Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
@c \version "2.12.0"
b16*4 c4
@end lilypond
-The duration of skip or spacing notes may also be modified by
+The duration of spacing notes may also be modified by
a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
@cindex lyrics, skip
Spacer rests are available only in note mode and chord mode. In
-other situations, for example, when entering lyrics, @code{\skip}
-is used to skip a musical moment. @code{\skip} requires an
-explicit duration.
+other situations, for example, when entering lyrics, the
+command @code{\skip} is used to skip a musical moment.
+@code{\skip} requires an explicit duration.
@lilypond[quote,verbatim,relative=2]
<<
>>
@end lilypond
+Because @code{\skip} is a command, it does not affect the default
+durations of following notes, unlike@tie{}@code{s}.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ {
+ \repeat unfold 8 {a4}
+ }
+ {
+ a4 \skip 2 a |
+ s2 a
+ }
+>>
+@end lilypond
+
+
A spacer rest implicitly causes @code{Staff} and @code{Voice}
contexts to be created if none exist, just like notes and rests
do:
Snippets:
@rlsr{Rhythms}.
-Internals Reference:
+Internals Reference:
@rinternals{SkipMusic}.
@end example
@noindent
-where @code{duration} is the rhythmic length of the interval
-before the start of the first complete measure:
+where @code{duration} is the rhythmic length of the remaining
+interval of the current measure before the start of the next.
@lilypond[quote,verbatim,relative=2]
\partial 4 e4 |
a2. c,4 |
@end lilypond
-The partial measure can be any duration less than a full measure:
+The partial measure can be any duration less than the full measure:
@lilypond[quote,verbatim,relative=2]
\partial 8*3 c8 d e |
a2. c,4 |
@end lilypond
-Internally, @code{\partial} is translated into
+Internally, @code{\partial @var{duration}} is translated into:
@example
-\set Timing.measurePosition = -@var{duration}
+\set Timing.measurePosition -@var{duration}
+@end example
+
+For example, @code{\partial 8*3} becomes:
+
+@example
+\set Timing.measurePosition = #(ly:make-moment -3 8)
@end example
-@noindent
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
-@code{-4}, meaning @qq{there is a quarter note left in the measure.}
-
+that this is set to a negative number by the @code{\partial} command:
+i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
+@qq{there is a quarter note left in the measure.}
@seealso
Music Glossary:
Internal Reference:
@rinternals{Timing_translator}.
-
@knownissues
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 may occur.
+odd warnings or effects may occur, in this case use
+@code{\set Timing.measurePosition} instead.
@node Unmetered music
@unnumberedsubsubsec Unmetered music
d4 e d c
@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}.
@predefined
@code{\cadenzaOn},
@rglos{cadenza}.
Notation Reference:
-@ref{Visibility of objects}.
+@ref{Visibility of objects},
+@ref{Polymetric notation}.
Snippets:
@rlsr{Rhythms}.
@noindent
to indicate where breaks can occur.
+You must explicitly create a @code{Voice} context when starting a
+piece with @code{\cadenzaOn}, otherwise strange errors may occur.
+
+@lilypond[verbatim,relative=2,fragment]
+\new Voice \relative c'{
+ \cadenzaOn
+ c16^"Solo Free Time" d e f g2. \bar "||"
+ \cadenzaOff
+}
+@end lilypond
+
@node Polymetric notation
@unnumberedsubsubsec Polymetric notation
\new Staff {
\time 3/4
c4 c c |
- c c c |
+ c4 c c |
}
\new Staff {
\time 2/4
c4 c |
- c c |
- c c |
+ c4 c |
+ c4 c |
}
\new Staff {
\time 3/8
@knownissues
When using different time signatures in parallel, notes
-at the same moment will be be placed at the same horizontal
+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
@rlsr{Rhythms}.
Internals Reference:
-@rinternals{Beam}.
+@rinternals{Auto_beam_engraver},
+@rinternals{Beam_engraver},
+@rinternals{Beam},
+@rinternals{BeamEvent},
+@rinternals{BeamForbidEvent},
+@rinternals{beam-interface},
+@rinternals{unbreakable-spanner-interface}.
@knownissues
the appearance of beams:
@itemize
-
-@item If a manual beam is specified with @code{[..]} set the beam
+@item
+If a manual beam is specified with @code{[..]} set the beam
as specified, otherwise
-@item if @code{\autoBeamOff} is in force do not beam, otherwise
+@item
+if @code{\autoBeamOff} is in force do not beam, otherwise
-@item if an explicit beam-ending rule is defined for the beam type
+@item
+if an explicit beam-ending rule is defined for the beam type
in the time signature, use it to determine the valid
places where beams may end, otherwise
-@item if a default beam-ending rule is defined in the time signature,
+@item
+if a default beam-ending rule is defined in the time signature,
use it to group notes with beams, otherwise
-@item use the value of @code{beatLength} to group notes with beams
+@item
+use the value of @code{beatLength} to group notes with beams
@end itemize
created by the scheme function @code{ly:make-moment}. For more
information about this function, see @ref{Time administration}.
-Autobeam and beam subdivide settings are stored in the
+Autobeam settings are stored in the
@code{beamSettings} property. Default values of @code{beamSettings}
are determined in @file{scm/@/beam@/-settings@/.scm}. Entries in
@code{beamSettings} are indexed by time signature and
Time signature should be a scheme pair , e.g. @code{#'(4 . 4)}.
-Rule type should be @code{#'end} for beam ending and @code{#'subdivide} for
-beam subdivision.
+Rule type should be @code{#'end} for beam ending.
-The ending and subdivision rules consist of a scheme alist
+The ending rules consist of a scheme alist
(or list of pairs) that
-indicates the beam type and the grouping to be applied to that
+indicates the beam type and the grouping to be applied to
+beams containing notes with a shortest duration of that
beam type.
@example
@code{*}, the grouping is in units of @code{beatLength}.
For explicit rules, the grouping is in units of the beam type.
+For reference, the default beaming rules are found in
+@file{scm/beam-settings.scm}.
+
Beam settings are changed with
@code{\overrideBeamSettings} and @code{\revertBeamSettings}.
+@warning{
+The ending settings must be
+@emph{complete} rules. That is, every rule that should apply to
+the current time signature must be included in the setting.
+It is not possible to change the grouping of only one beam type
+for a given time signature. While this may seem cumbersome,
+it means that the current beaming settings need not be known
+in order to specify a new beaming pattern.}
+
@lilypond[quote,relative=2,verbatim]
- \time 5/16
- c8^"beats" c16 c8 |
- \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
- c8^"(2+3)" c16 c8
- \overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
- c8^"(3+2)" c16 c8
+\time 5/16
+c8^"beats" c16 c8 |
+\overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (2 3)))
+c8^"(2+3)" c16 c8
+\overrideBeamSettings #'Score #'(5 . 16) #'end #'((* . (3 2)))
+c8^"(3+2)" c16 c8
@end lilypond
Beam setting changes can be limited to specific contexts. If no
@lilypond[quote,verbatim,relative=2]
\time 4/4
-\repeat unfold 16 {a16}
+\repeat unfold 8 {a8}
% set default rule for (1 1 1 1) grouping
\overrideBeamSettings #'Score #'(4 . 4) #'end #'((* . (1 1 1 1)))
-\repeat unfold 16 {a16}
+\repeat unfold 8 {a8}
% revert the new rule
\revertBeamSettings #'Score #'(4 . 4) #'end
-\repeat unfold 16 {a16}
+\repeat unfold 8 {a8}
@end lilypond
+
+@predefined
+@code{\overrideBeamSettings},
+@code{\revertBeamSettings}.
+@endpredefined
+
+
@snippets
@cindex beams, subdividing
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{conducting-signs,-measure-grouping-signs.ly}
+@cindex beam, last in score
+@cindex beam, last in polyphonic voice
+
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{beam-endings-in-score-context.ly}
-@cindex beam, last in score
-@cindex beam, last in polyphonic voice
+
+@seealso
+Installed files:
+@file{scm/beam-settings.scm}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Auto_beam_engraver},
+@rinternals{Beam},
+@rinternals{BeamForbidEvent},
+@rinternals{beam-interface}.
+
@knownissues
The same holds for polyphonic voices, entered with @code{<<
@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
-
-
-@seealso
-Snippets:
-@rlsr{Rhythms}.
-
+The workaround for these problems is to manually beam the last
+beam in the voice or score.
@node Manual beams
@unnumberedsubsubsec Manual beams
beaming algorithm. For example, the autobeamer will not put beams
over rests or bar lines, and in choral scores the beaming is
often set to follow the meter of the lyrics rather than the
-notes. Such beams can be specified manually by
-marking the begin and end point with @code{[} and @code{]}
+notes. Such beams can be specified manually by
+marking the begin and end point with @code{[} and @code{]}.
@lilypond[quote,relative=1,verbatim]
-{
- r4 r8[ g' a r8] r8 g[ | a] r8
-}
+r4 r8[ g' a r8] r8 g[ | a] r8
@end lilypond
+@cindex manual beams, direction shorthand for
+
+Beaming direction can be set manually using direction indicators:
+
+@lilypond[quote,relative=2,verbatim]
+c8^[ d e] c,_[ d e f g]
+@end lilypond
@funindex \noBeam
@funindex noBeam
from being beamed:
@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c\noBeam c c
+\time 2/4
+c8 c\noBeam c c
@end lilypond
@funindex stemLeftBeamCount
a8[ r16
\set stemLeftBeamCount = #2
\set stemRightBeamCount = #1
-f
+f16
\set stemLeftBeamCount = #1
-g a]
+g16 a]
@end lilypond
+@predefined
+@code{\noBeam}.
+@endpredefined
+
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{flat-flags-and-beam-nibs.ly}
+
+@seealso
+Notation Reference:
+@ref{Direction and placement}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Beam},
+@rinternals{BeamEvent},
+@rinternals{Beam_engraver},
+@rinternals{beam-interface},
+@rinternals{Stem_engraver}.
+
+
@node Feathered beams
@unnumberedsubsubsec Feathered beams
The spacing in the printed output represents the
note durations only approximately, but the MIDI output is exact.
-@knownissues
-
-The @code{\featherDurations} command only works with very short
-music snippets, and when numbers in the fraction are small.
+@predefined
+@code{\featherDurations}.
+@endpredefined
@seealso
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
Line breaks are also permitted at manually inserted bar lines
even within incomplete measures. To allow a line break without
-printing a bar line, use
+printing a bar line, use the following:
@example
\bar ""
the specified bar line is inserted at that point in the printed
output.
-Note that manual bar lines are purely visual. They do not affect
+Note that manual bar lines are purely visual. They do not affect
any of the properties that a normal bar line would affect, such as
measure numbers, accidentals, line breaks, etc. They do not affect
the calculation and placement of subsequent automatic bar lines.
When a manual bar line is placed where a normal bar line already
exists, the effects of the original bar line are not altered.
-Two types of simple bar lines and five types of double bar lines are available
-for manual insertion:
+Two types of simple bar lines and five types of double bar lines are
+available for manual insertion:
@lilypond[quote,relative=1,verbatim]
f1 \bar "|"
-f \bar "."
-g \bar "||"
-a \bar ".|"
-b \bar ".|."
-c \bar "|.|"
-d \bar "|."
-e
+f1 \bar "."
+g1 \bar "||"
+a1 \bar ".|"
+b1 \bar ".|."
+c1 \bar "|.|"
+d1 \bar "|."
+e1
@end lilypond
@noindent
@lilypond[quote,relative=1,verbatim]
f1 \bar ":"
-g \bar "dashed"
-a
+g1 \bar "dashed"
+a1
@end lilypond
@noindent
@lilypond[quote,relative=1,verbatim]
f1 \bar "|:"
-g \bar ":|:"
-a \bar ":|.|:"
-b \bar ":|.:"
-c \bar ":|"
-d
+g1 \bar ":|:"
+a1 \bar ":|.|:"
+b1 \bar ":|.:"
+c1 \bar ":|"
+d1
@end lilypond
Additionally, a bar line can be printed as a simple tick:
@lilypond[quote,relative=1,verbatim]
f1 \bar "'"
@end lilypond
-However, as such ticks are typically used in Gregorian chant, it is preferable
-to use @code{\divisioMinima} there instead, described in the section
-@ref{Divisiones} in Gregorian chant.
+However, as such ticks are typically used in Gregorian chant, it is
+preferable to use @code{\divisioMinima} there instead, described in
+the section @ref{Divisiones} in Gregorian chant.
+@cindex segno
+
+For in-line segno signs, there are three types of bar lines which
+differ in their behavior at line breaks:
+
+@lilypond[quote,relative=2,verbatim]
+c4 c c c
+\bar "S"
+c4 c c c \break
+\bar "S"
+c4 c c c
+\bar "|S"
+c4 c c c \break
+\bar "|S"
+c4 c c c
+\bar "S|"
+c4 c c c \break
+\bar "S|"
+c1
+@end lilypond
@cindex repeats
the next line.
@lilypond[quote,relative=2,verbatim]
-c c c c
+c4 c c c
\bar "||:"
-c c c c \break
+c4 c c c \break
\bar "||:"
-c c c c
+c4 c c c
@end lilypond
+For combinations of repeats with the segno sign, there are six different
+variations:
+
+@lilypond[quote,relative=2,verbatim]
+c4 c c c
+\bar ":|S"
+c4 c c c \break
+\bar ":|S"
+c4 c c c
+\bar ":|S."
+c4 c c c \break
+\bar ":|S."
+c4 c c c
+\bar "S|:"
+c4 c c c \break
+\bar "S|:"
+c4 c c c
+\bar ".S|:"
+c4 c c c \break
+\bar ".S|:"
+c4 c c c
+\bar ":|S|:"
+c4 c c c \break
+\bar ":|S|:"
+c4 c c c
+\bar ":|S.|:"
+c4 c c c \break
+\bar ":|S.|:"
+c1
+@end lilypond
+
+
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
@code{PianoStaff}, or @code{GrandStaff}.
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,relative=1,verbatim]
<<
\new StaffGroup <<
\new Staff {
- e'4 d'
+ e4 d
\bar "||"
- f' e'
+ f4 e
}
\new Staff { \clef bass c4 g e g }
>>
The command @code{\bar }@var{bartype} is a shortcut for
@code{\set Timing.whichBar = }@var{bartype}. A bar line is
-created whenever the @code{whichBar} property is
-set.
+created whenever the @code{whichBar} property is set.
The default bar type used for automatically inserted bar lines is
@code{"|"}. This may be changed at any time
@code{currentBarNumber} property, which is normally updated
automatically for every measure. It may also be set manually:
-@lilypond[verbatim,quote,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
c1 c c c
\break
\set Score.currentBarNumber = #50
@rlsr{Rhythms}.
Internals Reference:
-@rinternals{BarNumber}.
+@rinternals{BarNumber},
+@rinternals{Bar_number_engraver}.
@cindex bar number collision
@rinternals{StaffGroup} and @rinternals{BarNumber} for more.
-
@node Bar and bar number checks
@unnumberedsubsubsec Bar and bar number checks
\time 3/4 c2 e4 | g2 |
@end example
-Bar checks can also be used in lyrics, for example
+Bar checks can also be used in lyrics:
@example
\lyricmode @{
To print a rehearsal mark, use the @code{\mark} command.
+@lilypond[quote,verbatim,relative=2]
+c1 \mark \default
+c1 \mark \default
+c1 \mark \default
+c1 \mark \default
+@end lilypond
+
+@noindent
+The mark is incremented automatically if you use @code{\mark
+\default}, but you can also use an integer argument to set the
+mark manually. The value to use is stored in the property
+@code{rehearsalMark}.
+
@lilypond[quote,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
@noindent
The letter@tie{}@q{I} is skipped in accordance with engraving
-traditions. If you wish to include the letter @q{I}, then use
+traditions. If you wish to include the letter @q{I}, then use one
+of the following commands, depending on which style of rehearsal mark
+you want (letters only, letters in a hollow box, or letters in a
+hollow circle).
@example
\set Score.markFormatter = #format-mark-alphabet
+\set Score.markFormatter = #format-mark-box-alphabet
+\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-The mark is incremented automatically if you use @code{\mark
-\default}, but you can also use an integer argument to set the
-mark manually. The value to use is stored in the property
-@code{rehearsalMark}.
+@lilypond[quote,verbatim,relative=2]
+\set Score.markFormatter = #format-mark-box-alphabet
+c1 \mark \default
+c1 \mark \default
+c1 \mark #8
+c1 \mark \default
+c1 \mark \default
+@end lilypond
@cindex rehearsal mark format
@cindex rehearsal mark style
printed with @code{\musicglyph}.
For common tweaks to the positioning of rehearsal marks, see
-@ref{Formatting text}.
+@ref{Formatting text}. For more precise control, see
+@code{break-alignable-interface} in @ref{Aligning objects}.
@seealso
Notation Reference:
@ref{The Feta font},
-@ref{Formatting text}.
+@ref{Formatting text},
+@ref{Aligning objects}.
Installed Files:
@file{scm/@/translation@/-functions@/.scm} contains
-the definition of @code{format-mark-numbers} and
+the definitions of @code{format-mark-numbers} and
@code{format-mark-letters}. They can be used as inspiration for
other formatting functions.
@rlsr{Rhythms}.
Internals Reference:
+@rinternals{MarkEvent},
+@rinternals{Mark_engraver},
@rinternals{RehearsalMark}.
notes for every eighth grace note
@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
@cindex grace notes, following
@lilypond[quote,verbatim,relative=2]
\new Voice {
- << { d1^\trill_( }
- { s2 s4. \grace { c16[ d] } } >>
+ <<
+ { d1^\trill_( }
+ { s2 s4. \grace { c16[ d] } }
+ >>
c1)
}
@end lilypond
typesetting settings, for example, to produce smaller type, and
set directions. Hence, when introducing layout tweaks to
override the special settings, they should be placed inside
-the grace expression. The overrides should also be reverted
-inside the grace expression. Here, the grace note's default stem
+the grace expression. The overrides should also be reverted
+inside the grace expression. Here, the grace note's default stem
direction is overridden and then reverted.
@lilypond[quote,verbatim,relative=2]
@rlsr{Rhythms}.
Internals Reference:
-@rinternals{GraceMusic}.
+@rinternals{GraceMusic},
+@rinternals{Grace_beam_engraver},
+@rinternals{Grace_engraver},
+@rinternals{Grace_spacing_engraver}.
@knownissues
projects / lilypond.git / blobdiff