format-mark-box-letters}. These can be used as inspiration
2040 for other formatting functions.
2042 You may use @code{format-mark-barnumbers},
2043 @code{format-mark-box-barnumbers}, and
2044 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2045 incremented numbers or letters.
2047 Other styles of rehearsal mark can be specified manually
2054 @code{Score.markFormatter} does not affect marks specified in this
2055 manner. However, it is possible to apply a @code{\markup} to the
2059 \mark \markup@{ \box A1 @}
2066 Music glyphs (such as the segno sign) may be printed inside a
2069 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2070 c1 \mark \markup { \musicglyph #"scripts.segno" }
2071 c1 \mark \markup { \musicglyph #"scripts.coda" }
2072 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2077 See @ref{The Feta font}, for a list of symbols which may be
2078 printed with @code{\musicglyph}.
2080 For common tweaks to the positioning of rehearsal marks, see
2085 Snippets: @lsrdir{rhythms}
2087 This manual: @ref{Text marks}.
2089 Internals Reference: @internalsref{RehearsalMark}.
2091 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2092 the definition of @code{format-mark-numbers} and
2093 @code{format-mark-letters}. They can be used as inspiration for
2094 other formatting functions.
2096 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2099 @node Special rhythmic concerns
2100 @subsection Special rhythmic concerns
2105 * Aligning to cadenzas::
2106 * Time administration::
2110 @unnumberedsubsubsec Grace notes
2115 @cindex appoggiatura
2116 @cindex acciaccatura
2118 Grace notes are ornaments that are written out. They are made with
2119 the @code{\grace} command. By prefixing this keyword to a music
2120 expression, a new one is formed, which will be printed in a
2121 smaller font and takes up no logical time in a measure.
2123 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2125 \grace { c16[ d16] } c2 c4
2128 Two special forms of the @code{\grace} command exist.
2129 An @emph{acciaccatura}, which should be played as very short,
2130 is denoted by a slurred small note with a slashed stem. The
2131 @emph{appoggiatura}, a grace note that takes a fixed fraction of the
2132 main note, is denoted as a slurred note in small print without
2133 a slash. They are entered with the commands @code{\acciaccatura}
2134 and @code{\appoggiatura}, as demonstrated in the following
2137 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2138 b4 \acciaccatura d8 c4
2140 \acciaccatura { g16[ f] } e4
2144 @code{\acciaccatura} and @code{\appoggiatura} start a slur,
2145 @code{\grace} does not.
2147 The placement of grace notes is synchronized between different
2148 staves. In the following example, there are two sixteenth grace
2149 notes for every eighth grace note
2151 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2152 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2153 \new Staff { c4 \grace { g8[ b] } c4 } >>
2156 @funindex \afterGrace
2158 If you want to end a note with a grace, use the @code{\afterGrace}
2159 command. It takes two arguments: the main note, and the grace
2160 notes following the main note.
2162 @lilypond[ragged-right, verbatim,relative=2,fragment]
2163 c1 \afterGrace d1 { c16[ d] } c4
2166 This will put the grace notes after a @q{space} lasting 3/4 of the
2167 length of the main note. The fraction 3/4 can be changed by
2168 setting @code{afterGraceFraction}, ie.
2171 #(define afterGraceFraction (cons 7 8))
2175 will put the grace note at 7/8 of the main note.
2177 The same effect can be achieved manually by doing
2179 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2182 { s2 \grace { c16[ d] } } >>
2188 By adjusting the duration of the skip note (here it is a
2189 half-note), the space between the main-note and the grace
2192 A @code{\grace} music expression will introduce special
2193 typesetting settings, for example, to produce smaller type, and
2194 set directions. Hence, when introducing layout tweaks, they
2195 should be inside the grace expression, for example,
2197 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2209 The overrides should also be reverted inside the grace expression.
2211 The layout of grace expressions can be changed throughout the
2212 music using the function @code{add-grace-property}. The following
2213 example undefines the @code{Stem} direction for this grace, so
2214 that stems do not always point up.
2218 #(add-grace-property 'Voice 'Stem 'direction '())
2224 Another option is to change the variables @code{startGraceMusic},
2225 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2226 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2227 @code{stopAppoggiaturaMusic}. The default values of these can be
2228 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2229 them other effects may be obtained.
2232 The slash through the stem in @emph{acciaccatura}s can be obtained in
2233 other situations by @code{\override Stem #'stroke-style =
2239 Grace notes may be forced to use align with regular notes
2240 in other staves by setting @code{strict-grace-spacing} to
2243 @lilypond[relative=2,ragged-right]
2245 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2254 c'16[ c'16 c'16 c'16]
2255 c'16[ c'16 c'16 c'16]
2264 Snippets: @lsrdir{rhythms}
2266 Internals Reference: @internalsref{GraceMusic}.
2271 A multi-note beamed @emph{acciaccatura} is printed without a slash,
2272 and looks exactly the same as a multi-note beamed
2273 @emph{appoggiatura}.
2274 @c TODO Add link to LSR snippet to add slash when available
2276 Grace note synchronization can also lead to surprises. Staff
2277 notation, such as key signatures, bar lines, etc., are also
2278 synchronized. Take care when you mix staves with grace notes and
2279 staves without, for example,
2281 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2282 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2283 \new Staff { c4 \bar "|:" d4 } >>
2287 This can be remedied by inserting grace skips of the corresponding
2288 durations in the other staves. For the above example
2290 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2291 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2292 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2295 Grace sections should only be used within sequential music
2296 expressions. Nesting or juxtaposing grace sections is not
2297 supported, and might produce crashes or other errors.
2299 @node Aligning to cadenzas
2300 @unnumberedsubsubsec Aligning to cadenzas
2302 In an orchestral context, cadenzas present a special problem: when
2303 constructing a score that includes a cadenza, all other
2304 instruments should skip just as many notes as the length of the
2305 cadenza, otherwise they will start too soon or too late.
2307 A solution to this problem are the functions
2308 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2309 functions take a piece of music as argument, and generate a
2310 multi-rest or @code{\skip}, exactly as long as the piece. The use
2311 of @code{mmrest-of-length} is demonstrated in the following
2314 @lilypond[verbatim,ragged-right,quote]
2315 cadenza = \relative c' {
2316 c4 d8 << { e f g } \\ { d4. } >>
2321 \new Staff { \cadenza c'4 }
2323 #(ly:export (mmrest-of-length cadenza))
2331 Snippets: @lsrdir{rhythms}
2334 @node Time administration
2335 @unnumberedsubsubsec Time administration
2337 @cindex Time administration
2339 @funindex currentBarNumber
2340 @funindex measurePosition
2341 @funindex measureLength
2343 Time is administered by the @code{Timing_translator}, which by
2344 default is to be found in the @code{Score} context. An alias,
2345 @code{Timing}, is added to the context in which the
2346 @code{Timing_translator} is placed.
2348 The following properties of @code{Timing} are used
2349 to keep track of timing within the score.
2352 @item currentBarNumber
2353 The current measure number. For an example showing the
2354 use of this property see @ref{Bar numbers}.
2357 The length of the measures in the current time signature. For a
2358 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2359 determines when bar lines are inserted and how automatic beams
2360 should be generated.
2362 @item measurePosition
2363 The point within the measure where we currently are. This
2364 quantity is reset by subtracting @code{measureLength} whenever
2365 @code{measureLength} is reached or exceeded. When that happens,
2366 @code{currentBarNumber} is incremented.
2369 If set to true, the above variables are updated for every time
2370 step. When set to false, the engraver stays in the current
2371 measure indefinitely.
2375 Timing can be changed by setting any of these variables
2376 explicitly. In the next example, the default 4/4 time
2377 signature is printed, but @code{measureLength} is set to 5/4.
2378 At 4/8 through the third measure, the @code{measurePosition} is
2379 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2380 The next bar line then falls at 9/8 rather than 5/4.
2382 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2383 \set Score.measureLength = #(ly:make-moment 5 4)
2387 \set Score.measurePosition = #(ly:make-moment 5 8)
2393 As the example illustrates, @code{ly:make-moment n m} constructs a
2394 duration of n/m of a whole note. For example,
2395 @code{ly:make-moment 1 8} is an eighth note duration and
2396 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2402 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2404 Snippets: @lsrdir{rhythms}
2406 Internals Reference: @internalsref{Timing_translator},
2407 @internalsref{Score}