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 Snippets: @lsrdir{rhythms}
128 Internals Reference: @internalsref{Dots}, and
129 @internalsref{DotColumn}.
133 @unnumberedsubsubsec Tuplets
139 @c TODO Add Tuplet to glossary
141 Tuplets are made out of a music expression by multiplying all
142 durations with a fraction
145 \times @var{fraction} @var{musicexpr}
149 The duration of @var{musicexpr} will be multiplied by the
150 fraction. The fraction's denominator will be printed over or
151 under the notes, optionally with a bracket. The most common
152 tuplet is the triplet in which 3 notes have the length of 2, so
153 the notes are 2/3 of their written length.
155 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
156 g4 \times 2/3 {c4 c c} d4 d4
159 Tuplets may be nested, for example,
161 @lilypond[fragment,ragged-right,verbatim,relative=2]
162 \override TupletNumber #'text = #tuplet-number::calc-fraction-text
165 \times 3/5 { a a a a a }
173 @funindex \tupletDown
175 @funindex \tupletNeutral
176 @code{\tupletNeutral}.
181 @funindex tupletNumberFormatFunction
182 @cindex tuplet formatting
184 The property @code{tupletSpannerDuration} specifies how long each
185 bracket should last. With this, you can make lots of tuplets
186 while typing @code{\times} only once, thus saving lots of typing.
187 In the next example, there are two triplets shown, while
188 @code{\times} was only used once
190 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
191 \set tupletSpannerDuration = #(ly:make-moment 1 4)
192 \times 2/3 { c8 c c c c c }
196 For more information about @code{make-moment}, see
197 @ref{Time administration}.
199 The format of the number is determined by the property @code{text}
200 in @code{TupletNumber}. The default prints only the denominator,
201 but if it is set to the function
202 @code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will
205 To avoid printing tuplet numbers, use
207 @lilypond[quote,fragment,relative=2,ragged-right,verbatim]
208 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
209 \override TupletNumber #'transparent = ##t
210 \times 2/3 { c8 c c } \times 2/3 { c8 c c }
213 Use the @code{\tweak} function to override nested tuplets
214 beginning at the same music moment. In this example,
215 @code{\tweak} specifies fraction text for the outer
216 @code{TupletNumber} and denominator text for the
217 @code{TupletNumber} of the first of the three inner tuplets.
219 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
220 \tweak #'text #tuplet-number::calc-fraction-text
222 \tweak #'text #tuplet-number::calc-denominator-text
223 \times 2/3 { c8[ c8 c8] }
224 \times 2/3 { c8[ c8 c8] }
225 \times 2/3 { c8[ c8 c8] }
229 Here @code{\tweak} and @code{\override} work together to specify
230 @code{TupletBracket} direction. The first @code{\tweak} positions
231 the @code{TupletBracket} of the outer tuplet above the staff. The
232 second @code{\tweak} positions the @code{TupletBracket} of the
233 first of the three inner tuplets below the staff. Note that this
234 pair of @code{\tweak} functions affects only the outer tuplet and
235 the first of the three inner tuplets because only those two
236 tuplets begin at the same music moment. We use @code{\override}
237 in the usual way to position the @code{TupletBrackets} of the
238 second and third of the inner tuplets below the staff.
240 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
241 \tweak #'text #tuplet-number::calc-fraction-text
242 \tweak #'direction #up
244 \tweak #'direction #down
245 \times 2/3 { c8[ c8 c8] }
246 \override TupletBracket #'direction = #down
247 \times 2/3 { c8[ c8 c8] }
248 \times 2/3 { c8[ c8 c8] }
252 Tuplet brackets can be made to run to prefatory matter or the next
255 @lilypond[ragged-right]
257 \set tupletFullLength = ##t
262 \set tupletFullLengthNote = ##t
272 Tuplets which cross barlines will prevent a line break at that
277 Snippets: @lsrdir{rhythms}
279 Internals Reference: @internalsref{TupletBracket},
280 @internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
284 @node Scaling durations
285 @unnumberedsubsubsec Scaling durations
287 You can alter the length of a duration by a fraction @var{N/M}
288 by appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
289 This will not affect the appearance of the notes or rests
290 produced, but the altered duration will be used in calculating the
291 position within the bar and setting the duration in the MIDI
292 output. Multiplying factors may be combined
295 In the following example, the first three notes take up exactly
296 two beats, but no triplet bracket is printed.
298 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
300 a4*2/3 gis4*2/3 a4*2/3
305 The duration of skip or spacing notes may also be modified by
306 a multiplier. This is useful for skipping many bars, e.g.,
311 This manual: @ref{Tuplets}, @ref{Skips}.
315 @unnumberedsubsubsec Ties
320 A tie connects two adjacent note heads of the same pitch. The tie
321 in effect extends the length of a note.
323 @warning{Ties should not be confused with @emph{slurs}, which
324 indicate articulation, or @emph{phrasing slurs}, which indicate
325 musical phrasing. A tie is just a way of extending a note
326 duration, similar to the augmentation dot.}
328 A tie is entered using the tilde symbol @code{~}
330 @lilypond[quote,ragged-right,fragment,verbatim]
336 Ties are used either when the note crosses a bar line, or when
337 dots cannot be used to denote the rhythm. Ties should also be
338 used when note values cross larger subdivisions of the measure:
340 @lilypond[fragment,quote,ragged-right]
342 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
346 If you need to tie a lot of notes over bars, it may be easier to
347 use automatic note splitting (see @ref{Automatic note splitting}).
348 This mechanism automatically splits long notes, and ties them
352 @cindex repeating ties
353 @cindex volta brackets and ties
355 When a tie is applied to a chord, all note heads whose pitches
356 match are connected. When no note heads match, no ties will be
357 created. Chords may be partially tied by placing the tie inside
360 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
362 <c~ e g~ b> <c e g b>
365 When a second alternative of a repeat starts with a tied note, you
366 have to repeat the tie. This can be achieved with
369 @lilypond[fragment,quote,ragged-right,relative=2]
370 \repeat volta 2 { c g <c e>2 ~ }
371 \alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
374 @cindex Laissez vibrer
375 @cindex Ties, laissez vibrer
377 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
378 notes must not be damped at the end. It is used in notation for
379 piano, harp and other string and percussion instruments. They can
380 be entered using @code{\laissezVibrer}:
382 @lilypond[fragment,ragged-right,verbatim,relative=1]
383 <c f g>\laissezVibrer
386 The direction of a tie can be specified with @code{\tieUp} or
387 @code{\tieDown} (see example below). @code{\tieNeutral} reverts
388 to the default behaviour again.
390 However, as with other music elements of this kind, there is a
391 convenient shorthand for forcing tie directions. By adding
392 @code{_} or @code{^} before the tilde, the direction is also set:
394 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
402 @internalsref{LaissezVibrerTie}
403 @internalsref{LaissezVibrerTieColumn}
406 @lsr{connecting,laissez-vibrer-ties.ly}
411 Ties are sometimes used to write out arpeggios. In this case, two
412 tied notes need not be consecutive. This can be achieved by
413 setting the @code{tieWaitForNote} property to true. The same
414 feature is also useful, for example, to tie a tremolo to a chord,
415 but in principle, it can also be used for ordinary, consecutive
418 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
419 \set tieWaitForNote = ##t
420 \grace { c16[~ e~ g]~ } <c, e g>2
421 \repeat tremolo 8 { c32~ c'~ } <c c,>1
422 e8~ c~ a~ f~ <e' c a f>2
423 \tieUp c8~ a \tieDown \tieDotted g~ c g2
426 Ties may be engraved manually by changing the
427 @code{tie-configuration} property. The first number indicates the
428 distance from the center of the staff in staff-spaces, and the
429 second number indicates the direction (1=up, -1=down).
431 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
433 \override TieColumn #'tie-configuration =
434 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
446 @funindex \tieNeutral
458 In this manual: @ref{Automatic note splitting}.
460 Internals Reference: @internalsref{Tie}.
465 Switching staves when a tie is active will not produce a slanted
468 Changing clefs or octavations during a tie is not really
469 well-defined. In these cases, a slur may be preferable.
476 @subsection Writing rests
481 * Multi measure rests::
485 @unnumberedsubsubsec Rests
492 Rests are entered like notes with the note name @code{r}
494 @c \time 16/1 is used to avoid spurious barlines
495 @c and long tracts of empty bars
496 @lilypond[fragment,quote,ragged-right,verbatim]
499 \override Staff.TimeSignature #'stencil = ##f
501 r\longa r\breve r1 r2
506 Whole bar rests, centered in middle of the bar, must be entered as
507 multi-measure rests. They can be used for a single bar as well as
508 many bars, and are discussed in @ref{Multi measure rests}.
510 To explicitly specify a rest's vertical position, write a note
511 followed by @code{\rest}. A rest will be placed in the position
512 where the note would appear,
514 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
519 This makes manual formatting of polyphonic music much easier,
520 since the automatic rest collision formatter will leave these
525 Internals Reference: @internalsref{Rest}.
529 @unnumberedsubsubsec Skips
532 @cindex Invisible rest
537 An invisible rest (also called a @q{skip}) can be entered like a
538 note with note name @samp{s} or with @code{\skip @var{duration}}
540 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
541 a4 a4 s4 a4 \skip 1 a4
544 The @code{s} syntax is only available in note mode and chord mode.
545 In other situations, for example, when entering lyrics, you should
546 use the @code{\skip} command
548 @lilypond[quote,ragged-right,verbatim,relative=2]
551 \new Lyrics \lyricmode { \skip 2 bla2 }
555 The skip command is merely an empty musical placeholder. It does
556 not produce any output, not even transparent output.
558 The @code{s} skip command does create @internalsref{Staff} and
559 @internalsref{Voice} when necessary, similar to note and rest
560 commands. For example, the following results in an empty staff.
562 @lilypond[quote,ragged-right,verbatim]
566 The fragment @code{@{ \skip 4 @} } would produce an empty page.
570 Internals Reference: @internalsref{SkipMusic}.
573 @node Multi measure rests
574 @unnumberedsubsubsec Multi measure rests
576 @cindex multi measure rests
577 @cindex full measure rests
578 @cindex Rests, multi measure
579 @cindex Rests, full measure
580 @cindex whole rests for a full measure
583 Rests for one or more full measures are entered using
584 @code{R} followed by a duration (see @ref{Durations}).
585 The duration should correspond to an integral number
586 of bars, otherwise a barcheck warning is printed.
587 Multi-measure rests are principally used to indicate
588 that a part in a multi-part score should be silent:
590 @lilypond[quote,fragment,verbatim,relative=2]
591 \set Score.skipBars = ##t
598 A multi-measure rest can be expanded in the printed score
599 to show all the rest bars explicitly, or, as above, it can be
600 condensed to a single bar
601 containing a multi-measure rest symbol, with the number of
602 bars of rest printed above the bar. This expansion
603 is controlled by the property @code{Score.skipBars}. If this is
604 set to true, empty measures will condensed to a single bar.
606 @lilypond[quote,ragged-right,fragment,verbatim]
607 \time 4/4 r1 | R1 | R1*2 |
610 \set Score.skipBars = ##t
614 The @code{1} in @code{R1} is similar to the duration notation
615 used for notes and is the length of a bar in 2/2 or 4/4 time.
616 The duration in a multi-measure rest must always be an integral
617 number of bar-lengths, so in other time signatures augmentation
618 dots or fractions must be used:
620 @lilypond[quote,ragged-right,fragment,verbatim]
621 \set Score.skipBars = ##t
625 R1*13/8 | R1*13/8*12 |
630 An @code{R} spanning a single measure is printed as either a whole
631 or breve rest, centered in the measure, regardless of the time
634 If there are 10 or fewer measures of rest, LilyPond prints
635 @rglos{church rests} (a series of longa and breve rests)
637 prints a simple line otherwise. This default number of 10
638 may be changed by overriding
639 @code{MultiMeasureRest.expand-limit}.
641 @lilypond[quote,ragged-right,fragment,verbatim]
642 \set Score.skipBars = ##t
644 \override MultiMeasureRest #'expand-limit = 3
648 Note that the vertical position on the staff of the multi-measure
649 rest symbol of either form cannot be changed.
651 @cindex text on multi-measure rest
652 @cindex script on multi-measure rest
653 @cindex fermata on multi-measure rest
655 Text can be added to multi-measure rests by using the
656 @var{note}-@code{markup} syntax @ref{Text markup}. A variable
657 (@code{\fermataMarkup}) is provided for adding fermatas
659 @lilypond[quote,ragged-right,verbatim,fragment]
660 \set Score.skipBars = ##t
662 R2.*10^\markup { \italic "ad lib." }
666 @warning{Text attached to a multi-measure rest is created
667 by @code{MultiMeasureRestText}, not
668 @code{TextScript}. Overrides must be directed to the correct
669 object, or they will be ignored. See the following example.}
671 @lilypond[quote,ragged-right,verbatim,fragment]
672 \override TextScript #'padding = #5
674 \override MultiMeasureRestText #'padding = #5
678 Text attached to a multi-measure rest will be centered above
679 (or below) it. Long text attached in this way does not cause
680 the bar to expand, and may collide with text in adjacent bars.
681 Long text is better attached to a zero-length skip note preceding
682 the rest, preceded by @code{\fatText}, since this will cause the
683 bar to expand to accommodate the length of the text:
685 @lilypond[quote,ragged-right,verbatim,fragment]
686 \set Score.skipBars = ##t
688 s1*0^\markup {[MAJOR GENERAL]}
690 s1*0^\markup {[MABEL] }
691 s1*0_\markup {\italic {Cue: ... it is yours}}
693 s1^\markup {CHORUS} % Chorus notes would go here
699 This manual: @ref{Text}
703 @internalsref{MultiMeasureRest}.
705 The layout object @internalsref{MultiMeasureRestNumber} is for the
706 default number, and @internalsref{MultiMeasureRestText} for user
712 If an attempt is made to use fingerings (e.g.,
713 @code{R1*10-4}) to put numbers over multi-measure rests, the
714 fingering numeral (4) may collide with the bar counter
717 @cindex condensing rests
719 There is no way to automatically condense multiple rests into a
720 single multi-measure rest. Multi-measure rests do not take part
723 Be careful when entering multi-measure rests followed by whole
724 notes. The following will enter two notes lasting four measures
732 @node Displaying rhythms
733 @subsection Displaying rhythms
739 * Polymetric notation::
740 * Automatic note splitting::
741 * Setting automatic beam behavior::
745 @unnumberedsubsubsec Time signature
747 @cindex Time signature
751 Time signature indicates the meter of a piece: a regular pattern
752 of strong and weak beats. It is denoted by a fraction at the
755 The time signature is set with the @code{\time} command
757 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
758 \time 2/4 c2 \time 3/4 c2.
763 The symbol that is printed can be customized with the @code{style}
764 property. Setting it to @code{#'()} uses fraction style for 4/4
767 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
770 \override Staff.TimeSignature #'style = #'()
775 A time signature is normally printed whenever the time signature
776 changes. If this takes place at the end of a line a warning time
777 signature sign is printed at the end of the line and again at the
778 start of a new line. This default behaviour can be modified by
779 setting the value of the @code{break-visibility} property. This
780 takes three values which may be set to @code{#t} or @code{#f} to
781 specify whether the corresponding time signature is visible or not.
782 The order of the three values is @code{end of line visible},
783 @code{middle of line visible}, @code{beginning of line visible}.
785 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
786 % Do not print any time signatures at end of line
787 \override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
790 % Do not print the following 9/8 time signature
791 \once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
799 There are many more options for its layout. See @ref{Ancient time
800 signatures}, for more examples.
802 @code{\time} sets the property @code{timeSignatureFraction},
803 @code{beatLength} and @code{measureLength} in the @code{Timing}
804 context, which is normally aliased to @internalsref{Score}. The
805 property @code{measureLength} determines where barlines should be
806 inserted, and how automatic beams should be generated. Changing
807 the value of @code{timeSignatureFraction} also causes the symbol
810 @cindex Measure groupings
812 More options are available through the Scheme function
813 @code{set-time-signature}. In combination with the
814 @internalsref{Measure_grouping_engraver}, it will create
815 @internalsref{MeasureGrouping} signs. Such signs ease reading
816 rhythmically complex modern music. In the following example, the
817 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
818 @code{set-time-signature} as the third argument @code{(2 2 2 3)}
820 @lilypond[quote,ragged-right,verbatim]
823 #(set-time-signature 9 8 '(2 2 2 3))
824 g8[ g] d[ d] g[ g] a8[( bes g]) |
825 #(set-time-signature 5 8 '(3 2))
831 \consists "Measure_grouping_engraver"
840 Internals Reference: @internalsref{TimeSignature}, and
841 @internalsref{Timing_translator}.
843 Examples: @lsr{contemporary,compound-time-signature.ly}.
848 Automatic beaming does not use the measure grouping specified with
849 @code{set-time-signature}.
853 @unnumberedsubsubsec Upbeats
857 @cindex partial measure
858 @cindex measure, partial
859 @cindex shorten measures
862 Partial measures, such as an anacrusis or upbeat, are entered
865 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
866 \partial 16*5 c16 cis d dis e | a2. c,4 | b2
869 The syntax for this command is
872 \partial @var{duration}
875 where @code{duration} is the rhythmic length to be added before
878 This is internally translated into
881 \set Timing.measurePosition = -@var{length of duration}
884 The property @code{measurePosition} contains a rational number
885 indicating how much of the measure has passed at this point. Note
886 that this is a negative number; @code{\partial 4} is internally
887 translated to mean @qq{there is a quarter note left in the bar.}
892 This command does not take into account grace notes at the start
893 of the music. When a piece starts with graces notes in the
894 pickup, then the @code{\partial} should follow the grace notes
896 @lilypond[verbatim,quote,ragged-right,relative,fragment]
903 @code{\partial} is only intended to be used at the beginning of a
904 piece. If you use it after the beginning, some odd warnings may
908 @node Unmetered music
909 @unnumberedsubsubsec Unmetered music
913 @funindex \cadenzaOff
915 Barlines and bar numbers are calculated automatically. For
916 unmetered music (cadenzas, for example), this is not desirable.
917 To turn off automatic barlines and bar numbers, use the commands
918 @code{\cadenzaOn} and @code{\cadenzaOff}.
920 @lilypond[verbatim,quote,ragged-right,relative=2,fragment]
932 LilyPond will only insert line breaks and page breaks at a
933 barline. Unless the unmetered music ends before the end of the
934 staff line, you will need to insert invisible barlines
941 to indicate where breaks can occur.
944 @node Polymetric notation
945 @unnumberedsubsubsec Polymetric notation
947 @cindex double time signatures
948 @cindex signatures, polymetric
949 @cindex polymetric signatures
950 @cindex meter, polymetric
952 Double time signatures are not supported explicitly, but they can
953 be faked. In the next example, the markup for the time signature
954 is created with a markup text. This markup text is inserted in
955 the @internalsref{TimeSignature} grob. See also
956 @lsr{contemporary,compound-time-signature}.
958 @lilypond[verbatim,ragged-right]
961 \override #'(baseline-skip . 2) \number {
964 \bracket \column { "5" "8" }
969 \override Staff.TimeSignature #'stencil =
970 #ly:text-interface::print
971 \override Staff.TimeSignature #'text = #tsMarkup
973 c'2 \bar ":" c'4 c'4.
977 Each staff can also have its own time signature. This is done by
978 moving the @internalsref{Timing_translator} to the
979 @internalsref{Staff} context.
984 \remove "Timing_translator"
985 \remove "Default_bar_line_engraver"
989 \consists "Timing_translator"
990 \consists "Default_bar_line_engraver"
997 Now, each staff has its own time signature.
1011 c4. c8 c c c4. c8 c c
1016 @lilypond[quote,ragged-right]
1020 \remove "Timing_translator"
1021 \remove "Default_bar_line_engraver"
1024 \consists "Timing_translator"
1025 \consists "Default_bar_line_engraver"
1040 c4. c8 c c c4. c8 c c
1046 A different form of polymetric notation is where note lengths have
1047 different values across staves, but the bars are all the same
1050 This notation can be created by setting a common time signature
1051 for each staff but replacing it manually using
1052 @code{timeSignatureFraction} to the desired fraction. Then the
1053 printed durations in each staff are scaled to the common time
1054 signature. The latter is done with @code{\compressMusic}, which
1055 is used in a similar way to @code{\times}, but does not create
1056 a tuplet bracket. The syntax is
1060 #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1065 In this example, music with the time signatures of 3/4, 9/8, and
1066 10/8 are used in parallel. In the second staff, shown durations
1067 are multiplied by 2/3, so that 2/3 * 9/8 = 3/4, and in the third
1068 staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
1071 @lilypond[quote,ragged-right,verbatim,fragment]
1079 \set Staff.timeSignatureFraction = #'(9 . 8)
1080 \compressMusic #'(2 . 3)
1081 \repeat unfold 6 { c8[ c c] }
1085 \set Staff.timeSignatureFraction = #'(10 . 8)
1086 \compressMusic #'(3 . 5) {
1087 \repeat unfold 2 { c8[ c c] }
1088 \repeat unfold 2 { c8[ c] }
1089 | c4. c4. \times 2/3 { c8 c c } c4
1098 When using different time signatures in parallel, the spacing is
1099 aligned vertically, but barlines distort the regular spacing.
1102 @node Automatic note splitting
1103 @unnumberedsubsubsec Automatic note splitting
1105 Long notes which overrun barlines can be converted
1106 automatically to tied notes. This is
1107 done by replacing the @internalsref{Note_heads_engraver} by the
1108 @internalsref{Completion_heads_engraver}. In the following
1109 examples, notes crossing the barline are split and tied.
1111 @lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
1113 \remove "Note_heads_engraver"
1114 \consists "Completion_heads_engraver"
1116 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
1120 This engraver splits all running notes at the barline, and
1121 inserts ties. One of its uses is to debug complex scores: if the
1122 measures are not entirely filled, then the ties exactly show how
1123 much each measure is off.
1125 If you want to allow line breaking on the barlines where
1126 @internalsref{Completion_heads_engraver} splits notes, you must
1127 also remove @internalsref{Forbid_line_break_engraver}.
1132 Not all durations (especially those containing tuplets) can be
1133 represented exactly with normal notes and dots, but the engraver
1134 will not insert tuplets.
1136 @code{Completion_heads_engraver} only affects notes; it does not
1142 Internals Reference: @internalsref{Completion_heads_engraver}.
1145 @node Setting automatic beam behavior
1146 @unnumberedsubsubsec Setting automatic beam behavior
1148 @funindex autoBeamSettings
1149 @funindex (end * * * *)
1150 @funindex (begin * * * *)
1151 @cindex automatic beams, tuning
1152 @cindex tuning automatic beaming
1154 @c [TODO: use \applyContext]
1156 In normal time signatures, automatic beams can start on any note but can
1157 only end in a few positions within the measure: beams can end on a beat,
1158 or at durations specified by the properties in
1159 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
1160 consist of a list of rules for where beams can begin and end. The
1161 default @code{autoBeamSettings} rules are defined in
1162 @file{scm/@/auto@/-beam@/.scm}.
1164 In order to add a rule to the list, use
1166 #(override-auto-beam-setting '(be p q n m) a b [context])
1171 @item @code{be} is either "begin" or "end".
1173 @item @code{p/q} is the duration of the note for which you want
1174 to add a rule. A beam is considered to have the duration of its
1175 shortest note. Set @code{p} and @code{q} to @code{'*'} to
1176 have this apply to any beam.
1178 @item @code{n/m} is the time signature to which
1179 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
1180 to have this apply in any time signature.
1182 @item @code{a/b} is the position in the bar at which the beam should
1185 @item @code{context} is optional, and it specifies the context at which
1186 the change should be made. The default is @code{'Voice}.
1187 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1188 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1192 For example, if automatic beams should always end on the first quarter
1196 #(override-auto-beam-setting '(end * * * *) 1 4)
1199 You can force the beam settings to only take effect on beams whose shortest
1200 note is a certain duration
1202 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1204 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1206 a32 a a a a16 a a a a a |
1207 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1208 a32 a a a a16 a a a a a |
1211 You can force the beam settings to only take effect in certain time
1214 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1216 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1224 You can also remove a previously set beam-ending rule by using
1227 #(revert-auto-beam-setting '(be p q n m) a b [context])
1231 be, p, q, n, m, a, b and context are the same as above. Note that the
1232 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
1233 so you can revert rules that you did not explicitly create.
1235 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1237 a16 a a a a a a a a a a a a a a a
1238 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1239 a16 a a a a a a a a a a a a a a a
1242 The rule in a revert-auto-beam-setting statement must exactly match the
1243 original rule. That is, no wildcard expansion is taken into account.
1245 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1247 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1249 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1251 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1257 @c TODO: old material -- not covered by above stuff, I think.
1258 If automatic beams should end on every quarter in 5/4 time, specify
1261 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
1262 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
1263 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
1264 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
1268 The same syntax can be used to specify beam starting points. In this
1269 example, automatic beams can only end on a dotted quarter note
1271 #(override-auto-beam-setting '(end * * * *) 3 8)
1272 #(override-auto-beam-setting '(end * * * *) 1 2)
1273 #(override-auto-beam-setting '(end * * * *) 7 8)
1275 In 4/4 time signature, this means that automatic beams could end only on
1276 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1277 3/8, has passed within the measure).
1279 If any unexpected beam behaviour occurs, check the default automatic beam
1280 settings in @file{scm/@/auto@/-beam@/.scm}
1281 for possible interference, because the beam
1282 endings defined there will still apply on top of your own overrides. Any
1283 unwanted endings in the default vales must be reverted for your time
1286 For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
1290 %%% revert default values in scm/auto-beam.scm regarding 12/8 time
1291 #(revert-auto-beam-setting '(end * * 12 8) 3 8)
1292 #(revert-auto-beam-setting '(end * * 12 8) 3 4)
1293 #(revert-auto-beam-setting '(end * * 12 8) 9 8)
1296 #(override-auto-beam-setting '(end 1 8 12 8) 3 8)
1297 #(override-auto-beam-setting '(end 1 8 12 8) 7 8)
1298 #(override-auto-beam-setting '(end 1 8 12 8) 10 8)
1301 @cindex automatic beam generation
1303 @funindex autoBeaming
1306 If beams are used to indicate melismata in songs, then automatic
1307 beaming should be switched off with @code{\autoBeamOff}.
1312 @funindex \autoBeamOff
1313 @code{\autoBeamOff},
1314 @funindex \autoBeamOn
1319 Beaming patterns may be altered with the @code{beatGrouping} property,
1321 @lilypond[quote,verbatim,relative=2,fragment,ragged-right]
1323 \set beatGrouping = #'(2 3)
1325 \set beatGrouping = #'(3 2)
1332 If a score ends while an automatic beam has not been ended and is
1333 still accepting notes, this last beam will not be typeset at all. The
1334 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
1335 >>}. If a polyphonic voice ends while an automatic beam is still
1336 accepting notes, it is not typeset.
1349 @node Automatic beams
1350 @unnumberedsubsubsec Automatic beams
1352 By default beams are inserted automatically
1354 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1356 \time 6/8 c c c c8. c16 c8
1359 When these automatic decisions are not good enough, beaming
1360 can be entered explicitly. It is also possible to define beaming
1361 patterns that differ from the defaults. See @ref{Manual beams}
1362 and @ref{Setting automatic beam behavior}.
1368 Automatic beaming may be turned off and on with
1369 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1371 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1372 c4 c8 c8. c16 c8. c16 c8
1382 @funindex stemLeftBeamCount
1383 @funindex stemRightBeamCount
1385 LilyPond can automatically determine beaming patterns within a
1386 beam, but this automatic behavior can sometimes produce odd
1387 results; therefore the @code{stemLeftBeamCount} and
1388 @code{stemRightBeamCount} properties can be used to override the
1389 defaults. If either property is set, its value will be used only
1390 once, and then it is erased.
1392 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1397 \set stemLeftBeamCount = #1
1402 The property @code{subdivideBeams} can be set in order to
1403 subdivide all 16th or shorter beams.
1404 When set, multiple beams will be sub-divided at beat
1405 positions, defined by the current value of @code{beatLength},
1406 by drawing only one beam over the beat.
1408 @lilypond[fragment,ragged-right,quote,relative=2,verbatim]
1410 \set subdivideBeams = ##t
1412 \set Score.beatLength = #(ly:make-moment 1 8)
1415 @funindex subdivideBeams
1418 For more information about @code{make-moment}, see
1419 @ref{Time administration}.
1421 @c TODO Consider whether the section Setting automatic
1422 @c beam behavior should all be moved here. For now
1423 @c here's a link to it.
1425 For details about modifying the automatic beam behaviour
1426 see @ref{Setting automatic beam behavior}
1430 Line breaks are normally forbidden when beams cross barlines.
1431 This behavior can be changed by setting the @code{breakable}
1432 property: @code{\override Beam #'breakable = ##t}.
1434 @cindex beams and line breaks
1435 @cindex beams, kneed
1437 @cindex auto-knee-gap
1439 Kneed beams are inserted automatically when a large gap is
1440 detected between the note heads. This behavior can be tuned
1441 through the @code{auto-knee-gap} property. A kneed beam is
1442 drawn if the gap is larger than the value of
1443 @code{auto-knee-gap} plus the width of the beam object (which
1444 depends on the duration of the notes and the slope of the beam).
1445 By default @code{auto-knee-gap} is set to 5.5 staff spaces.
1447 @lilypond[fragment,ragged-right,quote,verbatim]
1449 \override Beam #'auto-knee-gap = #6
1456 Internals Reference: @internalsref{Beam}.
1461 Automatically kneed cross-staff beams cannot be used together with
1462 hidden staves. See @ref{Hiding staves}.
1464 Beams can collide with noteheads and accidentals in other voices
1467 @unnumberedsubsubsec Manual beams
1469 @cindex beams, manual
1471 Individual notes may be marked with @code{\noBeam} to prevent them
1474 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1475 \time 2/4 c8 c\noBeam c c
1481 In some cases it may be necessary to override the automatic
1482 beaming algorithm. For example, the autobeamer will not put beams
1483 over rests or barlines, and in choral scores the beaming is
1484 often set to follow the meter of the lyrics rather than the
1485 notes. Such beams can be specified manually by
1486 marking the begin and end point with @code{[} and @code{]}
1488 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1490 r4 r8[ g' a r8] r8 g[ | a] r8
1494 @cindex beams, feathered
1495 @funindex \featherDurations
1497 Feathered beams are used to indicate that a small group of notes
1498 should be played at an increasing (or decreasing) tempo, without
1499 changing the overall tempo of the piece. The extent of the
1500 feathered beam must be indicated manually using @code{[} and
1501 @code{]}, and the beam feathering is turned on by specifying a
1502 direction to the Beam property @code{grow-direction}.
1504 If the placement of the notes and the sound in the MIDI output
1505 is to reflect the ritardando or accelerando indicated by the
1506 feathered beam the notes must be grouped as a
1507 music expression delimited by braces and preceded by a
1508 @code{featheredDurations} command which specifies the ratio
1509 between the durations of the first and last notes in the group.
1512 show the extent of the beam and the braces show
1513 which notes are to have their durations modified. Normally
1514 these would delimit the same group of notes, but this is not
1515 required: the two commands are independent.
1517 In the following example the eight 16th notes occupy exactly
1518 the same time as a half note, but the first note is twice
1519 as short as the last one, with the intermediate notes gradually
1520 lengthening. The first four 32nd notes gradually speed up,
1521 while the last four 32nd notes are at a constant tempo.
1523 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1524 \override Beam #'grow-direction = #LEFT
1525 \featherDurations #(ly:make-moment 2 1)
1526 { c16[ c c c c c c c] }
1527 \override Beam #'grow-direction = #RIGHT
1528 \featherDurations #(ly:make-moment 2 3)
1530 % revert to non-feathered beams
1531 \override Beam #'grow-direction = #'()
1536 The spacing in the printed output represents the
1537 note durations only approximately, but the midi output is exact.
1542 Line breaking is prevented by beams which straddle barlines. The
1543 @samp{breakable} property of @code{Beam} allows this behaviour
1546 @lilypond[ragged-right,relative=2,fragment,verbatim,quote]
1547 \override Beam #'breakable = ##t
1548 c8 \repeat unfold 15 {c[ c] } c
1554 The @code{\featherDurations} command only works with very short
1555 music snippets, and when numbers in the fraction are small.
1565 * Bar and bar number checks::
1570 @unnumberedsubsubsec Bar lines
1575 @cindex measure lines
1578 Barlines delimit measures, and are also used to indicate
1579 repeats. Normally, simple barlines are automatically inserted
1580 into the printed output at places based on the current time
1583 The simple barlines inserted automatically can be changed to
1584 other types with the @code{\bar} command. For example, a closing
1585 double barline is usually placed at the end of a piece:
1587 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
1591 @warning{An incorrect duration can lead to poorly formatted
1594 It is not invalid if the final note in a bar does not
1595 end on the automatically entered barline: the note is assumed
1596 to carry over into the next bar. But if a long sequence
1597 of such carry-over bars appears the music can appear compressed
1598 or even flowing off the page. This is because automatic line
1599 breaks happen only at the end of complete bars, i.e. where
1600 the end of a note coincides with the end of a bar.
1602 Line breaks are also permitted at manually inserted barlines
1603 even within incomplete bars. To allow a line break without
1604 printing a barline, use
1611 This will insert an invisible barline and allow (but not
1612 force) a line break to occur at this point. The bar number
1613 counter is not increased. To force a line break see
1614 @ref{Line breaking}.
1616 This and other special barlines may be inserted manually at any
1617 point. When they coincide with the end of a bar they replace
1618 the simple barline which would have been inserted there
1619 automatically. When they do not coincide
1620 with the end of a bar the specified barline is inserted at that
1621 point in the printed output. Such insertions do not affect
1622 the calculation and placement of subsequent automatic barlines.
1624 The simple barline and four types of double barline are available
1625 for manual insertion:
1627 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1628 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
1632 together with dotted and dashed barlines:
1634 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1635 f1 \bar ":" g \bar "dashed" a
1639 and three types of repeat barline:
1641 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
1642 f1 \bar "|:" g \bar ":|:" a \bar ":|" b
1645 Although the barline types signifying repeats may be inserted
1646 manually they do not in themselves cause LilyPond to recognise
1647 a repeated section. Such repeated sections are better entered
1648 using the various repeat commands (see @ref{Repeats}), which
1649 automatically print the appropriate barlines.
1651 In addition, you can specify @code{"||:"}, which is equivalent to
1652 @code{"|:"} except at line breaks, where it gives a double bar
1653 line at the end of the line and a start repeat at the beginning of
1656 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1657 \override Score.RehearsalMark #'padding = #3
1665 In scores with many staves, a @code{\bar} command in one staff is
1666 automatically applied to all staves. The resulting barlines are
1667 connected between different staves of a @code{StaffGroup},
1668 @code{PianoStaff}, or @code{GrandStaff}.
1670 @lilypond[quote,ragged-right,fragment,verbatim]
1678 \new Staff { \clef bass c4 g e g }
1680 \new Staff { \clef bass c2 c2 }
1688 @funindex defaultBarType
1690 The command @code{\bar }@var{bartype} is a short cut for
1691 @code{\set Timing.whichBar = }@var{bartype}. A barline is
1692 created whenever the @code{whichBar} property is
1695 The default bar type used for automatically inserted barlines is
1696 @code{"|"}. This may be changed at any time
1697 with @code{\set Timing.defaultBarType = }@var{bartype}.
1701 In this manual: @ref{Repeats}, @ref{System start delimiters}.
1703 Internals Reference: @internalsref{BarLine} (created at
1704 @internalsref{Staff} level), @internalsref{SpanBar} (across
1705 staves), @internalsref{Timing_translator} (for Timing
1710 @unnumberedsubsubsec Bar numbers
1713 @cindex measure numbers
1714 @funindex currentBarNumber
1716 Bar numbers are typeset by default at the start of every line
1717 except the first line. The
1718 number itself is stored in the @code{currentBarNumber} property,
1719 which is normally updated automatically for every measure. It
1720 may also be set manually:
1722 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1725 \set Score.currentBarNumber = #50
1732 @funindex barNumberVisibility
1733 @cindex bar numbers, regular spacing
1735 Bar numbers can be typeset at regular intervals instead of just at
1736 the beginning of every line. To do this the default behaviour
1737 must be overridden to permit bar numbers to be printed at places
1738 other than the start of a line. This is controlled by the
1739 @code{break-visibility} property of @code{BarNumber}. This takes
1740 three values which may be set to @code{#t} or @code{#f} to specify
1741 whether the corresponding bar number is visible or not. The order
1742 of the three values is @code{end of line visible}, @code{middle of
1743 line visible}, @code{beginning of line visible}. In the following
1744 example bar numbers are printed at all possible places:
1746 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1747 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1748 \set Score.currentBarNumber = #11
1749 \bar "" % Permit first bar number to be printed
1755 @c All the rest of these examples will be added to LSR
1756 @c and moved into the Snippets. -gp
1759 and here the bar numbers are printed every two bars
1760 except at the end of the line:
1762 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1763 \override Score.BarNumber #'break-visibility = ##(#f #t #t)
1764 \set Score.currentBarNumber = #11
1765 \bar "" % Permit first bar number to be printed
1766 % Print a bar number every 2nd bar
1767 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1773 The size of the bar number may be changed. This is illustrated
1774 in the following example, which also shows how to enclose bar
1775 numbers in boxes and circles, and shows an alternative way
1776 of specifying @samp{#(#f #t #t)} for @code{break-visibility}.
1778 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1779 % Prevent bar numbers at the end of a line and permit them elsewhere
1780 \override Score.BarNumber #'break-visibility
1781 = #end-of-line-invisible
1783 % Increase the size of the bar number by 2
1784 \override Score.BarNumber #'font-size = #2
1785 \repeat unfold 3 { c1 } \bar "|"
1787 % Draw a box round the following bar number(s)
1788 \override Score.BarNumber #'stencil
1789 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
1790 \repeat unfold 3 { c1 } \bar "|"
1792 % Draw a circle round the following bar number(s)
1793 \override Score.BarNumber #'stencil
1794 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
1795 \repeat unfold 4 { c1 } \bar "|."
1798 @cindex Bar number alignment
1800 Bar numbers by default are left-aligned to their parent object.
1801 This is usually the left edge of a line or, if numbers are printed
1802 within a line, the left barline of the bar. The numbers may also
1803 be positioned directly on the barline or right-aligned to the
1806 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1807 \set Score.currentBarNumber = #111
1808 \override Score.BarNumber #'break-visibility = ##(#t #t #t)
1809 % Increase the size of the bar number by 2
1810 \override Score.BarNumber #'font-size = #2
1811 % Print a bar number every 2nd bar
1812 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
1814 % Centre-align bar numbers
1815 \override Score.BarNumber #'self-alignment-X = #0
1817 % Right-align bar numbers
1818 \override Score.BarNumber #'self-alignment-X = #-1
1822 Bar numbers can be removed entirely by removing the Bar number
1823 engraver from the score context.
1825 @lilypond[verbatim,ragged-right,quote]
1829 \remove "Bar_number_engraver"
1841 Internals Reference: @internalsref{BarNumber}.
1843 Examples: @lsrdir{bar number}
1848 Bar numbers can collide with the top of the
1849 @internalsref{StaffGroup} bracket, if there is one.
1850 To solve this, the @code{padding} property of
1851 @internalsref{BarNumber} can be used to
1852 position the number correctly.
1854 Bar numbers may only be printed at barlines; to print a bar
1855 number at the beginning of a piece, an empty barline must be
1856 inserted there, and a value other than @code{1} must be placed
1857 in @code{currentBarNumber}:
1859 @lilypond[verbatim,ragged-right,quote,fragment,relative]
1860 \set Score.currentBarNumber = #50
1869 @node Bar and bar number checks
1870 @unnumberedsubsubsec Bar and bar number checks
1873 @funindex barCheckSynchronize
1876 Bar checks help detect errors in the entered durations.
1877 A bar check may be entered using the bar symbol, @samp{|},
1878 at any place where a barline is expected to fall.
1879 If bar check lines are encountered at other places,
1880 a list of warnings is printed in the log file,
1881 showing the line numbers and lines
1882 in which the bar checks failed. In the next
1883 example, the second bar check will signal an error
1886 \time 3/4 c2 e4 | g2 |
1889 Bar checks can also be used in lyrics, for example
1894 Twin -- kle | Twin -- kle |
1898 An incorrect duration can result in a completely garbled score,
1899 especially if the score is polyphonic, so a good place to start
1900 correcting input is by scanning for failed bar checks and
1901 incorrect durations.
1904 @funindex pipeSymbol
1906 It is also possible to redefine the action taken when a bar check
1907 or pipe symbol, @samp{|}, is encountered in the input, so that
1908 it does something other than a bar check. This is done by
1909 assigning a music expression to @code{pipeSymbol}.
1910 In the following example @samp{|} is set to insert a double bar
1911 line wherever it appears in the input, rather than checking
1914 @lilypond[quote,ragged-right,verbatim]
1915 pipeSymbol = \bar "||"
1924 When copying large pieces of music, it can be helpful to check
1925 that the LilyPond bar number corresponds to the original that you
1926 are entering from. This can be checked with
1927 @code{\barNumberCheck}, for example,
1930 \barNumberCheck #123
1934 will print a warning if the @code{currentBarNumber} is not 123
1935 when it is processed.
1938 @node Rehearsal marks
1939 @unnumberedsubsubsec Rehearsal marks
1941 @cindex Rehearsal marks
1944 To print a rehearsal mark, use the @code{\mark} command
1946 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
1955 The letter@tie{}@q{I} is skipped in accordance with engraving
1956 traditions. If you wish to include the letter @q{I}, then use
1959 \set Score.markFormatter = #format-mark-alphabet
1962 The mark is incremented automatically if you use @code{\mark
1963 \default}, but you can also use an integer argument to set the
1964 mark manually. The value to use is stored in the property
1965 @code{rehearsalMark}.
1967 The style is defined by the property @code{markFormatter}. It is
1968 a function taking the current mark (an integer) and the current
1969 context as argument. It should return a markup object. In the
1970 following example, @code{markFormatter} is set to a pre-defined
1971 procedure. After a few measures, it is set to a procedure that
1972 produces a boxed number.
1974 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
1975 \set Score.markFormatter = #format-mark-numbers
1978 \set Score.markFormatter = #format-mark-box-numbers
1984 The file @file{scm/@/translation@/-functions@/.scm} contains the
1985 definitions of @code{format-mark-numbers} (the default format),
1986 @code{format-mark-box-numbers}, @code{format-mark-letters} and
1987 @code{format-mark-box-letters}. These can be used as inspiration
1988 for other formatting functions.
1990 You may use @code{format-mark-barnumbers},
1991 @code{format-mark-box-barnumbers}, and
1992 @code{format-mark-circle-barnumbers} to get bar numbers instead of
1993 incremented numbers or letters.
1995 Other styles of rehearsal mark can be specified manually
2002 @code{Score.markFormatter} does not affect marks specified in this
2003 manner. However, it is possible to apply a @code{\markup} to the
2007 \mark \markup@{ \box A1 @}
2014 Music glyphs (such as the segno sign) may be printed inside a
2017 @lilypond[fragment,quote,ragged-right,verbatim,relative]
2018 c1 \mark \markup { \musicglyph #"scripts.segno" }
2019 c1 \mark \markup { \musicglyph #"scripts.coda" }
2020 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2025 See @ref{The Feta font}, for a list of symbols which may be
2026 printed with @code{\musicglyph}.
2028 For common tweaks to the positioning of rehearsal marks, see
2033 This manual: @ref{Text marks}.
2035 Internals Reference: @internalsref{RehearsalMark}.
2037 Init files: @file{scm/@/translation@/-functions@/.scm} contains
2038 the definition of @code{format-mark-numbers} and
2039 @code{format-mark-letters}. They can be used as inspiration for
2040 other formatting functions.
2042 Examples: @lsr{parts,rehearsal-mark-numbers.ly}
2045 @node Special rhythmic concerns
2046 @subsection Special rhythmic concerns
2051 * Aligning to cadenzas::
2052 * Time administration::
2056 @unnumberedsubsubsec Grace notes
2061 @cindex appoggiatura
2062 @cindex acciaccatura
2064 Grace notes are ornaments that are written out. The most common
2065 ones are acciaccatura, which should be played as very short. It
2066 is denoted by a slurred small note with a slashed stem. The
2067 appoggiatura is a grace note that takes a fixed fraction of the
2068 main note, and is denoted as a slurred note in small print without
2069 a slash. They are entered with the commands @code{\acciaccatura}
2070 and @code{\appoggiatura}, as demonstrated in the following example
2072 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2073 b4 \acciaccatura d8 c4
2075 \acciaccatura { g16[ f] } e4
2078 Both are special forms of the @code{\grace} command. By prefixing
2079 this keyword to a music expression, a new one is formed, which
2080 will be printed in a smaller font and takes up no logical time in
2083 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2085 \grace { c16[ d16] } c2 c4
2089 Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
2090 @code{\grace} command does not start a slur.
2092 The placement of grace notes is synchronized between different
2093 staves. In the following example, there are two sixteenth grace
2094 notes for every eighth grace note
2096 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2097 << \new Staff { e4 \grace { c16[ d e f] } e4 }
2098 \new Staff { c4 \grace { g8[ b] } c4 } >>
2101 @funindex \afterGrace
2103 If you want to end a note with a grace, use the @code{\afterGrace}
2104 command. It takes two arguments: the main note, and the grace
2105 notes following the main note.
2107 @lilypond[ragged-right, verbatim,relative=2,fragment]
2108 c1 \afterGrace d1 { c16[ d] } c4
2111 This will put the grace notes after a @q{space} lasting 3/4 of the
2112 length of the main note. The fraction 3/4 can be changed by
2113 setting @code{afterGraceFraction}, ie.
2116 #(define afterGraceFraction (cons 7 8))
2120 will put the grace note at 7/8 of the main note.
2122 The same effect can be achieved manually by doing
2124 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2127 { s2 \grace { c16[ d] } } >>
2133 By adjusting the duration of the skip note (here it is a
2134 half-note), the space between the main-note and the grace
2137 A @code{\grace} music expression will introduce special
2138 typesetting settings, for example, to produce smaller type, and
2139 set directions. Hence, when introducing layout tweaks, they
2140 should be inside the grace expression, for example,
2142 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
2154 The overrides should also be reverted inside the grace expression.
2156 The layout of grace expressions can be changed throughout the
2157 music using the function @code{add-grace-property}. The following
2158 example undefines the @code{Stem} direction for this grace, so
2159 that stems do not always point up.
2163 #(add-grace-property 'Voice 'Stem 'direction '())
2169 Another option is to change the variables @code{startGraceMusic},
2170 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2171 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2172 @code{stopAppoggiaturaMusic}. The default values of these can be
2173 seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
2174 them other effects may be obtained.
2177 The slash through the stem in acciaccaturas can be obtained in
2178 other situations by @code{\override Stem #'stroke-style =
2184 Grace notes may be forced to use align with regular notes
2185 in other staves by setting @code{strict-grace-spacing} to
2188 @lilypond[relative=2,ragged-right]
2190 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2199 c'16[ c'16 c'16 c'16]
2200 c'16[ c'16 c'16 c'16]
2209 Internals Reference: @internalsref{GraceMusic}.
2214 A multi-note beamed acciaccatura is printed without a slash,
2215 and looks exactly the same as a multi-note beamed appoggiatura.
2216 @c TODO Add link to LSR snippet to add slash when available
2218 Grace note synchronization can also lead to surprises. Staff
2219 notation, such as key signatures, barlines, etc., are also
2220 synchronized. Take care when you mix staves with grace notes and
2221 staves without, for example,
2223 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2224 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2225 \new Staff { c4 \bar "|:" d4 } >>
2229 This can be remedied by inserting grace skips of the corresponding
2230 durations in the other staves. For the above example
2232 @lilypond[quote,ragged-right,relative=2,verbatim,fragment]
2233 << \new Staff { e4 \bar "|:" \grace c16 d4 }
2234 \new Staff { c4 \bar "|:" \grace s16 d4 } >>
2237 Grace sections should only be used within sequential music
2238 expressions. Nesting or juxtaposing grace sections is not
2239 supported, and might produce crashes or other errors.
2241 @node Aligning to cadenzas
2242 @unnumberedsubsubsec Aligning to cadenzas
2244 In an orchestral context, cadenzas present a special problem: when
2245 constructing a score that includes a cadenza, all other
2246 instruments should skip just as many notes as the length of the
2247 cadenza, otherwise they will start too soon or too late.
2249 A solution to this problem are the functions
2250 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2251 functions take a piece of music as argument, and generate a
2252 multi-rest or @code{\skip}, exactly as long as the piece. The use
2253 of @code{mmrest-of-length} is demonstrated in the following
2256 @lilypond[verbatim,ragged-right,quote]
2257 cadenza = \relative c' {
2258 c4 d8 << { e f g } \\ { d4. } >>
2263 \new Staff { \cadenza c'4 }
2265 #(ly:export (mmrest-of-length cadenza))
2272 @node Time administration
2273 @unnumberedsubsubsec Time administration
2275 @cindex Time administration
2277 @funindex currentBarNumber
2278 @funindex measurePosition
2279 @funindex measureLength
2281 Time is administered by the
2282 @code{Timing_translator}, which by default is
2283 to be found in the @code{Score} context. An
2284 alias, @code{Timing}, is added to the context in which
2285 the @code{Timing_translator} is placed.
2287 The following properties of @code{Timing} are used
2288 to keep track of timing within the score.
2291 @item currentBarNumber
2292 The current measure number. For an example showing the
2293 use of this property see @ref{Bar numbers}.
2296 The length of the measures in the current time signature. For a
2297 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2298 determines when barlines are inserted and how automatic beams
2299 should be generated.
2301 @item measurePosition
2302 The point within the measure where we currently are. This
2303 quantity is reset by subtracting @code{measureLength} whenever
2304 @code{measureLength} is reached or exceeded. When that happens,
2305 @code{currentBarNumber} is incremented.
2308 If set to true, the above variables are updated for every time
2309 step. When set to false, the engraver stays in the current
2310 measure indefinitely.
2314 Timing can be changed by setting any of these variables
2315 explicitly. In the next example, the default 4/4 time
2316 signature is printed, but @code{measureLength} is set to 5/4.
2317 At 4/8 though the third bar, the @code{measurePosition} is
2318 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2319 The next barline then falls at 9/8 rather than 5/4.
2321 @lilypond[quote,ragged-right,verbatim,relative,fragment]
2322 \set Score.measureLength = #(ly:make-moment 5 4)
2326 \set Score.measurePosition = #(ly:make-moment 5 8)
2332 As the example illustrates, @code{ly:make-moment n m} constructs a
2333 duration of n/m of a whole note. For example,
2334 @code{ly:make-moment 1 8} is an eighth note duration and
2335 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2340 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2342 Internals Reference: @internalsref{Timing_translator},
2343 @internalsref{Score}