Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.22"
+@c \version "2.19.40"
@node Rhythms
@section Rhythms
@cindex note lengths
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
Durations are designated by numbers and dots. Durations are entered
as their reciprocal values. For example, a quarter note is entered
proportional notation, see @ref{Proportional notation}.
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. Dots may be manually placed above or below
@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:
-rests from 128th to maxima (8 x whole) may be printed.
+rests from 128th to maxima (8× whole) may be printed.
@node Tuplets
@cindex triplets
@funindex \tuplet
-@funindex tuplet
Tuplets are made from a music expression with the @code{\tuplet}
command, multiplying the speed of the music expression by a fraction:
@cindex tuplet bracket placement
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@funindex \tupletNeutral
-@funindex tupletNeutral
Tuplet brackets may be manually placed above or below the staff:
@cindex expanding music
@funindex \scaleDurations
-@funindex scaleDurations
Longer stretches of music may be compressed by a fraction in the
same way, as if every note, chord or rest had the fraction as a
@lilypond[verbatim,quote]
\relative {
- r8 c'~ 2 r4 |
+ r8 c'4.~ 4 r4 |
r8^"not" c2~ 8 r4
}
@end lilypond
@cindex ties and volta brackets
@funindex \repeatTie
-@funindex repeatTie
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
@cindex ties, laissez vibrer
@funindex \laissezVibrer
-@funindex laissezVibrer
@notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
@cindex ties, placement
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
Ties may be made to curve up or down manually; see
@ref{Direction and placement}.
@cindex dotted ties
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
Ties may be made dashed, dotted, or a combination of solid and
dashed.
pattern definitions for slurs. For more information about complex dash
patterns, see @ref{Slurs}.
-Override @var{whiteout-box} and @var{layer} layout properties of objects
+Override @var{whiteout} and @var{layer} layout properties of objects
that should cause a gap in ties.
@lilypond[verbatim,quote,ragged-right]
@cindex breve rest
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
Rests are entered like notes with the note name @code{r}.
Durations longer than a whole rest use the following predefined
@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
-are rests from 128th to maxima (8 x whole).
+are rests from 128th to maxima (8× whole).
@node Invisible rests
@funindex s
@funindex \skip
-@funindex skip
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
@cindex whole rest for a full measure
@cindex rest, whole for a full measure
-@funindex compressMMRests
@funindex \compressMMRests
@funindex R
@cindex multi-measure rest with markup
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Markups can be added to multi-measure rests.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex \compressMMRests
-@funindex compressMMRests
@predefined
@code{\textLengthOn},
@cindex multi-measure rests and fingerings
@knownissues
-Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+Fingerings over multi-measure rests (e.g., @code{R1*10-4}) may result
in the fingering numeral colliding with the bar counter
numeral.
@cindex meter
@funindex \time
-@funindex time
The time signature is set as follows:
@cindex meter style
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
The time signature symbol that is used in 2/2 and 4/4 time can be
changed to a numeric style:
\score {
\new Staff {
\relative {
- \time #'(2 2 3) 7/8
+ \time 2,2,3 7/8
\repeat unfold 7 { c'8 } |
- \time #'(3 2 2) 7/8
+ \time 3,2,2 7/8
\repeat unfold 7 { c8 } |
}
}
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(3 1) % beatStructure
+ 3,1 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 { c8 } |
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(3 1) % beatStructure
+ 3,1 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 { c8 } |
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(3 1) % beatStructure
+ 3,1 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 {c''8}
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(1 3) % beatStructure
+ 1,3 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 {c''8}
@cindex metronome marking with text
@funindex \tempo
-@funindex tempo
A basic metronome mark is simple to write:
@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.
@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:
@cindex beams, unmetered music
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
In metered music bar lines are inserted and bar numbers are calculated
-automatically. In unmetered music (i.e. cadenzas), this is not
+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}.
@funindex timeSignatureFraction
@funindex \scaleDurations
-@funindex scaleDurations
@funindex \tuplet
-@funindex tuplet
Polymetric notation is supported explicitly or by manually modifying the
visible time signature symbol and/or scaling note durations.
for this is:
@example
-\compoundMeter #'@code{(list of lists)}
+\compoundMeter #'(list of lists)
@end example
The simplest construction is a single list, where the @emph{last} number
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
+@code{#f} cause split notes and rests to have the scale factor
of the input durations.
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Guitar chord charts often show the strumming rhythms. This can
be done with the @code{Pitch_squash_engraver} and
>>
@end lilypond
+Music containing chords can also be used as input to @code{RhythmicStaff}
+and for use with the @code{Pitch_squash_engraver} if the chords are first
+reduced to single notes with the @code{\reduceChords} music function:
+
+@lilypond[quote,verbatim]
+\new RhythmicStaff {
+ \time 4/4
+ \reduceChords {
+ <c>2
+ <e>2
+ <c e g>2
+ <c e g>4
+ <c e g>4
+ }
+}
+@end lilypond
@predefined
@code{\improvisationOn},
@cindex beams, customizing rules
@funindex \autoBeamOn
-@funindex autoBeamOn
@funindex \autoBeamOff
-@funindex autoBeamOff
@lilypond[quote,verbatim]
\relative c'' {
@funindex autoBeaming
@funindex baseMoment
-@funindex beamExceptions
@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
When automatic beaming is enabled, the placement of automatic beams
is determined by three context properties:
% 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)
+ \set Timing.beatStructure = 2,3
c16^"(2+3)" c c c c |
- \set Timing.beatStructure = #'(3 2)
+ \set Timing.beatStructure = 3,2
c16^"(3+2)" c c c c |
}
@end lilypond
% defined for 4/4 time
\set Timing.beamExceptions = #'()
\set Timing.baseMoment = #(ly:make-moment 1/4)
- \set Timing.beatStructure = #'(1 1 1 1)
+ \set Timing.beatStructure = 1,1,1,1
a8^"changed" a a a a a a a
}
@end lilypond
\time 7/8
% No need to disable beamExceptions
% as they are not defined for 7/8 time
- \set Staff.beatStructure = #'(2 3 2)
+ \set Staff.beatStructure = 2,3,2
<<
\new Voice = one {
\relative {
\new Voice = two {
\relative {
\voiceTwo
- \set Voice.beatStructure = #'(1 3 3)
+ \set Voice.beatStructure = 1,3,3
f'8 f f f f f f
}
}
% Change applied to Voice by default -- does not work correctly
% Because of autogenerated voices, all beating will
% be at baseMoment (1 . 8)
-\set beatStructure = #'(3 1 1 2)
+\set beatStructure = 3,1,1,2
<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
% Works correctly with context Staff specified
-\set Staff.beatStructure = #'(3 1 1 2)
+\set Staff.beatStructure = 3,1,1,2
<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
@end lilypond
% 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)
+\set Timing.beatStructure = 7,3
\repeat unfold 10 { a'16 }
@end lilypond
@lilypond[quote,verbatim]
\relative c'' {
\time 3/16
- \set Timing.beatStructure = #'(2 1)
+ \set Timing.beatStructure = 2,1
\set Timing.beamExceptions =
\beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
c16 c c |
\time 6/8
\repeat unfold 6 { a8 }
% group (4 + 2)
- \set Timing.beatStructure = #'(4 2)
+ \set Timing.beatStructure = 4,2
\repeat unfold 6 { a8 }
% go back to default behavior
\time 6/8
@lilypond[quote,verbatim,fragment]
\time 4/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
-\set Timing.beatStructure = #'(3 3 2)
+\set Timing.beatStructure = 3,3,2
% This won't beam (3 3 2) because of beamExceptions
\repeat unfold 8 {c''8} |
% This will beam (3 3 2) because we clear beamExceptions
\new Staff {
\time 3/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
- \set Timing.beatStructure = #'(1 5)
+ \set Timing.beatStructure = 1,5
\set Timing.beamExceptions = #'()
\repeat unfold 6 { a'8 }
}
\overrideTimeSignatureSettings
3/4 % timeSignatureFraction
1/8 % baseMomentFraction
- #'(1 5) % beatStructure
+ 1,5 % beatStructure
#'() % beamExceptions
\time 3/4
\repeat unfold 6 { a'8 }
@end lilypond
@funindex \noBeam
-@funindex noBeam
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
@cindex feathered beams
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
Feathered beams are used to indicate that a small group of notes
@cindex repeat bars
@funindex \bar
-@funindex bar
Bar lines delimit measures, and are also used to indicate
repeats. Normally, simple bar lines are automatically inserted
@warning{An incorrect duration can cause line breaks to be
inhibited, leading to a line of highly compressed music or
-music which flows off the page.}
+music that flows off the page.}
@cindex line breaks
@cindex bar lines, invisible
preferable to use @code{\divisioMinima} there instead, described in
the section @ref{Divisiones} in Gregorian chant.
-Lilypond supports kievan notation and provides a special kievan
+LilyPond supports kievan notation and provides a special kievan
bar line:
@lilypond[quote,fragment,verbatim]
f'1 \bar "k"
@ref{Normal repeats}.
@funindex \defineBarLine
-@funindex defineBarLine
@cindex bar lines, defining
@cindex defining bar lines
@end lilypond
If additional elements are needed, LilyPond provides a simple
-way to define them. For more informations on modifying or adding
+way to define them. For more information on modifying or adding
bar lines, see file @file{scm/bar-line.scm}.
In scores with many staves, a @code{\bar} command in one staff is
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
The command @samp{\bar @var{bartype}} is a shortcut for
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
When copying large pieces of music, it can be helpful to check that
the LilyPond bar number corresponds to the original that you are
@cindex mark, rehearsal
@funindex \mark
-@funindex mark
To print a rehearsal mark, use the @code{\mark} command.
@cindex glyphs, music
@funindex \musicglyph
-@funindex musicglyph
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
@cindex grace notes, following
@funindex \afterGrace
-@funindex afterGrace
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
-This will put the grace notes after a space lasting 3/4 of the
-length of the main note. The default fraction 3/4 can be changed by
-setting @code{afterGraceFraction}. The following example shows
-the results from setting the space at the default, at 15/16, and
-finally at 1/2 of the main note.
+This will place the grace notes @emph{after} the start of the main
+note. The point of time where the grace notes are placed is a
+given fraction of the main note's duration. The default setting
+of
+
+@example
+afterGraceFraction = 3/4
+@end example
+
+@noindent
+may be redefined at top level. Individual @code{\afterGrace}
+commands may have the fraction specified right after the command
+itself instead.
+
+The following example shows the results from setting with the
+default space, setting it at @code{15/16}, and finally at
+@code{1/2} of the main note.
@lilypond[quote,verbatim]
<<
c''1 \afterGrace d1 { c16[ d] } c1
}
\new Staff \relative {
- #(define afterGraceFraction (cons 15 16))
- c''1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace 15/16 d1 { c16[ d] } c1
}
\new Staff \relative {
- #(define afterGraceFraction (cons 1 2))
- c''1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace 1/2 d1 { c16[ d] } c1
}
>>
@end lilypond
-The space between the main note and the grace note may also be
-specified using spacers. The following example places the grace
-note after a space lasting 7/8 of the main note.
+The effect of @code{\afterGrace} can also be achieved using
+spacers. The following example places the grace note after a
+space lasting 7/8 of the main note.
@lilypond[quote,verbatim]
\new Voice \relative {
@end lilypond
@noindent
-As the example illustrates, @code{ly:make-moment n m} constructs a
+As the example illustrates, @code{ly:make-moment n/m} constructs a
duration of n/m of a whole note. For example,
-@code{ly:make-moment 1 8} is an eighth note duration and
-@code{ly:make-moment 7 16} is the duration of seven sixteenths
+@code{ly:make-moment 1/8} is an eighth note duration and
+@code{ly:make-moment 7/16} is the duration of seven sixteenths
notes.
@seealso
projects / lilypond.git / blobdiff