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.
53 @c Two 64th notes are needed to obtain beams
54 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
61 and the same durations with automatic beaming turned off
62 see @ref{Automatic beams}:
64 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
71 If the duration is omitted then it is set to the previously
72 entered duration. The default for the first note is a quarter
75 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
82 To obtain dotted note lengths, simply add a dot (@samp{.}) to the
83 number. Double-dotted notes are produced in a similar way.
85 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
86 a4 b c4. b8 a4. b4.. c8.
89 Some durations cannot be entered using only binary durations
90 and dots, and can only be represented by tying two or more
91 notes together. Tied notes are covered in @ref{Ties}.
95 Dots are normally moved up to avoid staff lines, except in
96 polyphonic situations. The following commands may be used to
97 force a particular direction manually
103 @funindex \dotsNeutral
106 @c TODO: after deciding the link question, fix these. -gp
107 Durations are entered in the same way in @code{drummode},
108 @code{chordmode}, @code{figuremode} and (optionally)
113 For ways of specifying durations for the syllables of lyrics
114 and ways of aligning lyrics to notes see @ref{Vocal music}
116 For a description of how to enter rests see @ref{Writing rests}
118 A note with the duration of a quadruple breve may be
119 entered with \maxima, but this is supported only within
120 ancient music notation. See @ref{Ancient notation}
122 Optionally, notes can be spaced proportionately to their duration.
123 For details of this and other settings which control
124 proportional notation see @ref{Proportional notation}.
126 Internals Reference: @internalsref{Dots}, and
127 @internalsref{DotColumn}.
131 @unnumberedsubsubsec Tuplets
137 @c TODO Add Tuplet to glossary
139 Tuplets are made out of a music expression by multiplying all
140 durations with a fraction
143 \times @var{fraction} @var{musicexpr}
147 The duration of @var{musicexpr} will be multiplied by the
148 fraction. The fraction's denominator will be printed over or
149 under the notes, optionally with a bracket. The most common
150 tuplet is the triplet in which 3 notes have the length of 2, so
151 the notes are 2/3 of their written length.
153 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
154 g4 \times 2/3 {c4 c c} d4 d4
157 Tuplets may be nested, for example,
159 @lilypond[fragment,ragged-right,verbatim,relative=2]
160 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
163 \times 3/5 { a a a a a }
171 @funindex \tupletDown
173 @funindex \tupletNeutral
174 @code{\tupletNeutral}.
179 @funindex tupletNumberFormatFunction
180 @cindex tuplet formatting
182 The property @code{tupletSpannerDuration} specifies how long each
183 bracket should last. With this, you can make lots of tuplets
184 while typing @code{\times} only once, thus saving lots of typing.
185 In the next example, there are two triplets shown, while
186 @code{\times} was only used once
188 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
189 \set tupletSpannerDuration = #(ly:make-moment 1 4)
190 \times 2/3 { c8 c c c c c }
194 For more information about @code{make-moment}, see
195 @ref{Time administration}.
197 The format of the number is determined by the property @code{text}
198 in @code{TupletNumber}. The default prints only the denominator,
199 but if it is set to the function
200 @code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will
203 To avoid printing tuplet numbers, use
205 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
206 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
207 \override TupletNumber #'transparent = ##t
208 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
211 Use the @code{\tweak} function to override nested tuplets
212 beginning at the same music moment. In this example,
213 @code{\tweak} specifies fraction text for the outer
214 @code{TupletNumber} and denominator text for the
215 @code{TupletNumber} of the first of the three inner tuplets.
217 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
218 \tweak #'text #tuplet-number::calc-fraction-text
220 \tweak #'text #tuplet-number::calc-denominator-text
221 \times 2/3 { c8[ c8 c8] }
222 \times 2/3 { c8[ c8 c8] }
223 \times 2/3 { c8[ c8 c8] }
227 Here @code{\tweak} and @code{\override} work together to specify
228 @code{TupletBracket} direction. The first @code{\tweak} positions
229 the @code{TupletBracket} of the outer tuplet above the staff. The
230 second @code{\tweak} positions the @code{TupletBracket} of the
231 first of the three inner tuplets below the staff. Note that this
232 pair of @code{\tweak} functions affects only the outer tuplet and
233 the first of the three inner tuplets because only those two
234 tuplets begin at the same music moment. We use @code{\override}
235 in the usual way to position the @code{TupletBrackets} of the
236 second and third of the inner tuplets below the staff.
238 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
239 \tweak #'text #tuplet-number::calc-fraction-text
240 \tweak #'direction #up
242 \tweak #'direction #down
243 \times 2/3 { c8[ c8 c8] }
244 \override TupletBracket #'direction = #down
245 \times 2/3 { c8[ c8 c8] }
246 \times 2/3 { c8[ c8 c8] }
250 Tuplet brackets can be made to run to prefatory matter or the next
253 @lilypond[ragged-right]
255 \set tupletFullLength = ##t
260 \set tupletFullLengthNote = ##t
270 Tuplets which cross barlines will prevent a line break at that
275 Internals Reference: @internalsref{TupletBracket},
276 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
280 @node Scaling durations
281 @unnumberedsubsubsec Scaling durations
283 You can alter the length of a duration by a fraction @var{N/M}
284 by appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
285 This will not affect the appearance of the notes or rests
286 produced, but the altered duration will be used in calculating the
287 position within the bar and setting the duration in the MIDI
288 output. Multiplying factors may be combined
291 In the following example, the first three notes take up exactly
292 two beats, but no triplet bracket is printed.
294 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
296 a4*2/3 gis4*2/3 a4*2/3
301 The duration of skip or spacing notes may also be modified by
302 a multiplier. This is useful for skipping many bars, e.g.,
307 This manual: @ref{Tuplets}, @ref{Skips}.
311 @unnumberedsubsubsec Ties
316 A tie connects two adjacent note heads of the same pitch. The tie
317 in effect extends the length of a note.
319 @warning{Ties should not be confused with @emph{slurs}, which
320 indicate articulation, or @emph{phrasing slurs}, which indicate
321 musical phrasing. A tie is just a way of extending a note
322 duration, similar to the augmentation dot.}
324 A tie is entered using the tilde symbol @code{~}
326 @lilypond[quote,ragged-right,fragment,verbatim]
332 Ties are used either when the note crosses a bar line, or when
333 dots cannot be used to denote the rhythm. Ties should also be
334 used when note values cross larger subdivisions of the measure:
336 @lilypond[fragment,quote,ragged-right]
338 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
342 If you need to tie a lot of notes over bars, it may be easier to
343 use automatic note splitting (see @ref{Automatic note splitting}).
344 This mechanism automatically splits long notes, and ties them
348 @cindex repeating ties
349 @cindex volta brackets and ties
351 When a tie is applied to a chord, all note heads whose pitches
352 match are connected. When no note heads match, no ties will be
353 created. Chords may be partially tied by placing the tie inside
356 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
358 <c~ e g~ b> <c e g b>
361 When a second alternative of a repeat starts with a tied note, you
362 have to repeat the tie. This can be achieved with
365 @lilypond[fragment,quote,ragged-right,relative=2]
366 \repeat volta 2 { c g <c e>2 ~ }
367 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
370 @cindex Laissez vibrer
371 @cindex Ties, laissez vibrer
373 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
374 notes must not be damped at the end. It is used in notation for
375 piano, harp and other string and percussion instruments. They can
376 be entered using @code{\laissezVibrer}:
378 @lilypond[fragment,ragged-right,verbatim,relative=1]
379 <c f g>\laissezVibrer
382 The direction of a tie can be specified with @code{\tieUp} or
383 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
384 to the default behaviour again.
386 However, as with other music elements of this kind, there is a
387 convenient shorthand for forcing tie directions. By adding
388 @code{_} or @code{^} before the tilde, the direction is also set:
390 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
398 @internalsref{LaissezVibrerTie}
399 @internalsref{LaissezVibrerTieColumn}
402 @lsr{connecting,laissez-vibrer-ties.ly}
407 Ties are sometimes used to write out arpeggios. In this case, two
408 tied notes need not be consecutive. This can be achieved by
409 setting the @code{tieWaitForNote} property to true. The same
410 feature is also useful, for example, to tie a tremolo to a chord,
411 but in principle, it can also be used for ordinary, consecutive
414 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
415 \set tieWaitForNote = ##t
416 \grace { c16[~ e~ g]~ } <c, e g>2
417 \repeat tremolo 8 { c32~ c'~ } <c c,>1
418 e8~ c~ a~ f~ <e' c a f>2
419 \tieUp c8~ a \tieDown \tieDotted g~ c g2
422 Ties may be engraved manually by changing the
423 @code{tie-configuration} property. The first number indicates the
424 distance from the center of the staff in staff-spaces, and the
425 second number indicates the direction (1=up, -1=down).
427 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
429 \override TieColumn #'tie-configuration =
430 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
442 @funindex \tieNeutral
454 In this manual: @ref{Automatic note splitting}.
456 Internals Reference: @internalsref{Tie}.
461 Switching staves when a tie is active will not produce a slanted
464 Changing clefs or octavations during a tie is not really
465 well-defined. In these cases, a slur may be preferable.
472 @subsection Writing rests
477 * Multi measure rests::
481 @unnumberedsubsubsec Rests
488 Rests are entered like notes with the note name @code{r}
490 @c \time 16/1 is used to avoid spurious barlines
491 @c and long tracts of empty bars
492 @lilypond[fragment,quote,ragged-right,verbatim]
495 \override Staff.TimeSignature #'stencil = ##f
497 r\longa r\breve r1 r2
502 Whole bar rests, centered in middle of the bar, must be entered as
503 multi-measure rests. They can be used for a single bar as well as
504 many bars, and are discussed in @ref{Multi measure rests}.
506 To explicitly specify a rest's vertical position, write a note
507 followed by @code{\rest}. A rest will be placed in the position
508 where the note would appear,
510 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
515 This makes manual formatting of polyphonic music much easier,
516 since the automatic rest collision formatter will leave these
521 Internals Reference: @internalsref{Rest}.
525 @unnumberedsubsubsec Skips
528 @cindex Invisible rest
533 An invisible rest (also called a @q{skip}) can be entered like a
534 note with note name @samp{s} or with @code{\skip @var{duration}}
536 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
537 a4 a4 s4 a4 \skip 1 a4
540 The @code{s} syntax is only available in note mode and chord mode.
541 In other situations, for example, when entering lyrics, you should
542 use the @code{\skip} command
544 @lilypond[quote,ragged-right,verbatim,relative=2]
547 \new Lyrics \lyricmode { \skip 2 bla2 }
551 The skip command is merely an empty musical placeholder. It does
552 not produce any output, not even transparent output.
554 The @code{s} skip command does create @internalsref{Staff} and
555 @internalsref{Voice} when necessary, similar to note and rest
556 commands. For example, the following results in an empty staff.
558 @lilypond[quote,ragged-right,verbatim]
562 The fragment @code{@{ \skip 4 @} } would produce an empty page.
566 Internals Reference: @internalsref{SkipMusic}.
569 @node Multi measure rests
570 @unnumberedsubsubsec Multi measure rests
572 @cindex multi measure rests
573 @cindex full measure rests
574 @cindex Rests, multi measure
575 @cindex Rests, full measure
576 @cindex whole rests for a full measure
579 Rests for one or more full measures are entered using
580 @code{R} followed by a duration (see @ref{Durations}).
581 The duration should correspond to an integral number
582 of bars, otherwise a barcheck warning is printed.
583 Multi-measure rests are principally used to indicate
584 that a part in a multi-part score should be silent:
586 @lilypond[quote,fragment,verbatim,relative=2]
587 \set Score.skipBars = ##t
594 A multi-measure rest can be expanded in the printed score
595 to show all the rest bars explicitly, or, as above, it can be
596 condensed to a single bar
597 containing a multi-measure rest symbol, with the number of
598 bars of rest printed above the bar. This expansion
599 is controlled by the property @code{Score.skipBars}. If this is
600 set to true, empty measures will condensed to a single bar.
602 @lilypond[quote,ragged-right,fragment,verbatim]
603 \time 4/4 r1 | R1 | R1*2 |
606 \set Score.skipBars = ##t
610 The @code{1} in @code{R1} is similar to the duration notation
611 used for notes and is the length of a bar in 2/2 or 4/4 time.
612 The duration in a multi-measure rest must always be an integral
613 number of bar-lengths, so in other time signatures augmentation
614 dots or fractions must be used:
616 @lilypond[quote,ragged-right,fragment,verbatim]
617 \set Score.skipBars = ##t
621 R1*13/8 | R1*13/8*12 |
626 An @code{R} spanning a single measure is printed as either a whole
627 or breve rest, centered in the measure, regardless of the time
630 If there are 10 or fewer measures of rest, LilyPond prints
631 @rglos{church rests} (a series of longa and breve rests)
633 prints a simple line otherwise. This default number of 10
634 may be changed by overriding
635 @code{MultiMeasureRest.expand-limit}.
637 @lilypond[quote,ragged-right,fragment,verbatim]
638 \set Score.skipBars = ##t
640 \override MultiMeasureRest #'expand-limit = 3
644 Note that the vertical position on the staff of the multi-measure
645 rest symbol of either form cannot be changed.
647 @cindex text on multi-measure rest
648 @cindex script on multi-measure rest
649 @cindex fermata on multi-measure rest
651 Text can be added to multi-measure rests by using the
652 @var{note}-@code{markup} syntax @ref{Text markup}. A variable
653 (@code{\fermataMarkup}) is provided for adding fermatas
655 @lilypond[quote,ragged-right,verbatim,fragment]
656 \set Score.skipBars = ##t
658 R2.*10^\markup { \italic "ad lib." }
662 @warning{Text attached to a multi-measure rest is created
663 by @code{MultiMeasureRestText}, not
664 @code{TextScript}. Overrides must be directed to the correct
665 object, or they will be ignored. See the following example.}
667 @lilypond[quote,ragged-right,verbatim,fragment]
668 \override TextScript #'padding = #5
670 \override MultiMeasureRestText #'padding = #5
674 Text attached to a multi-measure rest will be centered above
675 (or below) it. Long text attached in this way does not cause
676 the bar to expand, and may collide with text in adjacent bars.
677 Long text is better attached to a zero-length skip note preceding
678 the rest, preceded by @code{\fatText}, since this will cause the
679 bar to expand to accommodate the length of the text:
681 @lilypond[quote,ragged-right,verbatim,fragment]
682 \set Score.skipBars = ##t
684 s1*0^\markup {[MAJOR GENERAL]}
686 s1*0^\markup {[MABEL] }
687 s1*0_\markup {\italic {Cue: ... it is yours}}
689 s1^\markup {CHORUS} % Chorus notes would go here
695 This manual: @ref{Text}
699 @internalsref{MultiMeasureRest}.
701 The layout object @internalsref{MultiMeasureRestNumber} is for the
702 default number, and @internalsref{MultiMeasureRestText} for user
708 If an attempt is made to use fingerings (e.g.,
709 @code{R1*10-4}) to put numbers over multi-measure rests, the
710 fingering numeral (4) may collide with the bar counter
713 @cindex condensing rests
715 There is no way to automatically condense multiple rests into a
716 single multi-measure rest. Multi-measure rests do not take part
719 Be careful when entering multi-measure rests followed by whole
720 notes. The following will enter two notes lasting four measures
728 @node Displaying rhythms
729 @subsection Displaying rhythms
735 * Polymetric notation::
736 * Automatic note splitting::
737 * Setting automatic beam behavior::
741 @unnumberedsubsubsec Time signature
743 @cindex Time signature
747 Time signature indicates the meter of a piece: a regular pattern
748 of strong and weak beats. It is denoted by a fraction at the
751 The time signature is set with the @code{\time} command
753 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
754 \time 2/4 c2 \time 3/4 c2.
759 The symbol that is printed can be customized with the @code{style}
760 property. Setting it to @code{#'()} uses fraction style for 4/4
763 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
766 \override Staff.TimeSignature #'style = #'()
771 A time signature is normally printed whenever the time signature
772 changes. If this takes place at the end of a line a warning time
773 signature sign is printed at the end of the line and again at the
774 start of a new line. This default behaviour can be modified by
775 setting the value of the @code{break-visibility} property. This
776 takes three values which may be set to @code{#t} or @code{#f} to
777 specify whether the corresponding time signature is visible or not.
778 The order of the three values is @code{end of line visible},
779 @code{middle of line visible}, @code{beginning of line visible}.
781 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
782 % Do not print any time signatures at end of line
783 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
786 % Do not print the following 9/8 time signature
787 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
795 There are many more options for its layout. See @ref{Ancient time
796 signatures}, for more examples.
798 @code{\time} sets the property @code{timeSignatureFraction},
799 @code{beatLength} and @code{measureLength} in the @code{Timing}
800 context, which is normally aliased to @internalsref{Score}. The
801 property @code{measureLength} determines where barlines should be
802 inserted, and how automatic beams should be generated. Changing
803 the value of @code{timeSignatureFraction} also causes the symbol
806 @cindex Measure groupings
808 More options are available through the Scheme function
809 @code{set-time-signature}. In combination with the
810 @internalsref{Measure_grouping_engraver}, it will create
811 @internalsref{MeasureGrouping} signs. Such signs ease reading
812 rhythmically complex modern music. In the following example, the
813 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
814 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
816 @lilypond[quote,ragged-right,verbatim]
819 #(set-time-signature 9 8 '(2 2 2 3))
820 g8[ g] d[ d] g[ g] a8[( bes g]) |
821 #(set-time-signature 5 8 '(3 2))
827 \consists "Measure_grouping_engraver"
836 Internals Reference: @internalsref{TimeSignature}, and
837 @internalsref{Timing_translator}.
839 Examples: @lsr{contemporary,compound-time-signature.ly}.
844 Automatic beaming does not use the measure grouping specified with
845 @code{set-time-signature}.
849 @unnumberedsubsubsec Upbeats
853 @cindex partial measure
854 @cindex measure, partial
855 @cindex shorten measures
858 Partial measures, such as an anacrusis or upbeat, are entered
861 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
862 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
865 The syntax for this command is
868 \partial @var{duration}
871 where @code{duration} is the rhythmic length to be added before
874 This is internally translated into
877 \set Timing.measurePosition = -@var{length of duration}
880 The property @code{measurePosition} contains a rational number
881 indicating how much of the measure has passed at this point. Note
882 that this is a negative number; @code{\partial 4} is internally
883 translated to mean @qq{there is a quarter note left in the bar.}
888 This command does not take into account grace notes at the start
889 of the music. When a piece starts with graces notes in the
890 pickup, then the @code{\partial} should follow the grace notes
892 @lilypond[verbatim,quote,ragged-right,relative,fragment]
899 @code{\partial} is only intended to be used at the beginning of a
900 piece. If you use it after the beginning, some odd warnings may
904 @node Unmetered music
905 @unnumberedsubsubsec Unmetered music
909 @funindex \cadenzaOff
911 Barlines and bar numbers are calculated automatically. For
912 unmetered music (cadenzas, for example), this is not desirable.
913 To turn off automatic barlines and bar numbers, use the commands
914 @code{\cadenzaOn} and @code{\cadenzaOff}.
916 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
928 LilyPond will only insert line breaks and page breaks at a
929 barline. Unless the unmetered music ends before the end of the
930 staff line, you will need to insert invisible barlines
937 to indicate where breaks can occur.
940 @node Polymetric notation
941 @unnumberedsubsubsec Polymetric notation
943 @cindex double time signatures
944 @cindex signatures, polymetric
945 @cindex polymetric signatures
946 @cindex meter, polymetric
948 Double time signatures are not supported explicitly, but they can
949 be faked. In the next example, the markup for the time signature
950 is created with a markup text. This markup text is inserted in
951 the @internalsref{TimeSignature} grob. See also
952 @lsr{contemporary,compound-time-signature}.
954 @lilypond[verbatim,ragged-right]
957 \override #'(baseline-skip . 2) \number {
960 \bracket \column { "5" "8" }
965 \override Staff.TimeSignature #'stencil =
966 #ly:text-interface::print
967 \override Staff.TimeSignature #'text = #tsMarkup
969 c'2 \bar ":" c'4 c'4.
973 Each staff can also have its own time signature. This is done by
974 moving the @internalsref{Timing_translator} to the
975 @internalsref{Staff} context.
980 \remove "Timing_translator"
981 \remove "Default_bar_line_engraver"
985 \consists "Timing_translator"
986 \consists "Default_bar_line_engraver"
993 Now, each staff has its own time signature.
1007 c4. c8 c c c4. c8 c c
1012 @lilypond[quote,ragged-right]
1016 \remove "Timing_translator"
1017 \remove "Default_bar_line_engraver"
1020 \consists "Timing_translator"
1021 \consists "Default_bar_line_engraver"
1036 c4. c8 c c c4. c8 c c
1042 A different form of polymetric notation is where note lengths have
1043 different values across staves, but the bars are all the same
1046 This notation can be created by setting a common time signature
1047 for each staff but replacing it manually using
1048 @code{timeSignatureFraction} to the desired fraction. Then the
1049 printed durations in each staff are scaled to the common time
1050 signature. The latter is done with @code{\compressMusic}, which
1051 is used in a similar way to @code{\times}, but does not create
1052 a tuplet bracket. The syntax is
1056 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1061 In this example, music with the time signatures of 3/4, 9/8, and
1062 10/8 are used in parallel. In the second staff, shown durations
1063 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1064 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1067 @lilypond[quote,ragged-right,verbatim,fragment]
1075 \set Staff.timeSignatureFraction = #'(9 . 8)
1076 \compressMusic #'(2 . 3)
1077 \repeat unfold 6 { c8[ c c] }
1081 \set Staff.timeSignatureFraction = #'(10 . 8)
1082 \compressMusic #'(3 . 5) {
1083 \repeat unfold 2 { c8[ c c] }
1084 \repeat unfold 2 { c8[ c] }
1085 | c4. c4. \times 2/3 { c8 c c } c4
1094 When using different time signatures in parallel, the spacing is
1095 aligned vertically, but barlines distort the regular spacing.
1098 @node Automatic note splitting
1099 @unnumberedsubsubsec Automatic note splitting
1101 Long notes which overrun barlines can be converted
1102 automatically to tied notes. This is
1103 done by replacing the @internalsref{Note_heads_engraver} by the
1104 @internalsref{Completion_heads_engraver}. In the following
1105 examples, notes crossing the barline are split and tied.
1107 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1109 \remove "Note_heads_engraver"
1110 \consists "Completion_heads_engraver"
1112 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1116 This engraver splits all running notes at the barline, and
1117 inserts ties. One of its uses is to debug complex scores: if the
1118 measures are not entirely filled, then the ties exactly show how
1119 much each measure is off.
1121 If you want to allow line breaking on the barlines where
1122 @internalsref{Completion_heads_engraver} splits notes, you must
1123 also remove @internalsref{Forbid_line_break_engraver}.
1128 Not all durations (especially those containing tuplets) can be
1129 represented exactly with normal notes and dots, but the engraver
1130 will not insert tuplets.
1132 @code{Completion_heads_engraver} only affects notes; it does not
1138 Internals Reference: @internalsref{Completion_heads_engraver}.
1141 @node Setting automatic beam behavior
1142 @unnumberedsubsubsec Setting automatic beam behavior
1144 @funindex autoBeamSettings
1145 @funindex (end * * * *)
1146 @funindex (begin * * * *)
1147 @cindex automatic beams, tuning
1148 @cindex tuning automatic beaming
1150 @c [TODO: use \applyContext]
1152 In normal time signatures, automatic beams can start on any note but can
1153 only end in a few positions within the measure: beams can end on a beat,
1154 or at durations specified by the properties in
1155 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
1156 consist of a list of rules for where beams can begin and end. The
1157 default @code{autoBeamSettings} rules are defined in
1158 @file{scm/@/auto@/-beam@/.scm}.
1160 In order to add a rule to the list, use
1162 #(override-auto-beam-setting '(be p q n m) a b [context])
1167 @item @code{be} is either "begin" or "end".
1169 @item @code{p/q} is the duration of the note for which you want
1170 to add a rule. A beam is considered to have the duration of its
1171 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1172 have this apply to any beam.
1174 @item @code{n/m} is the time signature to which
1175 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1176 to have this apply in any time signature.
1178 @item @code{a/b} is the position in the bar at which the beam should
1181 @item @code{context} is optional, and it specifies the context at which
1182 the change should be made. The default is @code{'Voice}.
1183 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1184 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1188 For example, if automatic beams should always end on the first quarter
1192 #(override-auto-beam-setting '(end * * * *) 1 4)
1195 You can force the beam settings to only take effect on beams whose shortest
1196 note is a certain duration
1198 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1200 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1202 a32 a a a a16 a a a a a |
1203 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1204 a32 a a a a16 a a a a a |
1207 You can force the beam settings to only take effect in certain time
1210 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1212 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1220 You can also remove a previously set beam-ending rule by using
1223 #(revert-auto-beam-setting '(be p q n m) a b [context])
1227 be, p, q, n, m, a, b and context are the same as above. Note that the
1228 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1229 so you can revert rules that you did not explicitly create.
1231 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1233 a16 a a a a a a a a a a a a a a a
1234 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1235 a16 a a a a a a a a a a a a a a a
1238 The rule in a revert-auto-beam-setting statement must exactly match the
1239 original rule. That is, no wildcard expansion is taken into account.
1241 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1243 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1245 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1247 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1253 @c TODO: old material -- not covered by above stuff, I think.
1254 If automatic beams should end on every quarter in 5/4 time, specify
1257 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1258 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1259 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1260 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1264 The same syntax can be used to specify beam starting points. In this
1265 example, automatic beams can only end on a dotted quarter note
1267 #(override-auto-beam-setting '(end * * * *) 3 8)
1268 #(override-auto-beam-setting '(end * * * *) 1 2)
1269 #(override-auto-beam-setting '(end * * * *) 7 8)
1271 In 4/4 time signature, this means that automatic beams could end only on
1272 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1273 3/8, has passed within the measure).
1275 If any unexpected beam behaviour occurs, check the default automatic beam
1276 settings in @file{scm/@/auto@/-beam@/.scm}
1277 for possible interference, because the beam
1278 endings defined there will still apply on top of your own overrides. Any
1279 unwanted endings in the default vales must be reverted for your time
1282 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1286 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1287 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1288 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1289 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1292 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1293 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1294 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1297 @cindex automatic beam generation
1299 @funindex autoBeaming
1302 If beams are used to indicate melismata in songs, then automatic
1303 beaming should be switched off with @code{\autoBeamOff}.
1308 @funindex \autoBeamOff
1309 @code{\autoBeamOff},
1310 @funindex \autoBeamOn
1315 Beaming patterns may be altered with the @code{beatGrouping} property,
1317 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1319 \set beatGrouping = #'(2 3)
1321 \set beatGrouping = #'(3 2)
1328 If a score ends while an automatic beam has not been ended and is
1329 still accepting notes, this last beam will not be typeset at all. The
1330 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1331 >>}. If a polyphonic voice ends while an automatic beam is still
1332 accepting notes, it is not typeset.
1345 @node Automatic beams
1346 @unnumberedsubsubsec Automatic beams
1348 By default beams are inserted automatically
1350 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1352 \time 6/8 c c c c8. c16 c8
1355 When these automatic decisions are not good enough, beaming
1356 can be entered explicitly. It is also possible to define beaming
1357 patterns that differ from the defaults. See @ref{Manual beams}
1358 and @ref{Setting automatic beam behavior}.
1364 Automatic beaming may be turned off and on with
1365 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1367 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1368 c4 c8 c8. c16 c8. c16 c8
1378 @funindex stemLeftBeamCount
1379 @funindex stemRightBeamCount
1381 LilyPond can automatically determine beaming patterns within a
1382 beam, but this automatic behavior can sometimes produce odd
1383 results; therefore the @code{stemLeftBeamCount} and
1384 @code{stemRightBeamCount} properties can be used to override the
1385 defaults. If either property is set, its value will be used only
1386 once, and then it is erased.
1388 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1393 \set stemLeftBeamCount = #1
1398 The property @code{subdivideBeams} can be set in order to
1399 subdivide all 16th or shorter beams.
1400 When set, multiple beams will be sub-divided at beat
1401 positions, defined by the current value of @code{beatLength},
1402 by drawing only one beam over the beat.
1404 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1406 \set subdivideBeams = ##t
1408 \set Score.beatLength = #(ly:make-moment 1 8)
1411 @funindex subdivideBeams
1414 For more information about @code{make-moment}, see
1415 @ref{Time administration}.
1417 @c TODO Consider whether the section Setting automatic
1418 @c beam behavior should all be moved here. For now
1419 @c here's a link to it.
1421 For details about modifying the automatic beam behaviour
1422 see @ref{Setting automatic beam behavior}
1426 Line breaks are normally forbidden when beams cross barlines.
1427 This behavior can be changed by setting the @code{breakable}
1428 property: @code{\override Beam #'breakable = ##t}.
1430 @cindex beams and line breaks
1431 @cindex beams, kneed
1433 @cindex auto-knee-gap
1435 Kneed beams are inserted automatically when a large gap is
1436 detected between the note heads. This behavior can be tuned
1437 through the @code{auto-knee-gap} property. A kneed beam is
1438 drawn if the gap is larger than the value of
1439 @code{auto-knee-gap} plus the width of the beam object (which
1440 depends on the duration of the notes and the slope of the beam).
1441 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1443 @lilypond[fragment,ragged-right,quote,verbatim]
1445 \override Beam #'auto-knee-gap = #6
1452 Internals Reference: @internalsref{Beam}.
1457 Automatically kneed cross-staff beams cannot be used together with
1458 hidden staves. See @ref{Hiding staves}.
1460 Beams can collide with noteheads and accidentals in other voices
1463 @unnumberedsubsubsec Manual beams
1465 @cindex beams, manual
1467 Individual notes may be marked with @code{\noBeam} to prevent them
1470 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1471 \time 2/4 c8 c\noBeam c c
1477 In some cases it may be necessary to override the automatic
1478 beaming algorithm. For example, the autobeamer will not put beams
1479 over rests or barlines, and in choral scores the beaming is
1480 often set to follow the meter of the lyrics rather than the
1481 notes. Such beams can be specified manually by
1482 marking the begin and end point with @code{[} and @code{]}
1484 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1486 r4 r8[ g' a r8] r8 g[ | a] r8
1490 @cindex beams, feathered
1491 @funindex \featherDurations
1493 Feathered beams are used to indicate that a small group of notes
1494 should be played at an increasing (or decreasing) tempo, without
1495 changing the overall tempo of the piece. The extent of the
1496 feathered beam must be indicated manually using @code{[} and
1497 @code{]}, and the beam feathering is turned on by specifying a
1498 direction to the Beam property @code{grow-direction}.
1500 If the placement of the notes and the sound in the MIDI output
1501 is to reflect the ritardando or accelerando indicated by the
1502 feathered beam the notes must be grouped as a
1503 music expression delimited by braces and preceded by a
1504 @code{featheredDurations} command which specifies the ratio
1505 between the durations of the first and last notes in the group.
1508 show the extent of the beam and the braces show
1509 which notes are to have their durations modified. Normally
1510 these would delimit the same group of notes, but this is not
1511 required: the two commands are independent.
1513 In the following example the eight 16th notes occupy exactly
1514 the same time as a half note, but the first note is twice
1515 as short as the last one, with the intermediate notes gradually
1516 lengthening. The first four 32nd notes gradually speed up,
1517 while the last four 32nd notes are at a constant tempo.
1519 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1520 \override Beam #'grow-direction = #LEFT
1521 \featherDurations #(ly:make-moment 2 1)
1522 { c16[ c c c c c c c] }
1523 \override Beam #'grow-direction = #RIGHT
1524 \featherDurations #(ly:make-moment 2 3)
1526 % revert to non-feathered beams
1527 \override Beam #'grow-direction = #'()
1532 The spacing in the printed output represents the
1533 note durations only approximately, but the midi output is exact.
1538 Line breaking is prevented by beams which straddle barlines. The
1539 @samp{breakable} property of @code{Beam} allows this behaviour
1542 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1543 \override Beam #'breakable = ##t
1544 c8 \repeat unfold 15 {c[ c] } c
1550 The @code{\featherDurations} command only works with very short
1551 music snippets, and when numbers in the fraction are small.
1561 * Bar and bar number checks::
1566 @unnumberedsubsubsec Bar lines
1571 @cindex measure lines
1574 Barlines delimit measures, and are also used to indicate
1575 repeats. Normally, simple barlines are automatically inserted
1576 into the printed output at places based on the current time
1579 The simple barlines inserted automatically can be changed to
1580 other types with the @code{\bar} command. For example, a closing
1581 double barline is usually placed at the end of a piece:
1583 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1587 @warning{An incorrect duration can lead to poorly formatted
1590 It is not invalid if the final note in a bar does not
1591 end on the automatically entered barline: the note is assumed
1592 to carry over into the next bar. But if a long sequence
1593 of such carry-over bars appears the music can appear compressed
1594 or even flowing off the page. This is because automatic line
1595 breaks happen only at the end of complete bars, i.e. where
1596 the end of a note coincides with the end of a bar.
1598 Line breaks are also permitted at manually inserted barlines
1599 even within incomplete bars. To allow a line break without
1600 printing a barline, use
1607 This will insert an invisible barline and allow (but not
1608 force) a line break to occur at this point. The bar number
1609 counter is not increased. To force a line break see
1610 @ref{Line breaking}.
1612 This and other special barlines may be inserted manually at any
1613 point. When they coincide with the end of a bar they replace
1614 the simple barline which would have been inserted there
1615 automatically. When they do not coincide
1616 with the end of a bar the specified barline is inserted at that
1617 point in the printed output. Such insertions do not affect
1618 the calculation and placement of subsequent automatic barlines.
1620 The simple barline and four types of double barline are available
1621 for manual insertion:
1623 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1624 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1628 together with dotted and dashed barlines:
1630 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1631 f1 \bar ":" g \bar "dashed" a
1635 and three types of repeat barline:
1637 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1638 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1641 Although the barline types signifying repeats may be inserted
1642 manually they do not in themselves cause LilyPond to recognise
1643 a repeated section. Such repeated sections are better entered
1644 using the various repeat commands (see @ref{Repeats}), which
1645 automatically print the appropriate barlines.
1647 In addition, you can specify @code{"||:"}, which is equivalent to
1648 @code{"|:"} except at line breaks, where it gives a double bar
1649 line at the end of the line and a start repeat at the beginning of
1652 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1653 \override Score.RehearsalMark #'padding = #3
1661 In scores with many staves, a @code{\bar} command in one staff is
1662 automatically applied to all staves. The resulting barlines are
1663 connected between different staves of a @code{StaffGroup},
1664 @code{PianoStaff}, or @code{GrandStaff}.
1666 @lilypond[quote,ragged-right,fragment,verbatim]
1674 \new Staff { \clef bass c4 g e g }
1676 \new Staff { \clef bass c2 c2 }
1684 @funindex defaultBarType
1686 The command @code{\bar }@var{bartype} is a short cut for
1687 @code{\set Timing.whichBar = }@var{bartype}. A barline is
1688 created whenever the @code{whichBar} property is
1691 The default bar type used for automatically inserted barlines is
1692 @code{"|"}. This may be changed at any time
1693 with @code{\set Timing.defaultBarType = }@var{bartype}.
1697 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1699 Internals Reference: @internalsref{BarLine} (created at
1700 @internalsref{Staff} level), @internalsref{SpanBar} (across
1701 staves), @internalsref{Timing_translator} (for Timing
1706 @unnumberedsubsubsec Bar numbers
1709 @cindex measure numbers
1710 @funindex currentBarNumber
1712 Bar numbers are typeset by default at the start of every line
1713 except the first line. The
1714 number itself is stored in the @code{currentBarNumber} property,
1715 which is normally updated automatically for every measure. It
1716 may also be set manually:
1718 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1721 \set Score.currentBarNumber = #50
1728 @funindex barNumberVisibility
1729 @cindex bar numbers, regular spacing
1731 Bar numbers can be typeset at regular intervals instead of just at
1732 the beginning of every line. To do this the default behaviour
1733 must be overridden to permit bar numbers to be printed at places
1734 other than the start of a line. This is controlled by the
1735 @code{break-visibility} property of @code{BarNumber}. This takes
1736 three values which may be set to @code{#t} or @code{#f} to specify
1737 whether the corresponding bar number is visible or not. The order
1738 of the three values is @code{end of line visible}, @code{middle of
1739 line visible}, @code{beginning of line visible}. In the following
1740 example bar numbers are printed at all possible places:
1742 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1743 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1744 \set Score.currentBarNumber = #11
1745 \bar "" % Permit first bar number to be printed
1751 @c All the rest of these examples will be added to LSR
1752 @c and moved into the Snippets. -gp
1755 and here the bar numbers are printed every two bars
1756 except at the end of the line:
1758 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1759 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1760 \set Score.currentBarNumber = #11
1761 \bar "" % Permit first bar number to be printed
1762 % Print a bar number every 2nd bar
1763 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1769 The size of the bar number may be changed. This is illustrated
1770 in the following example, which also shows how to enclose bar
1771 numbers in boxes and circles, and shows an alternative way
1772 of specifying @samp{#(#f #t #t)} for @code{break-visibility}.
1774 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1775 % Prevent bar numbers at the end of a line and permit them elsewhere
1776 \override Score.BarNumber #'break-visibility
1777 = #end-of-line-invisible
1779 % Increase the size of the bar number by 2
1780 \override Score.BarNumber #'font-size = #2
1781 \repeat unfold 3 { c1 } \bar "|"
1783 % Draw a box round the following bar number(s)
1784 \override Score.BarNumber #'stencil
1785 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1786 \repeat unfold 3 { c1 } \bar "|"
1788 % Draw a circle round the following bar number(s)
1789 \override Score.BarNumber #'stencil
1790 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1791 \repeat unfold 4 { c1 } \bar "|."
1794 @cindex Bar number alignment
1796 Bar numbers by default are left-aligned to their parent object.
1797 This is usually the left edge of a line or, if numbers are printed
1798 within a line, the left barline of the bar. The numbers may also
1799 be positioned directly on the barline or right-aligned to the
1802 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1803 \set Score.currentBarNumber = #111
1804 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1805 % Increase the size of the bar number by 2
1806 \override Score.BarNumber #'font-size = #2
1807 % Print a bar number every 2nd bar
1808 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1810 % Centre-align bar numbers
1811 \override Score.BarNumber #'self-alignment-X = #0
1813 % Right-align bar numbers
1814 \override Score.BarNumber #'self-alignment-X = #-1
1818 Bar numbers can be removed entirely by removing the Bar number
1819 engraver from the score context.
1821 @lilypond[verbatim,ragged-right,quote]
1825 \remove "Bar_number_engraver"
1837 Internals Reference: @internalsref{BarNumber}.
1839 Examples: @lsrdir{bar number}
1844 Bar numbers can collide with the top of the
1845 @internalsref{StaffGroup} bracket, if there is one.
1846 To solve this, the @code{padding} property of
1847 @internalsref{BarNumber} can be used to
1848 position the number correctly.
1850 Bar numbers may only be printed at barlines; to print a bar
1851 number at the beginning of a piece, an empty barline must be
1852 inserted there, and a value other than @code{1} must be placed
1853 in @code{currentBarNumber}:
1855 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1856 \set Score.currentBarNumber = #50
1865 @node Bar and bar number checks
1866 @unnumberedsubsubsec Bar and bar number checks
1869 @funindex barCheckSynchronize
1872 Bar checks help detect errors in the entered durations.
1873 A bar check may be entered using the bar symbol, @samp{|},
1874 at any place where a barline is expected to fall.
1875 If bar check lines are encountered at other places,
1876 a list of warnings is printed in the log file,
1877 showing the line numbers and lines
1878 in which the bar checks failed. In the next
1879 example, the second bar check will signal an error
1882 \time 3/4 c2 e4 | g2 |
1885 Bar checks can also be used in lyrics, for example
1890 Twin -- kle | Twin -- kle |
1894 An incorrect duration can result in a completely garbled score,
1895 especially if the score is polyphonic, so a good place to start
1896 correcting input is by scanning for failed bar checks and
1897 incorrect durations.
1900 @funindex pipeSymbol
1902 It is also possible to redefine the action taken when a bar check
1903 or pipe symbol, @samp{|}, is encountered in the input, so that
1904 it does something other than a bar check. This is done by
1905 assigning a music expression to @code{pipeSymbol}.
1906 In the following example @samp{|} is set to insert a double bar
1907 line wherever it appears in the input, rather than checking
1910 @lilypond[quote,ragged-right,verbatim]
1911 pipeSymbol = \bar "||"
1920 When copying large pieces of music, it can be helpful to check
1921 that the LilyPond bar number corresponds to the original that you
1922 are entering from. This can be checked with
1923 @code{\barNumberCheck}, for example,
1926 \barNumberCheck #123
1930 will print a warning if the @code{currentBarNumber} is not 123
1931 when it is processed.
1934 @node Rehearsal marks
1935 @unnumberedsubsubsec Rehearsal marks
1937 @cindex Rehearsal marks
1940 To print a rehearsal mark, use the @code{\mark} command
1942 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1951 The letter@tie{}@q{I} is skipped in accordance with engraving
1952 traditions. If you wish to include the letter @q{I}, then use
1955 \set Score.markFormatter = #format-mark-alphabet
1958 The mark is incremented automatically if you use @code{\mark
1959 \default}, but you can also use an integer argument to set the
1960 mark manually. The value to use is stored in the property
1961 @code{rehearsalMark}.
1963 The style is defined by the property @code{markFormatter}. It is
1964 a function taking the current mark (an integer) and the current
1965 context as argument. It should return a markup object. In the
1966 following example, @code{markFormatter} is set to a pre-defined
1967 procedure. After a few measures, it is set to a procedure that
1968 produces a boxed number.
1970 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1971 \set Score.markFormatter = #format-mark-numbers
1974 \set Score.markFormatter = #format-mark-box-numbers
1980 The file @file{scm/@/translation@/-functions@/.scm} contains the
1981 definitions of @code{format-mark-numbers} (the default format),
1982 @code{format-mark-box-numbers}, @code{format-mark-letters} and
1983 @code{format-mark-box-letters}. These can be used as inspiration
1984 for other formatting functions.
1986 You may use @code{format-mark-barnumbers},
1987 @code{format-mark-box-barnumbers}, and
1988 @code{format-mark-circle-barnumbers} to get bar numbers instead of
1989 incremented numbers or letters.
1991 Other styles of rehearsal mark can be specified manually
1998 @code{Score.markFormatter} does not affect marks specified in this
1999 manner. However, it is possible to apply a @code{\markup} to the
2003 \mark \markup@{ \box A1 @}
2010 Music glyphs (such as the segno sign) may be printed inside a
2013 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2014 c1 \mark \markup { \musicglyph #"scripts.segno" }
2015 c1 \mark \markup { \musicglyph #"scripts.coda" }
2016 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2021 See @ref{The Feta font}, for a list of symbols which may be
2022 printed with @code{\musicglyph}.
2024 For common tweaks to the positioning of rehearsal marks, see
2029 This manual: @ref{Text marks}.
2031 Internals Reference: @internalsref{RehearsalMark}.
2033 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2034 the definition of @code{format-mark-numbers} and
2035 @code{format-mark-letters}. They can be used as inspiration for
2036 other formatting functions.
2038 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2041 @node Special rhythmic concerns
2042 @subsection Special rhythmic concerns
2047 * Aligning to cadenzas::
2048 * Time administration::
2052 @unnumberedsubsubsec Grace notes
2057 @cindex appoggiatura
2058 @cindex acciaccatura
2060 Grace notes are ornaments that are written out. The most common
2061 ones are acciaccatura, which should be played as very short. It
2062 is denoted by a slurred small note with a slashed stem. The
2063 appoggiatura is a grace note that takes a fixed fraction of the
2064 main note, and is denoted as a slurred note in small print without
2065 a slash. They are entered with the commands @code{\acciaccatura}
2066 and @code{\appoggiatura}, as demonstrated in the following example
2068 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2069 b4 \acciaccatura d8 c4
2071 \acciaccatura { g16[ f] } e4
2074 Both are special forms of the @code{\grace} command. By prefixing
2075 this keyword to a music expression, a new one is formed, which
2076 will be printed in a smaller font and takes up no logical time in
2079 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2081 \grace { c16[ d16] } c2 c4
2085 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2086 @code{\grace} command does not start a slur.
2088 The placement of grace notes is synchronized between different
2089 staves. In the following example, there are two sixteenth grace
2090 notes for every eighth grace note
2092 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2093 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2094 \new Staff { c4 \grace { g8[ b] } c4 } >>
2097 @funindex \afterGrace
2099 If you want to end a note with a grace, use the @code{\afterGrace}
2100 command. It takes two arguments: the main note, and the grace
2101 notes following the main note.
2103 @lilypond[ragged-right, verbatim,relative=2,fragment]
2104 c1 \afterGrace d1 { c16[ d] } c4
2107 This will put the grace notes after a @q{space} lasting 3/4 of the
2108 length of the main note. The fraction 3/4 can be changed by
2109 setting @code{afterGraceFraction}, ie.
2112 #(define afterGraceFraction (cons 7 8))
2116 will put the grace note at 7/8 of the main note.
2118 The same effect can be achieved manually by doing
2120 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2123 { s2 \grace { c16[ d] } } >>
2129 By adjusting the duration of the skip note (here it is a
2130 half-note), the space between the main-note and the grace
2133 A @code{\grace} music expression will introduce special
2134 typesetting settings, for example, to produce smaller type, and
2135 set directions. Hence, when introducing layout tweaks, they
2136 should be inside the grace expression, for example,
2138 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2150 The overrides should also be reverted inside the grace expression.
2152 The layout of grace expressions can be changed throughout the
2153 music using the function @code{add-grace-property}. The following
2154 example undefines the @code{Stem} direction for this grace, so
2155 that stems do not always point up.
2159 #(add-grace-property 'Voice 'Stem 'direction '())
2165 Another option is to change the variables @code{startGraceMusic},
2166 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2167 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2168 @code{stopAppoggiaturaMusic}. The default values of these can be
2169 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2170 them other effects may be obtained.
2173 The slash through the stem in acciaccaturas can be obtained in
2174 other situations by @code{\override Stem #'stroke-style =
2180 Grace notes may be forced to use align with regular notes
2181 in other staves by setting @code{strict-grace-spacing} to
2184 @lilypond[relative=2,ragged-right]
2186 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2195 c'16[ c'16 c'16 c'16]
2196 c'16[ c'16 c'16 c'16]
2205 Internals Reference: @internalsref{GraceMusic}.
2210 A multi-note beamed acciaccatura is printed without a slash,
2211 and looks exactly the same as a multi-note beamed appoggiatura.
2212 @c TODO Add link to LSR snippet to add slash when available
2214 Grace note synchronization can also lead to surprises. Staff
2215 notation, such as key signatures, barlines, etc., are also
2216 synchronized. Take care when you mix staves with grace notes and
2217 staves without, for example,
2219 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2220 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2221 \new Staff { c4 \bar "|:" d4 } >>
2225 This can be remedied by inserting grace skips of the corresponding
2226 durations in the other staves. For the above example
2228 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2229 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2230 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2233 Grace sections should only be used within sequential music
2234 expressions. Nesting or juxtaposing grace sections is not
2235 supported, and might produce crashes or other errors.
2237 @node Aligning to cadenzas
2238 @unnumberedsubsubsec Aligning to cadenzas
2240 In an orchestral context, cadenzas present a special problem: when
2241 constructing a score that includes a cadenza, all other
2242 instruments should skip just as many notes as the length of the
2243 cadenza, otherwise they will start too soon or too late.
2245 A solution to this problem are the functions
2246 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2247 functions take a piece of music as argument, and generate a
2248 multi-rest or @code{\skip}, exactly as long as the piece. The use
2249 of @code{mmrest-of-length} is demonstrated in the following
2252 @lilypond[verbatim,ragged-right,quote]
2253 cadenza = \relative c' {
2254 c4 d8 << { e f g } \\ { d4. } >>
2259 \new Staff { \cadenza c'4 }
2261 #(ly:export (mmrest-of-length cadenza))
2268 @node Time administration
2269 @unnumberedsubsubsec Time administration
2271 @cindex Time administration
2273 @funindex currentBarNumber
2274 @funindex measurePosition
2275 @funindex measureLength
2277 Time is administered by the
2278 @code{Timing_translator}, which by default is
2279 to be found in the @code{Score} context. An
2280 alias, @code{Timing}, is added to the context in which
2281 the @code{Timing_translator} is placed.
2283 The following properties of @code{Timing} are used
2284 to keep track of timing within the score.
2287 @item currentBarNumber
2288 The current measure number. For an example showing the
2289 use of this property see @ref{Bar numbers}.
2292 The length of the measures in the current time signature. For a
2293 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2294 determines when barlines are inserted and how automatic beams
2295 should be generated.
2297 @item measurePosition
2298 The point within the measure where we currently are. This
2299 quantity is reset by subtracting @code{measureLength} whenever
2300 @code{measureLength} is reached or exceeded. When that happens,
2301 @code{currentBarNumber} is incremented.
2304 If set to true, the above variables are updated for every time
2305 step. When set to false, the engraver stays in the current
2306 measure indefinitely.
2310 Timing can be changed by setting any of these variables
2311 explicitly. In the next example, the default 4/4 time
2312 signature is printed, but @code{measureLength} is set to 5/4.
2313 At 4/8 though the third bar, the @code{measurePosition} is
2314 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2315 The next barline then falls at 9/8 rather than 5/4.
2317 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2318 \set Score.measureLength = #(ly:make-moment 5 4)
2322 \set Score.measurePosition = #(ly:make-moment 5 8)
2328 As the example illustrates, @code{ly:make-moment n m} constructs a
2329 duration of n/m of a whole note. For example,
2330 @code{ly:make-moment 1 8} is an eighth note duration and
2331 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2336 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2338 Internals Reference: @internalsref{Timing_translator},
2339 @internalsref{Score}