Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.16.0"
@node Rhythms
@section Rhythms
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-the-number-of-augmentation-dots-per-note.ly}
-
@seealso
Music Glossary:
@rglos{breve},
@rinternals{Dots},
@rinternals{DotColumn}.
-
@knownissues
-
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited:
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-
@seealso
Music Glossary:
@rglos{triplet},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
-
@cindex grace notes within tuplet brackets
@knownissues
@cindex scaling durations
@cindex durations, scaling
-You can alter the duration of single notes, rests or chords by a
+The duration of single notes, rests or chords may be multiplied by a
fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
is 1) to the duration. This will not affect the appearance of the
notes or rests produced, but the altered duration will be used in
calculating the position within the measure and setting the duration
-in the MIDI output. Multiplying factors may be combined such as
-@code{*L*M/N}.
+in the MIDI output. Multiplying factors may be combined like
+@code{*L*M/N}. Factors are part of the duration: if a duration is
+not specified for subsequent notes, the default duration taken from
+the preceding note will include any scaling factor.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
@lilypond[quote,relative=2,verbatim]
\time 2/4
% Alter durations to triplets
-a4*2/3 gis4*2/3 a4*2/3
+a4*2/3 gis a
% Normal durations
-a4 a4
+a4 a
% Double the duration of chord
<a d>4*2
% Duration of quarter, appears like sixteenth
b16*4 c4
@end lilypond
-The duration of spacing notes may also be modified by
+The duration of spacer rests may also be modified by
a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
same way, as if every note, chord or rest had the fraction as a
multiplier. This leaves the appearance of the music unchanged but
the internal duration of the notes will be multiplied by the
-fraction @emph{num}/@emph{den}. The spaces around the dot are
-required. Here is an example showing how music can be compressed
-and expanded:
+fraction @emph{num}/@emph{den}. Here is an example showing how music
+can be compressed and expanded:
@lilypond[quote,relative=2,verbatim]
\time 2/4
% Normal durations
<c a>4 c8 a
% Scale music by *2/3
-\scaleDurations #'(2 . 3) {
+\scaleDurations 2/3 {
<c a f>4. c8 a f
}
% Scale music by *2
-\scaleDurations #'(2 . 1) {
+\scaleDurations 2/1 {
<c' a>4 c8 b
}
@end lilypond
One application of this command is in polymetric
notation, see @ref{Polymetric notation}.
-
@seealso
Notation Reference:
@ref{Tuplets},
c2 ~ c
@end lilypond
-Dash pattern definitions for ties have the same structure as
-dash pattern definitions for slurs.
-For more information about complex dash patterns,
-see the snippets under @ref{Slurs}.
+Dash pattern definitions for ties have the same structure as dash
+pattern definitions for slurs. For more information about complex dash
+patterns, see @ref{Slurs}.
+
+Override @var{whiteout} and @var{layer} layout properties for ties that
+collide with other objects in a staff.
+
+@lilypond[verbatim,quote,ragged-right,relative=2]
+\override Tie #'layer = #-2
+\override Staff.TimeSignature #'layer = #-1
+\override Staff.KeySignature #'layer = #-1
+\override Staff.TimeSignature #'whiteout = ##t
+\override Staff.KeySignature #'whiteout = ##t
+b2 b~
+\time 3/4
+\key a \major
+b r4
+@end lilypond
@predefined
@code{\tieUp},
@code{\tieSolid}.
@endpredefined
-
@snippets
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
-
@seealso
Music Glossary:
@rglos{tie},
@ref{Automatic note splitting}.
Snippets:
+@rlsr{Expressive marks},
@rlsr{Rhythms}.
Internals Reference:
@rinternals{TieColumn},
@rinternals{Tie}.
-
@knownissues
-Switching staves when a tie is active will not produce a slanted
-tie.
-
-Changing clefs or ottavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
+Switching staves when a tie is active will not produce a slanted tie.
+Changing clefs or ottavations during a tie is not really well-defined.
+In these cases, a slur may be preferable.
@node Writing rests
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
-
@seealso
Music Glossary:
@rglos{breve},
Internals Reference:
@rinternals{Rest}.
-
@knownissues
-
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
\skip 1 \skip1 \skip 1
@end lilypond
-
@seealso
Learning Manual:
@rlearning{Visibility and color of objects}.
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{multi-measure-rest-markup.ly}
-
@seealso
Music Glossary:
@rglos{multi-measure rest}.
@rinternals{MultiMeasureRestNumber},
@rinternals{MultiMeasureRestText}.
-
@cindex fingerings and multi-measure rests
@cindex multi-measure rests and fingerings
Multi-measure rests do not take part in rest collisions.
+
@node Displaying rhythms
@subsection Displaying rhythms
\new Staff {
\relative c' {
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
@enumerate
@item
-@code{@var{timeSignatureFraction}}, a Scheme pair describing the
+@code{@var{timeSignatureFraction}}, a fraction describing the
time signature.
@item
-@code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
+@code{@var{baseMomentFraction}}, a fraction containing the numerator
and denominator of the basic timing unit for the time signature.
@item
\relative c' {
% This call will fail because the context isn't yet instantiated
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 7 { c8 } |
% This call will succeed
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
\relative c' {
\repeat unfold 8 { c8 } |
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 { c8 } |
- \revertTimeSignatureSettings #'(4 . 4)
+ \revertTimeSignatureSettings 4/4
\time 4/4
\repeat unfold 8 { c8 } |
}
\new StaffGroup <<
\new Staff {
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
}
\new Staff {
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(1 3) % beatStructure
#'() % beamExceptions
\time 4/4
@snippets
-
-@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{changing-the-time-signature-without-affecting-the-beaming.ly}
-
-@cindex compound time signatures
-@cindex time signature, compound
-
-@lilypondfile[verbatim,quote,texidoc,doctitle]
-{compound-time-signatures.ly}
-
@lilypondfile[verbatim,quote,texidoc,doctitle]
{time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
-
@seealso
Music Glossary:
@rglos{time signature}
@rinternals{TimeSignature},
@rinternals{Timing_translator}.
+
@node Metronome marks
@unnumberedsubsubsec Metronome marks
For more details, see @ref{Formatting text}.
-
@seealso
Music Glossary:
@rglos{metronome},
@cindex upbeat
@cindex partial measure
@cindex measure, partial
+@cindex measure, pickup
@cindex pickup measure
-@cindex measure, change length
@funindex measurePosition
@funindex \partial
@funindex partial
-Partial or pick-up measures, such as an anacrusis or upbeat, are
-entered using the @code{\partial} command, with the syntax
+Partial or pick-up measures, such as an @emph{anacrusis} or an
+@emph{upbeat}, are entered using the @code{\partial} command,
@example
\partial @var{duration}
@end example
@noindent
-where @code{@var{duration}} is the rhythmic length of the
-remaining interval of the current measure before the start of the
-next.
+where @code{@var{duration}} is the @emph{remaining} length of the
+partial measure @emph{before} the start of the next full measure.
-@lilypond[quote,verbatim,relative=2]
-\partial 4 e4 |
-a2. c,4 |
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\partial 8
+e8 | a4 c8 b c4 |
@end lilypond
-The partial measure can be any duration less than the full measure:
+The @var{duration} can be any value less than a full measure:
-@lilypond[quote,verbatim,relative=2]
-\partial 8*3 c8 d e |
-a2. c,4 |
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\partial 4.
+r4 e8 | a4 c8 b c4 |
@end lilypond
-Internally, @code{\partial @var{duration}} is translated into:
+The @code{\partial @var{duration}} can also be written as;
@example
\set Timing.measurePosition -@var{duration}
@end example
-For example, @code{\partial 8*3} becomes:
+So @code{\partial 8} becomes:
-@example
-\set Timing.measurePosition = #(ly:make-moment -3 8)
-@end example
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\set Timing.measurePosition = #(ly:make-moment -1 8)
+e8 | a4 c8 b c4 |
+@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.}
+i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
+meaning @qq{there is a quarter note left in the measure.}
@seealso
Music Glossary:
@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
-The @code{\partial} command is intended to be used only at the
-beginning of a piece. If you use it after the beginning, some
-odd warnings or effects may occur, in this case use
-@code{\set Timing.measurePosition} instead.
@node Unmetered music
@unnumberedsubsubsec Unmetered music
-@cindex bar lines, turning off
-@cindex bar numbering, turning off
@cindex cadenza
+@cindex cadenza, beams
+@cindex cadenza, accidentals
+@cindex cadenza, bar lines
+@cindex cadenza, bar numbers
@cindex unmetered music
+@cindex unmetered music, beams
+@cindex unmetered music, accidentals
+@cindex unmetered music, bar lines
+@cindex unmetered music, bar numbers
+@cindex accidentals, cadenzas
+@cindex accidentals, unmetered music
+@cindex bar lines, cadenzas
+@cindex bar lines, unmetered music
+@cindex bar numbers, cadenzas
+@cindex bar numbers, unmetered music
+@cindex beams, cadenzas
+@cindex beams, unmetered music
@funindex \cadenzaOn
@funindex cadenzaOn
@funindex \cadenzaOff
@funindex cadenzaOff
-Bar lines and bar numbers are calculated automatically. For
-unmetered music (some cadenzas, for example), this is not desirable.
-To turn off automatic calculation of bar lines and bar numbers,
-use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
-to turn them on again.
+In metered music bar lines are inserted and bar numbers are calculated
+automatically. In unmetered music (i.e. cadenzas), this is not
+desirable and can be @q{switched off} using the command
+@code{\cadenzaOn}, then @q{switched back on} at the appropriate place
+using @code{\cadenzaOff}.
@lilypond[verbatim,relative=2,quote]
c4 d e d
d4 e d c
@end lilypond
-Bar numbering is resumed at the end of the cadenza as if the
-cadenza were not there:
+Bar numbering is resumed at the end of the cadenza.
@lilypond[verbatim,relative=2,quote]
% Show all bar numbers
d4 e d c
@end lilypond
-@cindex beams, in cadenzas
-@cindex beams, in unmetered music
-@cindex cadenza, with beams
-@cindex unmetered music, with beams
+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}.
-Automatic beaming is disabled by @code{\cadenzaOn} and enabled
-by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
-must be entered manually (@ref{Manual beams}).
+@lilypond[verbatim,relative=2,quote]
+c4 d e d
+\cadenzaOn
+cis4 d cis d
+\bar "|"
+cis4 d cis! d
+\cadenzaOff
+\bar "|"
+@end lilypond
+
+Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
+beaming in cadenzas must be entered manually. See @ref{Manual beams}.
@lilypond[verbatim,relative=2,quote]
\repeat unfold 8 { c8 }
\cadenzaOn
-\repeat unfold 5 { c8 }
+cis8 c c c c
\bar"|"
+c8 c c
\cadenzaOff
\repeat unfold 8 { c8 }
@end lilypond
-Note that these predefined commands affect all staves in the
-score, even when they are placed in just one @code{Voice}
-context. To change this, move the @code{Timing_translator}
-from the @code{Score} context to the @code{Staff} context, as
-shown in @ref{Polymetric notation}.
+These predefined commands affect all staves in the score, even when
+placed in just one @code{Voice} context. To change this, move the
+@code{Timing_translator} from the @code{Score} context to the
+@code{Staff} context. See @ref{Polymetric notation}.
@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
@endpredefined
-
@seealso
Music Glossary:
@rglos{cadenza}.
Notation Reference:
@ref{Visibility of objects},
@ref{Polymetric notation},
-@ref{Manual beams}.
+@ref{Manual beams},
+@ref{Accidentals}.
Snippets:
@rlsr{Rhythms}.
-
-@cindex cadenza line breaks
-@cindex cadenza page breaks
+@cindex cadenza, line breaks
+@cindex cadenza, page breaks
@cindex unmetered music, line breaks
@cindex unmetered music, page breaks
@cindex breaks in unmetered music
-@cindex line breaks in cadenzas
-@cindex page breaks in cadenzas
-@cindex line breaks in unmetered music
-@cindex page breaks in unmetered music
+@cindex line breaks, cadenzas
+@cindex page breaks, cadenzas
+@cindex line breaks, unmetered music
+@cindex page breaks, unmetered music
@knownissues
-
-LilyPond will insert line breaks and page breaks only at a
-bar line. Unless the unmetered music ends before the end of the
-staff line, you will need to insert invisible bar lines with
+Automatic line and page breaks are inserted only at bar lines, so
+@q{invisible} bar lines will need to be inserted manually in long
+stretches of unmetered music to permit breaking:
@example
\bar ""
@end example
-@noindent
-to indicate where breaks can occur.
-
-You should explicitly create a @code{Voice} context when starting a
-piece with @code{\cadenzaOn}, otherwise strange errors may occur.
+Explicitly create a @code{Voice} context when starting a piece with
+@code{\cadenzaOn}, else unexpected errors may occur.
@example
\new Voice @{
@funindex \times
@funindex times
-Polymetric notation is supported, either explicitly or by modifying
-the visible time signature symbol and scaling the note durations.
+Polymetric notation is supported explicitly or by manually modifying the
+visible time signature symbol and/or scaling note durations.
-@strong{@i{Staves with different time signatures, equal measure lengths}}
+@subsubsubheading Different time signatures with equal-length measures
-This notation can be created by setting a common time signature
-for each staff but replacing the symbol manually by setting
-@code{timeSignatureFraction} to the desired fraction and scaling
-the printed durations in each staff to the common time
-signature; see @ref{Time signature}. The scaling is done with
-@code{\scaleDurations}, which is used in a similar way to
-@code{\times}, but does not create a tuplet bracket; see
-@ref{Scaling durations}.
+Set a common time signature for each staff, and set the
+@code{timeSignatureFraction} to the desired fraction. Then use the
+@code{\scaleDurations} function to scale the durations of the notes in
+each staff to the common time signature.
@cindex beams, with polymetric meters
@cindex polymetric meters, with beams
-In this example, music with the time signatures of 3/4, 9/8, and
-10/8 are used in parallel. In the second staff, shown durations
-are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
-staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
-It will often be necessary to insert beams manually, as the
-duration scaling affects the autobeaming rules.
+In the following example, music with the time signatures of 3/4, 9/8 and
+10/8 are used in parallel. In the second staff, shown durations are
+multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
+shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
+may be necessary to insert beams manually, as the duration scaling will
+affect the autobeaming rules.
@lilypond[quote,verbatim]
\relative c' <<
\new Staff {
\time 3/4
c4 c c |
- c c c |
+ c4 c c |
}
\new Staff {
\time 3/4
- \set Staff.timeSignatureFraction = #'(9 . 8)
- \scaleDurations #'(2 . 3)
+ \set Staff.timeSignatureFraction = 9/8
+ \scaleDurations 2/3
\repeat unfold 6 { c8[ c c] }
}
\new Staff {
\time 3/4
- \set Staff.timeSignatureFraction = #'(10 . 8)
- \scaleDurations #'(3 . 5) {
+ \set Staff.timeSignatureFraction = 10/8
+ \scaleDurations 3/5 {
\repeat unfold 2 { c8[ c c] }
\repeat unfold 2 { c8[ c] } |
- c4. c4. \times 2/3 { c8[ c c] } c4
+ c4. c \times 2/3 { c8[ c c] } c4
}
}
>>
@end lilypond
-@strong{@i{Staves with different time signatures, unequal bar lengths}}
+@subsubsubheading Different time signatures with unequal-length measures
Each staff can be given its own independent time signature by
moving the @code{Timing_translator} and the
>>
@end lilypond
-@snippets
+@funindex \compoundMeter
+@cindex compound time signatures
+@cindex time signature, compound
-@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{compound-time-signatures.ly}
+@subsubsubheading Compound time signatures
+These are created using the @code{\compoundMeter} function. The syntax
+for this is:
+
+@example
+\compoundMeter #'@code{(list of lists)}
+@end example
+
+The simplest construction is a single list, where the @emph{last} number
+indicates the bottom number of the time signature and those that come
+before it, the top numbers.
+
+@lilypond[quote,verbatim]
+\relative c' {
+ \compoundMeter #'((2 2 2 8))
+ \repeat unfold 6 c8 \repeat unfold 12 c16
+}
+@end lilypond
+
+More complex meters can be constructed using additional lists. Also,
+automatic beaming settings will be adjusted depending on the values.
+
+@lilypond[quote,verbatim]
+\relative c' {
+ \compoundMeter #'((1 4) (3 8))
+ \repeat unfold 5 c8 \repeat unfold 10 c16
+}
+
+\relative c' {
+ \compoundMeter #'((1 2 3 8) (3 4))
+ \repeat unfold 12 c8
+}
+@end lilypond
@seealso
Music Glossary:
@rglos{meter}.
Notation Reference:
+@ref{Automatic beams},
+@ref{Manual beams},
@ref{Time signature},
@ref{Scaling durations}.
@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
-
@knownissues
+When using different time signatures in parallel, notes at the same
+moment will be placed at the same horizontal location. However, the bar
+lines in the different staves will cause the note spacing to be less
+regular in each of the individual staves than would be normal without
+the different time signatures.
-When using different time signatures in parallel, notes
-at the same moment will be placed at the same horizontal
-location. However, the bar lines in the different staves
-will cause the note spacing to be less regular in each of the
-individual staves than would be normal without the different
-time signatures.
@node Automatic note splitting
@unnumberedsubsubsec Automatic note splitting
the measures are not entirely filled, then the ties show exactly how
much each measure is off.
-
@seealso
Music Glossary:
@rglos{tie}
@rinternals{Completion_rest_engraver},
@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.
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-
@seealso
Snippets:
@rlsr{Rhythms}.
@warning{If beams are used to indicate melismata in songs, then
automatic beaming should be switched off with @code{\autoBeamOff}
-and the beams indicated manually.}
-
-@warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
-produce unintended results. See the snippet below for more information.}
+and the beams indicated manually. Using @code{@bs{}partcombine} with
+@code{@bs{}autoBeamOff} can produce unintended results. See the
+snippets for more information.}
Beaming patterns that differ from the automatic defaults can be
created; see @ref{Setting automatic beam behavior}.
@rinternals{beam-interface},
@rinternals{unbreakable-spanner-interface}.
+@knownissues
+The properties of a beam are determined at the @emph{start} of its
+construction and any additional beam-property changes that occur before
+the beam has been completed will not take effect until the @emph{next},
+new beam starts.
+
+
@node Setting automatic beam behavior
@unnumberedsubsubsec Setting automatic beam behavior
@funindex \set
@funindex set
+When automatic beaming is enabled, the placement of automatic beams
+is determined by three context properties:
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+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}.
+
+By default, @code{beamExceptions} rules are defined for most common
+time signatures, so the @code{beamException} rules must be disabled
+if automatic beaming is to be based on @code{baseMoment} and
+@code{beatStructure}. The @code{beamExceptions} rules are disabled
+by
+
+@example
+\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
-the one over numerator of the time signature. By default,
+one over the denominator of the time signature. By default,
each unit of length @code{baseMoment} is a single beat.
@lilypond[quote,relative=2,verbatim]
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
+
+\set Timing.beamExceptions = #'()
+\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
+
Beam setting changes can be limited to specific contexts. If no
setting is included in a lower-level context, the setting of the
enclosing context will apply.
the time signature. Any exceptions to this default can be found in
@file{scm/time-signature-settings.scm}.
+@subsubsubheading Beaming based on @code{beamExceptions}
+
Special autobeaming rules (other than ending a beam on a beat)
are defined in the @code{beamExceptions} property.
@lilypond[quote,verbatim,relative=2]
\time 3/4
-% by default we beam in (3) due to beamExceptions
+% by default we beam in (6) due to beamExceptions
\repeat unfold 6 {a8} |
% This will beam (1 1 1) due to beatLength
\set Timing.beamExceptions = #'()
\repeat unfold 6 {a8}
@end lilypond
-@i{@strong{How automatic beaming works}}
+In engraving from the Romantic and Classical periods,
+beams often begin midway through the measure in 3/4 time,
+but modern practice is to avoid the false impression of 6/8 time
+(see Gould, p. 153). Similar situations arise in 3/8 time.
+This behavior is controlled by the context property @code{beamHalfMeasure},
+which has effect only in time signatures with 3 in the numerator:
+
+@lilypond[quote,verbatim,relative=2]
+\time 3/4
+r4. a8 a a |
+\set Timing.beamHalfMeasure = ##f
+r4. a8 a a |
+@end lilypond
+
+@subsubsubheading How automatic beaming works
When automatic beaming is enabled, the placement of automatic beams
is determined by the context properties
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{subdividing-beams.ly}
+@cindex beamlets, orienting
+
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{strict-beat-beaming.ly}
+
@cindex measure groupings
@cindex beats, grouping
@cindex grouping beats
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{beam-endings-in-score-context.ly}
-
@seealso
Installed Files:
@file{scm/beam-settings.scm}.
@rinternals{BeamForbidEvent},
@rinternals{beam-interface}.
-
@knownissues
If a score ends while an automatic beam has not been ended and is
still accepting notes, this last beam will not be typeset at all.
<<
\new Staff {
\overrideTimeSignatureSettings
- #'(3 . 4) % timeSignatureFraction
- #'(1 . 8) % baseMomentFraction
+ 3/4 % timeSignatureFraction
+ 1/8 % baseMomentFraction
#'(1 5) % beatStructure
#'() % beamExceptions
\time 3/4
>>
@end lilypond
+
@node Manual beams
@unnumberedsubsubsec Manual beams
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{flat-flags-and-beam-nibs.ly}
-
@seealso
Notation Reference:
@ref{Direction and placement},
The spacing in the printed output represents the
note durations only approximately, but the MIDI output is exact.
-
@predefined
@code{\featherDurations}.
@endpredefined
Snippets:
@rlsr{Rhythms}.
-
@knownissues
-
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
@node Bars
@subsection Bars
-
@menu
* Bar lines::
* Bar numbers::
c1
@end lilypond
+Additionally there is an @code{\inStaffSegno} command which
+creates a segno bar, placed in cooperation
+with the @code{\repeat volta} command.
+
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
@code{"|"}. This may be changed at any time with
@samp{\set Timing.defaultBarType = @var{bartype}}.
-
@seealso
Notation Reference:
@ref{Line breaking},
c1 | c | c | c
@end lilypond
-
@snippets
-
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-the-bar-number-for-the-first-measure.ly}
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-bar-numbers-inside-boxes-or-circles.ly}
+@cindex bar numbers, with letters
+@cindex bar numbers, with repeats
+
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{alternative-bar-numbering.ly}
+
@cindex bar number alignment
@lilypondfile[verbatim,quote,texidoc,doctitle]
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{removing-bar-numbers-from-a-score.ly}
-
@seealso
Snippets:
@rlsr{Rhythms}.
@rinternals{BarNumber},
@rinternals{Bar_number_engraver}.
-
@cindex bar number collision
@cindex collision, bar number
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-
@seealso
Snippets:
@rlsr{Rhythms}.
@ref{Formatting text}. For more precise control, see
@code{break-alignable-interface} in @ref{Aligning objects}.
+The file @file{scm/translation-functions.scm} contains
+the definitions of @code{format-mark-numbers} and
+@code{format-mark-letters}. They can be used as inspiration for
+other formatting functions.
@seealso
Notation Reference:
@ref{Aligning objects}.
Installed Files:
-@file{scm/translation-functions.scm} contains
-the definitions of @code{format-mark-numbers} and
-@code{format-mark-letters}. They can be used as inspiration for
-other formatting functions.
+@file{scm/translation-functions.scm}.
Snippets:
@rlsr{Rhythms}.
@cindex acciaccatura
@funindex \grace
-@funindex grace
+@funindex \slashedGrace
+@funindex \acciaccatura
+@funindex \appoggiatura
-Grace notes are ornaments that are written out. Grace notes
-are printed in a smaller font and take up no logical time
-in a measure.
+Grace notes are musical ornaments, printed in a smaller font, that take
+up no additional logical time in a measure.
@lilypond[quote,relative=2,verbatim]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2
+c4 \grace b16 a4(
+\grace { b16[ c16] } a2)
@end lilypond
-LilyPond also supports two special types of grace notes, the
+There are three other types of grace notes possible; the
@emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
-small note with a slashed stem -- and the @emph{appoggiatura}, which
-takes a fixed fraction of the main note and appears in small print
-without a slash.
+note with a slashed stem -- and the @emph{appoggiatura}, which takes a
+fixed fraction of the main note it is attached to and prints without the
+slash. It is also possible to write a grace note with a slashed stem,
+like the @emph{acciaccatura} but without the slur, so as to place it
+between notes that are slurred themselves, using the
+@code{\slashedGrace} function.
@lilypond[quote,relative=2,verbatim]
-\grace c8 b4
\acciaccatura d8 c4
\appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+\acciaccatura { g16[ f] } e2
+\slashedGrace a,8 g4
+\slashedGrace b16 a4(
+\slashedGrace b8 a2)
@end lilypond
-The placement of grace notes is synchronized between different
-staves. In the following example, there are two sixteenth grace
-notes for every eighth grace note
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth grace notes for every
+eighth grace note
@lilypond[quote,relative=2,verbatim]
<<
@lilypondfile[verbatim,quote,texidoc,doctitle]
{positioning-grace-notes-with-floating-space.ly}
-
@seealso
Music Glossary:
@rglos{grace notes},
@rglos{appoggiatura}.
Notation Reference:
+@ref{Scaling durations},
@ref{Manual beams}.
Installed Files:
@knownissues
-
@cindex acciaccatura, multi-note
@cindex multi-note acciaccatura
@cindex grace-note synchronization
Or explicitly change the musical duration:
@example
-\acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
+\acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
@end example
See @ref{Scaling durations}.
\MyCadenza c'1
}
\new Staff {
- #(ly:export (mmrest-of-length MyCadenza))
+ #(mmrest-of-length MyCadenza)
c'1
- #(ly:export (skip-of-length MyCadenza))
+ #(skip-of-length MyCadenza)
c'1
}
>>
@end lilypond
-
@seealso
Music Glossary:
@rglos{cadenza}.
@code{ly:make-moment 7 16} is the duration of seven sixteenths
notes.
-
@seealso
Notation Reference:
@ref{Bar numbers},
Internals Reference:
@rinternals{Timing_translator},
@rinternals{Score}.
-
projects / lilypond.git / blobdiff