Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.11"
+@c \version "2.19.2"
@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}
@funindex tuplet
Tuplets are made from a music expression with the @code{\tuplet}
-command, multiplying the speed of the music expression by a
-fraction:
+command, multiplying the speed of the music expression by a fraction:
@example
\tuplet @var{fraction} @{ @var{music} @}
@end example
@noindent
-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:
+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 b b }
+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:
+@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]
g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
@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:
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{\tuplet}
-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
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
\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]
+\compressFullBarRests
+\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
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
@funindex autoBeaming
@funindex baseMoment
@funindex beamExceptions
+@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
@lilypond[quote, verbatim,relative=1]
\new Staff {
\time 7/8
- % No need to disable beamExceptions as they are not defined for 7/8 time
+ % 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
-% No need to disable beamExceptions as they are not defined for 5/8 time
+% 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 }
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,
@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
\time 3/4
\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]
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
@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
+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.
+
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.
projects / lilypond.git / blobdiff