Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.19.20"
@node Rhythms
@section Rhythms
a a a2 a a4 a a1 a
@end lilypond
+Durations occuring on their own within a music sequence will take
+their pitches from the preceding note or chord.
+
+@lilypond[quote,verbatim,relative=2]
+\time 8/1
+c \longa \breve 1 2
+4 8 16 32 64 128 128
+@end lilypond
+
@cindex notes, dotted
@cindex dotted notes
@cindex notes, double-dotted
@snippets
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{alternative-breve-note.ly}
+{alternative-breve-notes.ly}
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-the-number-of-augmentation-dots-per-note.ly}
@cindex tuplets
@cindex triplets
-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet
-Tuplets are made from a music expression by multiplying all the
-durations with a fraction:
+Tuplets are made from a music expression with the @code{\tuplet}
+command, multiplying the speed of the music expression by a fraction:
@example
-\times @var{fraction} @{ @var{music} @}
+\tuplet @var{fraction} @{ @var{music} @}
@end example
@noindent
-The duration of @code{@var{music}} will be multiplied by the
-fraction. The fraction's denominator will be printed over or
-under the notes, optionally with a bracket. The most common
-tuplet is the triplet in which 3 notes have the duration of 2, so
-the notes are 2/3 of their written length.
+The fraction's numerator will be printed over or under the notes,
+optionally with a bracket. The most common tuplets are triplets
+(3@tie{}notes sound within the duration normally allowed for@tie{}2).
+
+@lilypond[quote,verbatim,relative=2]
+a2 \tuplet 3/2 { b4 4 4 }
+c4 c \tuplet 3/2 { b4 a g }
+@end lilypond
+
+@cindex tuplet grouping
+@noindent
+When entering long passages of tuplets, having to write a separate
+@code{\tuplet} command for each group is inconvenient. It is possible
+to specify the duration of one tuplet group directly before the music
+in order to have the tuplets grouped automatically:
@lilypond[quote,verbatim,relative=2]
-a2 \times 2/3 { b4 b b }
-c4 c \times 2/3 { b4 a g }
+g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
@end lilypond
@cindex tuplet bracket placement
@funindex \tupletNeutral
@funindex tupletNeutral
-Tuplet brackets may be manually placed above or below the staff;
-see @ref{Direction and placement}.
+Tuplet brackets may be manually placed above or below the staff:
+
+@lilypond[quote,verbatim,relative=2]
+\tupletUp \tuplet 3/2 { c8 d e }
+\tupletNeutral \tuplet 3/2 { c8 d e }
+\tupletDown \tuplet 3/2 { f,8 g a }
+\tupletNeutral \tuplet 3/2 { f8 g a }
+@end lilypond
Tuplets may be nested:
@lilypond[quote,verbatim,relative=2]
\autoBeamOff
-c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
+c4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
@end lilypond
-Modifying nested tuplets which begin at the same musical moment
-must be done with @code{\tweak}.
-
-To modify the duration of notes without printing a tuplet bracket,
-see @ref{Scaling durations}.
+Modifying nested tuplets which begin at the same musical moment must be
+done with @code{\tweak}.
+To modify the duration of notes without printing a tuplet bracket, see
+@ref{Scaling durations}.
@predefined
@code{\tupletUp},
@funindex tupletSpannerDuration
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{entering-several-tuplets-using-only-one--times-command.ly}
+{entering-several-tuplets-using-only-one--tuplet-command.ly}
@cindex Tuplet number changes
@rlearning{Tweaking methods}.
Notation Reference:
+@ref{Direction and placement},
@ref{Time administration},
@ref{Scaling durations},
@ref{The tweak command},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
-@cindex grace notes within tuplet brackets
-
-@knownissues
-Grace notes may be placed within tuplet brackets, @emph{except}
-when a staff begins with a grace note followed by a tuplet. In this
-particular case, the grace note must be placed before the @code{\times}
-command to avoid errors.
-
-@cindex tempo marks within tuplet brackets
-
-When using a tuplet at the beginning of a piece with a @code{\tempo}
-mark, the music must be explicitly entered in a @code{\new Voice}
-block, as discussed in @rlearning{Voices contain music}.
-
@node Scaling durations
@unnumberedsubsubsec Scaling durations
Snippets:
@rlsr{Rhythms}.
+@knownissues
+The calculation of the position within a measure must take into
+account all the scaling factors applied to the notes within that
+measure and any fractional carry-out from earlier measures. This
+calculation is carried out using rational numbers. If an intermediate
+numerator or denominator in that calculation exceeds 2^30 the
+execution and typesetting will stop at that point without indicating
+an error.
+
@node Ties
@unnumberedsubsubsec Ties
musical phrasing. A tie is just a way of extending a note
duration, similar to the augmentation dot.}
-A tie is entered using the tilde symbol (@code{~}).
+A tie is entered by appending a tilde symbol (@code{~}) to the first
+of each pair of notes being tied. This indicates that the note
+should be tied to the following note, which must be at the same pitch.
+
+@lilypond[quote,verbatim,relative=2]
+a2~ 4~ 16 r r8
+@end lilypond
+
+Ties can make use of the @q{last explicit pitch} interpretation of
+isolated durations:
@lilypond[quote,verbatim,relative=2]
-a2 ~ a
+a2~ 4~ 16 r r8
@end lilypond
Ties are used either when the note crosses a bar line, or when
@lilypond[verbatim,quote]
\relative c' {
- r8 c8 ~ c2 r4 |
- r8^"not" c2 ~ c8 r4
+ r8 c~ 2 r4 |
+ r8^"not" c2~ 8 r4
}
@end lilypond
When a tie is applied to a chord, all note heads whose pitches
match are connected. When no note heads match, no ties will be
-created. Chords may be partially tied by placing the tie inside
+created. Chords may be partially tied by placing the ties inside
the chord.
@lilypond[quote,verbatim,relative=1]
-<c e g> ~ <c e g>
+<c e g>2 ~ 2
+<c e g>4~ <c e g c>
<c~ e g~ b> <c e g b>
@end lilypond
have to specify the repeated tie as follows:
@lilypond[quote,relative=2,verbatim]
-\repeat volta 2 { c g <c e>2 ~ }
+\repeat volta 2 { c g <c e>2~ }
\alternative {
% First alternative: following note is tied normally
{ <c e>2. r4 }
@funindex \tieNeutral
@funindex tieNeutral
-Ties may be manually placed above or below the staff; see
+Ties may be made to curve up or down manually; see
@ref{Direction and placement}.
@cindex ties, appearance
@lilypond[quote, verbatim, relative=1]
\tieDotted
-c2 ~ c
+c2~ 2
\tieDashed
-c2 ~ c
+c2~ 2
\tieHalfDashed
-c2 ~ c
+c2~ 2
\tieHalfSolid
-c2 ~ c
+c2~ 2
\tieSolid
-c2 ~ c
+c2~ 2
@end lilypond
Custom dash patterns can be specified:
@lilypond[quote, verbatim, relative=1]
\tieDashPattern #0.3 #0.75
-c2 ~ c
+c2~ 2
\tieDashPattern #0.7 #1.5
-c2 ~ c
+c2~ 2
\tieSolid
-c2 ~ c
+c2~ 2
@end lilypond
Dash pattern definitions for ties have the same structure as dash
\new Staff {
% These two lines are just to prettify this example
\time 16/1
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
% Print a maxima rest, equal to four breves
r\maxima
% Print a longa rest, equal to two breves
@cindex whole rest for a full measure
@cindex rest, whole for a full measure
+@funindex compressMMRests
+@funindex \compressMMRests
@funindex R
Rests for one or more full measures are entered like notes with
@lilypond[quote,verbatim,relative=2]
% Rest measures contracted to single measure
-\compressFullBarRests
-R1*4
-R1*24
-R1*4
-b2^"Tutti" b4 a4
+\compressMMRests {
+ R1*4
+ R1*24
+ R1*4
+ b2^"Tutti" b4 a4
+}
@end lilypond
The duration of full-measure rests is identical to the duration
or fractions must often be used:
@lilypond[quote,verbatim,relative=2]
-\compressFullBarRests
-\time 2/4
-R1 | R2 |
-\time 3/4
-R2. | R2.*2 |
-\time 13/8
-R1*13/8 | R1*13/8*12 |
-\time 10/8
-R4*5*4 |
+\compressMMRests {
+ \time 2/4
+ R1 | R2 |
+ \time 3/4
+ R2. | R2.*2 |
+ \time 13/8
+ R1*13/8 | R1*13/8*12 |
+ \time 10/8
+ R4*5*4 |
+}
@end lilypond
A full-measure rest is printed as either a whole or breve rest,
@cindex multi-measure rest, expanding
@cindex multi-measure rest, contracting
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-
By default a multi-measure rest is expanded in the printed score to
show all the rest measures explicitly. Alternatively, a multi-measure
rest can be shown as a single measure containing a multi-measure rest
\time 2/4 R2 |
\time 4/4
% Rest measures contracted to single measure
-\compressFullBarRests
-r1 | R1*17 | R1*4 |
-% Rest measures expanded
-\expandFullBarRests
+\compressMMRests {
+ r1 | R1*17 | R1*4 |
+}
+% Rest measures expanded again
\time 3/4
R2.*2 |
@end lilypond
is provided for adding fermatas.
@lilypond[quote,verbatim,relative=2]
-\compressFullBarRests
-\time 3/4
-R2.*10^\markup { \italic "ad lib." }
-R2.^\fermataMarkup
+\compressMMRests {
+ \time 3/4
+ R2.*10^\markup { \italic "ad lib." }
+ R2.^\fermataMarkup
+}
@end lilypond
@warning{Markups attached to a multi-measure rest are objects of type
@funindex textLengthOff
@funindex \fermataMarkup
@funindex fermataMarkup
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
+@funindex \compressMMRests
+@funindex compressMMRests
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
-@code{\compressFullBarRests},
-@code{\expandFullBarRests}.
+@code{\compressMMRests}.
@endpredefined
\time 3/4 c2.
@end lilypond
-@cindex time signature, visibility of
+Mid-measure time signature changes are covered in @ref{Upbeats}.
+
+@cindex time signature visibility
Time signatures are printed at the beginning of a piece
and whenever the time signature changes. If a change takes place
described in @ref{Setting automatic beam behavior}.
@end enumerate
-The context containing @code{\overrideTimeSignatureSettings} must
-be instantiated before the @code{\overrideTimeSignatureSettings}
-call is executed. That means it must either be explicitly
-instantiated or there must be music in the context before the
-@code{\overrideTimeSignatureSettings} call:
-
-@lilypond[quote,verbatim]
-\score {
- \relative c' {
- % This call will fail because the context isn't yet instantiated
- \overrideTimeSignatureSettings
- 4/4 % timeSignatureFraction
- 1/4 % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- c8^\markup {"Beamed (2 2)"}
- \repeat unfold 7 { c8 } |
- % This call will succeed
- \overrideTimeSignatureSettings
- 4/4 % timeSignatureFraction
- 1/4 % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- c8^\markup {"Beamed (3 1)"}
- \repeat unfold 7 { c8 } |
- }
-}
-@end lilypond
-
@cindex time signature properties, restoring default values
@cindex restoring default properties for time signatures
Metronome marks may also be printed as a range of two numbers:
@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 ~ 46
+\tempo 4 = 40 - 46
c4. e8 a4 g
b,2 d4 r
@end lilypond
d4 g e c
@end lilypond
+@funindex \markLengthOn
+@funindex markLengthOn
+@funindex \markLengthOff
+@funindex markLengthOff
+
+In a part for an instrument with long periods of rests,
+tempo indications sometimes follow each other closely.
+The command @code{\markLengthOn} provides extra horizontal space
+to prevent tempo indications from overlapping, and @code{\markLengthOff}
+restores the default behavior of ignoring tempo marks
+for horizontal spacing.
+
+@lilypond[verbatim,quote,relative=0]
+\compressMMRests {
+ \markLengthOn
+ \tempo "Molto vivace"
+ R1*12
+ \tempo "Meno mosso"
+ R1*16
+ \markLengthOff
+ \tempo "Tranquillo"
+ R1*20
+}
+@end lilypond
@snippets
@cindex measure, partial
@cindex measure, pickup
@cindex pickup measure
+@cindex time signature, mid-measure
@funindex measurePosition
@funindex \partial
@funindex partial
Partial or pick-up measures, such as an @emph{anacrusis} or an
-@emph{upbeat}, are entered using the @code{\partial} command,
+@emph{upbeat}, are entered using the @code{\partial} command:
@example
\partial @var{duration}
@end example
-@noindent
-where @code{@var{duration}} is the @emph{remaining} length of the
-partial measure @emph{before} the start of the next full measure.
+When @code{\partial} is used at the beginning of a score,
+@code{@var{duration}} is the length of the music preceding the
+first bar.
@lilypond[quote,verbatim,relative=1]
\time 3/4
-\partial 8
-e8 | a4 c8 b c4 |
+\partial 4.
+r4 e8 | a4 c8 b c4 |
@end lilypond
-The @var{duration} can be any value less than a full measure:
+When @code{\partial} is used after the beginning of a score,
+@code{@var{duration}} is the @emph{remaining} length of the
+current measure. It does not create a new numbered bar.
@lilypond[quote,verbatim,relative=1]
-\time 3/4
+\set Score.barNumberVisibility = #all-bar-numbers-visible
+\override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+\time 9/8
+d'4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
+\time 12/8
\partial 4.
-r4 e8 | a4 c8 b c4 |
+c8( d) e | f2.~ 4 f8 a,( c) f |
@end lilypond
-The @code{\partial @var{duration}} can also be written as;
-
-@example
-\set Timing.measurePosition -@var{duration}
-@end example
-
-So @code{\partial 8} becomes:
+The @code{\partial} command is @emph{required} when the time
+signature changes in mid measure, but it may also be used alone.
@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\set Timing.measurePosition = #(ly:make-moment -1 8)
-e8 | a4 c8 b c4 |
+\set Score.barNumberVisibility = #all-bar-numbers-visible
+\override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+\time 6/8
+\partial 8
+e8 | a4 c8 b[ c b] |
+\partial 4
+r8 e,8 | a4 \bar "||"
+\partial 4
+r8 e8 | a4
+c8 b[ c b] |
@end lilypond
-The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point. Note
-that this is set to a negative number by the @code{\partial} command:
-i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
-meaning @qq{there is a quarter note left in the measure.}
+The @code{\partial} command sets the @code{Timing.measurePosition}
+property, which is a rational number that indicates how much of
+the measure has passed.
@seealso
Music Glossary:
Internal Reference:
@rinternals{Timing_translator}.
-@knownissues
-The @code{\partial} command should be used only at the beginning of a
-piece. If you use it after the beginning, warnings or problems may
-occur, so use @code{\set Timing.measurePosition} instead.
-
-@lilypond[quote,verbatim,relative=1]
-\time 6/8
-\partial 8
-e8 | a4 c8 b[ c b] |
-\set Timing.measurePosition = #(ly:make-moment -1 4)
-r8 e,8 | a4 c8 b[ c b] |
-@end lilypond
-
@node Unmetered music
@unnumberedsubsubsec Unmetered music
d4 e d c
@end lilypond
-A new bar is never started within a cadenza, even if one or more
-@code{\bar} commands are inserted within it. Therefore, reminder
-accidentals will need to be added manually. See @ref{Accidentals}.
+Inserting a @code{\bar} command within a cadenza does not start a new
+measure, even if a bar line is printed. So any accidentals -- which
+are usually assumed to remain in force until the end of the measure --
+will still be valid after the bar line printed by @code{\bar}. If
+subsequent accidentals should be printed, forced accidentals or
+reminder accidentals need to be inserted manually, see
+@ref{Accidentals}.
@lilypond[verbatim,relative=2,quote]
c4 d e d
\cadenzaOn
cis4 d cis d
\bar "|"
+% First cis is printed without alteration even if it's after a \bar
cis4 d cis! d
\cadenzaOff
\bar "|"
\bar ""
@end example
-Explicitly create a @code{Voice} context when starting a piece with
-@code{\cadenzaOn}, else unexpected errors may occur.
-
-@example
-\new Voice @{
- \relative c' @{
- \cadenzaOn
- c16[^"Solo Free Time" d e f] g2.
- \bar "||"
- \cadenzaOff
- @}
-@}
-@end example
-
@node Polymetric notation
@unnumberedsubsubsec Polymetric notation
@cindex double time signatures
@cindex signatures, polymetric
-@cindex time signatures, polymetric
-@cindex time signatures, double
+@cindex time signature, polymetric
+@cindex time signature, double
@cindex polymetric signatures
@cindex meter, polymetric
@funindex timeSignatureFraction
@funindex \scaleDurations
@funindex scaleDurations
-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet
Polymetric notation is supported explicitly or by manually modifying the
visible time signature symbol and/or scaling note durations.
\scaleDurations 3/5 {
\repeat unfold 2 { c8[ c c] }
\repeat unfold 2 { c8[ c] } |
- c4. c \times 2/3 { c8[ c c] } c4
+ c4. c \tuplet 3/2 { c8[ c c] } c4
}
}
>>
the measures are not entirely filled, then the ties show exactly how
much each measure is off.
+The property @code{completionUnit} sets a preferred duration for
+the split notes.
+
+@lilypond[quote,verbatim,relative=2]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} {
+ \time 9/8 g\breve. d4. \bar "||"
+ \set completionUnit = #(ly:make-moment 3 8)
+ g\breve. d4.
+}
+@end lilypond
+
+These engravers split notes with scaled duration, such as those in tuplets,
+into notes with the same scale-factor as in the input note.
+
+@lilypond[quote,verbatim,relative=2]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} {
+ \time 2/4 r4
+ \tuplet 3/2 {g4 a b}
+ \scaleDurations 2/3 {g a b}
+ g4*2/3 a b
+ \tuplet 3/2 {g4 a b}
+ r4
+}
+@end lilypond
+
@seealso
Music Glossary:
@rglos{tie}
@rinternals{Forbid_line_break_engraver}.
@knownissues
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the
-@code{Completion_heads_engraver} will not insert tuplets.
-
-The @code{Completion_heads_engraver} only affects notes; it does not
-split rests.
+For consistency with previous behavior, notes and rests with
+duration longer than a measure, such as @code{c1*2}, are split into
+notes without any scale factor, @code{@{ c1 c1 @}}. The property
+@code{completionFactor} controls this behavior, and setting it to
+@code{#f} cause split notes and rest to have the scale factor
+of the input durations.
@node Showing melody rhythms
@cindex beams, with melismata
@warning{If beams are used to indicate melismata in songs, then
-automatic beaming should be switched off with @code{\autoBeamOff}
+automatic beaming should be switched off with @code{@bs{}autoBeamOff}
and the beams indicated manually. Using @code{@bs{}partcombine} with
@code{@bs{}autoBeamOff} can produce unintended results. See the
snippets for more information.}
@funindex autoBeaming
@funindex baseMoment
@funindex beamExceptions
+@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
as explained in @ref{Time signature}.
If a @code{beamExceptions} rule is defined for the time signature in
-force, that rule is used to determine the beam placement. If no
-@code{beamExceptions} rule is defined for the time signature in force,
-the beam placement is determined by the settings of @code{baseMoment}
-and @code{beatStructure}.
+force, that rule alone is used to determine the beam placement; the
+values of @code{baseMoment} and @code{beatStructure} are ignored.
+
+If no @code{beamExceptions} rule is defined for the time signature
+in force, the beam placement is determined by the values of
+@code{baseMoment} and @code{beatStructure}.
+
+
+@subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
By default, @code{beamExceptions} rules are defined for most common
-time signatures, so the @code{beamException} rules must be disabled
+time signatures, so the @code{beamExceptions} rules must be disabled
if automatic beaming is to be based on @code{baseMoment} and
@code{beatStructure}. The @code{beamExceptions} rules are disabled
by
\set Timing.beamExceptions = #'()
@end example
-
-@subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
-
-In most instances, automatic beams will end at the end of a beat.
-The ending points for beats are determined by the context properties
-@code{baseMoment} and @code{beatStructure}. @code{beatStructure}
-is a scheme list that defines the length of each beat in the measure
-in units of @code{baseMoment}. By default, @code{baseMoment} is
-one over the denominator of the time signature. By default,
-each unit of length @code{baseMoment} is a single beat.
+When @code{beamExceptions} is set to @code{#'()}, either due to an
+explicit setting or because no @code{beamExceptions} rules are defined
+internally for the time signature in force, the ending points for
+beams are on beats as specified by the context properties
+@code{baseMoment} and @code{beatStructure}. @code{beatStructure} is
+a scheme list that defines the length of each beat in the measure in
+units of @code{baseMoment}. By default, @code{baseMoment} is one
+over the denominator of the time signature. By default, each unit of
+length @code{baseMoment} is a single beat.
+
+Note that there are separate @code{beatStructure} and @code{baseMoment}
+values for each time signature. Changes to these variables apply only
+to the time signature that is currently in force, hence those changes
+must be placed after the @code{\time} command which starts a new time
+signature section, not before it. New values given to a particular
+time signature are retained and reinstated whenever that time signature
+is re-established.
@lilypond[quote,relative=2,verbatim]
\time 5/16
c16^"default" c c c c |
+% beamExceptions are unlikely to be defined for 5/16 time,
+% but let's disable them anyway to be sure
+\set Timing.beamExceptions = #'()
\set Timing.beatStructure = #'(2 3)
c16^"(2+3)" c c c c |
\set Timing.beatStructure = #'(3 2)
c16^"(3+2)" c c c c |
@end lilypond
-If a common time signature is being used, @code{beamExceptions}
-@emph{must} be disabled to enable @code{beatStructure} to work.
-The @code{\set Timing.beamExceptions = #'()} command can always
-be included if beaming is being determined by @code{beatStructure}.
-
@lilypond[quote,relative=2,verbatim]
\time 4/4
a8^"default" a a a a a a a
-
-\set Timing.baseMoment = #(ly:make-moment 1 4)
-\set Timing.beatStructure = #'(1 1 1 1)
-a8^"no change" a a a a a a a
-
+% Disable beamExceptions because they are definitely
+% defined for 4/4 time
\set Timing.beamExceptions = #'()
-\set Timing.baseMoment = #(ly:make-moment 1 4)
+\set Timing.baseMoment = #(ly:make-moment 1/4)
\set Timing.beatStructure = #'(1 1 1 1)
a8^"changed" a a a a a a a
@end lilypond
@lilypond[quote, verbatim,relative=1]
\new Staff {
\time 7/8
+ % No need to disable beamExceptions
+ % as they are not defined for 7/8 time
\set Staff.beatStructure = #'(2 3 2)
<<
\new Voice = one {
@lilypond[quote,verbatim,relative=2]
\time 5/8
-\set Timing.baseMoment = #(ly:make-moment 1 16)
+% No need to disable beamExceptions
+% as they are not defined for 5/8 time
+\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'(7 3)
\repeat unfold 10 { a16 }
@end lilypond
Special autobeaming rules (other than ending a beam on a beat)
are defined in the @code{beamExceptions} property.
+The value for @code{beamExceptions}, a somewhat complex Scheme
+data structure, is easiest generated with the
+@code{\beamExceptions} function. This function is given one or
+more manually beamed measure-length rhythmic patterns (measures
+have to be separated by a bar check@tie{}@code{|} since the
+function has no other way to discern the measure length). Here is
+a simple example:
+
@lilypond[quote,relative=2,verbatim]
\time 3/16
\set Timing.beatStructure = #'(2 1)
\set Timing.beamExceptions =
- #'( ;start of alist
- (end . ;entry for end of beams
- ( ;start of alist of end points
- ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
- ))) %close all entries
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
c16 c c |
\repeat unfold 6 { c32 } |
@end lilypond
-@code{beamExceptions} is an alist with a key of rule-type and a value
-of beaming-rules.
-
-At this time the only available value of rule-type is
-@code{'end} for beam ending.
-
-Beaming-rules is a scheme alist (or list of pairs) that indicates the
-beam type and the grouping to be applied to beams containing notes with
-a shortest duration of that beam type.
-
-@example
-#'((beam-type1 . grouping-1)
- (beam-type2 . grouping-2)
- (beam-type3 . grouping-3))
-@end example
-
-Beam type is a scheme pair indicating the duration of the beam,
-e.g., @code{(1 . 16)}.
-
-Grouping is a scheme list indicating the grouping to be applied to
-the beam. The grouping is in units of the beam type.
-
-@warning{ A @code{beamExceptions} value must be @emph{complete}
+@warning{A @code{beamExceptions} value must be @emph{complete}
exceptions list. That is, every exception that should be applied
must be included in the setting. It is not possible to add, remove,
or change only one of the exceptions. While this may seem cumbersome,
@lilypond[quote,verbatim,relative=2]
\time 4/4
-\set Timing.baseMoment = #(ly:make-moment 1 8)
+\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(3 3 2)
% This won't beam (3 3 2) because of beamExceptions
\repeat unfold 8 {c8} |
\time 3/4
% by default we beam in (6) due to beamExceptions
\repeat unfold 6 {a8} |
-% This will beam (1 1 1) due to beatLength
+% This will beam (1 1 1) due to default baseMoment and beatStructure
\set Timing.beamExceptions = #'()
\repeat unfold 6 {a8}
@end lilypond
@itemize
@item
-If a manual beam is specified with @code{[..]} set the beam
+If a manual beam is specified with @code{[@dots{}]} set the beam
as specified, otherwise
@item
@item
if a beam-ending rule is defined in @code{beamExceptions}
-for a longer beam-type, use it to determined the valid places
+for a longer beam-type, use it to determine the valid places
where beams may end, otherwise
@item
<<
\new Staff {
\time 3/4
- \set Timing.baseMoment = #(ly:make-moment 1 8)
+ \set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 5)
+ \set Timing.beamExceptions = #'()
\repeat unfold 6 { a8 }
}
\new Staff {
@lilypond[quote,verbatim,relative=2]
c4 d8[
-\grace { e32[ d c d] }
+\grace { e32 d c d }
e8] e[ e
\grace { f16 }
e8 e]
@lilypond[relative=1,verbatim,quote]
\override Beam.grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2 1)
+\featherDurations #(ly:make-moment 2/1)
{ c16[ c c c c c c c] }
\override Beam.grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2 3)
+\featherDurations #(ly:make-moment 2/3)
{ c32[ d e f] }
% revert to non-feathered beams
\override Beam.grow-direction = #'()
Additionally, a bar line can be printed as a simple tick:
@lilypond[quote,relative=1,verbatim]
-f1 \bar "'"
+f1 \bar "'" g1
@end lilypond
However, as such ticks are typically used in Gregorian chant, it is
preferable to use @code{\divisioMinima} there instead, described in
c1
@end lilypond
-Additionally there is an @code{\inStaffSegno} command which
-creates a segno bar, placed in cooperation
-with the @code{\repeat volta} command.
+Additionally there is an @code{\inStaffSegno} command which creates
+a segno bar line in conjunction with an appropriate repeat bar line
+when used with a @code{\repeat volta} command, see
+@ref{Normal repeats}.
@funindex \defineBarLine
@funindex defineBarLine
example bar numbers are printed at all possible places:
@lilypond[verbatim,quote,relative=1]
-\override Score.BarNumber.break-visibility = #'#(#t #t #t)
+\override Score.BarNumber.break-visibility = ##(#t #t #t)
\set Score.currentBarNumber = #11
% Permit first bar number to be printed
\bar ""
\time 3/4 c2 e4 | g2 |
@end example
-Bar checks can also be used in lyrics:
-
-@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle |
-@}
-@end example
-
An incorrect duration can result in a completely garbled score,
especially if the score is polyphonic, so a good place to start
correcting input is by scanning for failed bar checks and
only the first warning message is displayed. This allows the
warning to focus on the source of the timing error.
+Bar checks can also be inserted in lyrics:
+
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle |
+@}
+@end example
+
+Note that bar check marks in lyrics are evaluated at the musical
+moment when the syllable @emph{following} the check mark is processed.
+If the lyrics are associated with the notes of a voice which has a
+rest at the beginning of a bar, then no syllable can be located at the
+start of that bar and a warning will be issued if a bar check mark is
+placed in the lyrics at that position.
+
@funindex |
-@funindex pipeSymbol
+@funindex "|"
It is also possible to redefine the action taken when a bar check
or pipe symbol, @code{|}, is encountered in the input, so that
it does something other than a bar check. This is done by
-assigning a music expression to @code{pipeSymbol}.
+assigning a music expression to @code{"|"}.
In the following example @code{|} is set to insert a double bar
line wherever it appears in the input, rather than checking
for end of bar.
@lilypond[quote,verbatim]
-pipeSymbol = \bar "||"
+"|" = \bar "||"
{
c'2 c' |
c'2 c'
@lilypond[quote,relative=2,verbatim]
c4 \grace b16 a4(
-\grace { b16[ c16] } a2)
+\grace { b16 c16 } a2)
@end lilypond
There are three other types of grace notes possible; the
@lilypond[quote,relative=2,verbatim]
\acciaccatura d8 c4
\appoggiatura e8 d4
-\acciaccatura { g16[ f] } e2
+\acciaccatura { g16 f } e2
\slashedGrace a,8 g4
\slashedGrace b16 a4(
\slashedGrace b8 a2)
@lilypond[quote,relative=2,verbatim]
<<
- \new Staff { e2 \grace { c16[ d e f] } e2 }
- \new Staff { c2 \grace { g8[ b] } c2 }
+ \new Staff { e2 \grace { c16 d e f } e2 }
+ \new Staff { c2 \grace { g8 b } c2 }
>>
@end lilypond
\new Voice {
<<
{ d1^\trill_( }
- { s2 s4. \grace { c16[ d] } }
+ { s2 s4. \grace { c16 d } }
>>
c1)
}
Internals Reference:
@rinternals{GraceMusic},
@rinternals{Grace_beam_engraver},
+@rinternals{Grace_auto_beam_engraver},
@rinternals{Grace_engraver},
@rinternals{Grace_spacing_engraver}.
>>
@end lilypond
-The use of grace notes within voice contexts confuses the way the voice
-is typeset. This can be overcome by inserting a rest or note between the
-voice command and the grace note.
-
-@lilypond[quote,verbatim]
-accMusic = {
- \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
-}
-
-\new Staff {
- <<
- \new Voice {
- \relative c'' {
- r8 r8 \voiceOne \accMusic \oneVoice r8 |
- r8 \voiceOne r8 \accMusic \oneVoice r8 |
- }
- }
- \new Voice {
- \relative c' {
- s8 s8 \voiceTwo \accMusic \oneVoice s8 |
- s8 \voiceTwo r8 \accMusic \oneVoice s8 |
- }
- }
- >>
-}
-@end lilypond
+Please make sure that you use the @code{\grace} command for the
+spacer part, even if the visual part uses @code{\acciaccatura} or
+@code{\appoggiatura} because otherwise an ugly slur fragment will
+be printed, connecting the invisible grace note with the following
+note.
Grace sections should only be used within sequential music expressions.
Nesting or juxtaposing grace sections is not supported, and might
duration, for example:
@example
-\acciaccatura @{ c'8[ d' e' f' g'] @}
+c'8 \acciaccatura @{ c'8[ d' e' f' g'] @}
@end example
becomes:
@example
-\acciaccatura @{ c'16[ d' e' f' g'] @}
+c'8 \acciaccatura @{ c'16[ d' e' f' g'] @}
@end example
Or explicitly change the musical duration:
@example
-\acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
+c'8 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
@end example
See @ref{Scaling durations}.
@lilypond[quote,verbatim]
\new Voice \relative c' {
- \set Timing.measureLength = #(ly:make-moment 5 4)
+ \set Timing.measureLength = #(ly:make-moment 5/4)
c1 c4 |
c1 c4 |
c4 c
- \set Timing.measurePosition = #(ly:make-moment 5 8)
+ \set Timing.measurePosition = #(ly:make-moment 5/8)
b4 b b8 |
c4 c1 |
}
projects / lilypond.git / blobdiff