Guide, node Updating translation committishes..
@end ignore
-@c \version "2.15.18"
+@c \version "2.17.11"
@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:
@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
+The fraction's numerator 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.
+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 }
+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
@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
@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
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}
+particular case, the grace note must be placed before the @code{\tuplet}
command to avoid errors.
@cindex tempo marks within tuplet brackets
@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},
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 ~ a
+a2~ a4~ a16 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~ c2 r4 |
+ r8^"not" c2~ c8 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>~ <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~ c
\tieDashed
-c2 ~ c
+c2~ c
\tieHalfDashed
-c2 ~ c
+c2~ c
\tieHalfSolid
-c2 ~ c
+c2~ c
\tieSolid
-c2 ~ c
+c2~ c
@end lilypond
Custom dash patterns can be specified:
@lilypond[quote, verbatim, relative=1]
\tieDashPattern #0.3 #0.75
-c2 ~ c
+c2~ c
\tieDashPattern #0.7 #1.5
-c2 ~ c
+c2~ c
\tieSolid
-c2 ~ c
+c2~ c
@end lilypond
Dash pattern definitions for ties have the same structure as dash
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
+\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
\new Staff {
% These two lines are just to prettify this example
\time 16/1
- \override Staff.TimeSignature #'stencil = ##f
+ \override Staff.TimeSignature.stencil = ##f
% Print a maxima rest, equal to four breves
r\maxima
% Print a longa rest, equal to two breves
@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}.
@lilypond[quote,verbatim,relative=2]
% This fails, as the wrong object name is specified
-\override TextScript #'padding = #5
+\override TextScript.padding = #5
R1^"wrong"
% This is the correct object name to be specified
-\override MultiMeasureRestText #'padding = #5
+\override MultiMeasureRestText.padding = #5
R1^"right"
@end lilypond
@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
@funindex \overrideTimeSignatureSettings
In addition to setting the printed time signature, the @code{\time}
-command also sets time-signature-based default values for the properties
-@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
-predefined default values for these properties can be found in
-@file{scm/time-signature-settings.scm}. The existing default values can
-be changed, or new default values can be added:
+command also sets the values of the time-signature-based properties
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+The predefined default values for these properties can be found in
+@file{scm/time-signature-settings.scm}.
+
+The default value of @code{beatStructure} can be overridden in the
+@code{\time} command itself by supplying it as the optional first
+argument:
+
+@lilypond[quote,verbatim]
+\score {
+ \new Staff {
+ \relative c' {
+ \time #'(2 2 3) 7/8
+ \repeat unfold 7 { c8 } |
+ \time #'(3 2 2) 7/8
+ \repeat unfold 7 { c8 } |
+ }
+ }
+}
+@end lilypond
+
+Alternatively, the default values of all these time-signature-based
+variables, including @code{baseMoment} and @code{beamExceptions},
+can be set together. The values can be set independently for several
+different time signatures. The new values take effect when a
+subsequent @code{\time} command with the same value of the time
+signature is executed:
@lilypond[quote,verbatim]
\score {
\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
-time signature.
+@code{@var{timeSignatureFraction}}, a fraction describing the
+time signature to which these values apply.
@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
}
@end lilypond
+A further method of changing these time-signature-related variables,
+which avoids reprinting the time signature at the time of the change,
+is shown in @ref{Setting automatic beam behavior}.
+
@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
@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}
Notation Reference:
@ref{Mensural time signatures},
+@ref{Setting automatic beam behavior},
@ref{Time administration}.
+Installed Files:
+@file{scm/time-signature-settings.scm}.
+
Snippets:
@rlsr{Rhythms}.
@rinternals{TimeSignature},
@rinternals{Timing_translator}.
+
@node Metronome marks
@unnumberedsubsubsec Metronome marks
For more details, see @ref{Formatting text}.
-
@seealso
Music Glossary:
@rglos{metronome},
r4 e8 | a4 c8 b c4 |
@end lilypond
-The @code{\partial @var{duration}} can also be written as;
+@code{\partial @var{duration}} can also be written as:
@example
\set Timing.measurePosition -@var{duration}
@end example
-So @code{\partial 8} becomes:
+So the first example above could be written:
@lilypond[quote,verbatim,relative=1]
\time 3/4
-\set Timing.measurePosition = #(ly:make-moment -1 8)
+\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.}
+The property @code{measurePosition} contains a rational number, which
+is usually positive and indicates how much of the measure has passed
+at this point. The @code{\partial @var{duration}} command sets it to
+a negative number, when it has a different meaning: it then says that
+the current (first) bar will be @emph{preceded} by a bar 0 (the partial
+bar) with a duration given by @var{duration}.
@seealso
Music Glossary:
\time 6/8
\partial 8
e8 | a4 c8 b[ c b] |
-\set Timing.measurePosition = #(ly:make-moment -1 4)
+\set Timing.measurePosition = #(ly:make-moment -1/4)
r8 e,8 | a4 c8 b[ c b] |
@end lilypond
+
@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
-\override Score.BarNumber #'break-visibility = #all-visible
+\override Score.BarNumber.break-visibility = #all-visible
c4 d e d
\cadenzaOn
c4 c d8[ d d] f4 g4.
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}.
+
+@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} and enabled
-by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
-must be entered manually (@ref{Manual beams}).
+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 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.
-@subsubheading Different time signatures with equal-length measures
+@subsubsubheading Different time signatures with equal-length measures
Set a common time signature for each staff, and set the
@code{timeSignatureFraction} to the desired fraction. Then use the
}
\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. c \times 2/3 { c8[ c c] } c4
+ c4. c \tuplet 3/2 { c8[ c c] } c4
}
}
>>
@end lilypond
-@subsubheading Different time signatures with unequal-length measures
+@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
@cindex compound time signatures
@cindex time signature, compound
-@subsubheading Compound time signatures
+@subsubsubheading Compound time signatures
These are created using the @code{\compoundMeter} function. The syntax
for this is:
@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
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.
}
}
\new Voice \with {
- \consists Pitch_squash_engraver
+ \consists "Pitch_squash_engraver"
} \relative c'' {
\improvisationOn
c4 c8 c c4 c8 c
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-
@seealso
Snippets:
@rlsr{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 \set
@funindex set
-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,
-each unit of length @code{baseMoment} is a single beat.
+When automatic beaming is enabled, the placement of automatic beams
+is determined by three context properties:
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+The default values of these variables may be overridden as described
+below, or alternatively the default values themselves may be changed
+as explained in @ref{Time signature}.
+
+If a @code{beamExceptions} rule is defined for the time signature in
+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{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
+
+@example
+\set Timing.beamExceptions = #'()
+@end example
+
+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.
@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
+@lilypond[quote,relative=2,verbatim]
+\time 4/4
+a8^"default" 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.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.
@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
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 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} |
@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
+% This will beam (1 1 1) due to default baseMoment and beatStructure
\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
@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
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{beam-endings-in-score-context.ly}
-
@seealso
+Notation Reference:
+@ref{Time signature}.
+
Installed Files:
-@file{scm/beam-settings.scm}.
+@file{scm/time-signature-settings.scm}.
Snippets:
@rlsr{Rhythms}.
@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 {
\time 3/4
- \set Timing.baseMoment = #(ly:make-moment 1 8)
+ \set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 5)
\repeat unfold 6 { a8 }
}
<<
\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 last four 32nd notes are at a constant tempo.
@lilypond[relative=1,verbatim,quote]
-\override Beam #'grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2 1)
+\override Beam.grow-direction = #LEFT
+\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)
+\override Beam.grow-direction = #RIGHT
+\featherDurations #(ly:make-moment 2/3)
{ c32[ d e f] }
% revert to non-feathered beams
-\override Beam #'grow-direction = #'()
+\override Beam.grow-direction = #'()
{ g32[ a b c] }
@end lilypond
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::
f1 \bar "."
g1 \bar "||"
a1 \bar ".|"
-b1 \bar ".|."
+b1 \bar ".."
c1 \bar "|.|"
d1 \bar "|."
e1
together with dotted and dashed bar lines:
@lilypond[quote,relative=1,verbatim]
-f1 \bar ":"
-g1 \bar "dashed"
+f1 \bar ";"
+g1 \bar "!"
a1
@end lilypond
@noindent
-and five types of repeat bar line:
+and nine types of repeat bar lines:
@lilypond[quote,relative=1,verbatim]
-f1 \bar "|:"
-g1 \bar ":|:"
+f1 \bar ".|:"
+g1 \bar ":..:"
a1 \bar ":|.|:"
b1 \bar ":|.:"
-c1 \bar ":|"
-e1
+c1 \bar ":.|.:"
+d1 \bar "[|:"
+e1 \bar ":|][|:"
+f1 \bar ":|]"
+g1 \bar ":|."
+a1
@end lilypond
Additionally, a bar line can be printed as a simple tick:
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
+bar line:
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "k"
+@end lilypond
+Further details of this notation are explained in
+@ref{Typesetting Kievan square notation}.
+
@cindex segno
For in-line segno signs, there are three types of bar lines which
c4 c c c \break
\bar "S"
c4 c c c
-\bar "|S"
+\bar "S-|"
c4 c c c \break
-\bar "|S"
+\bar "S-|"
c4 c c c
-\bar "S|"
+\bar "S-S"
c4 c c c \break
-\bar "S|"
+\bar "S-S"
c1
@end lilypond
using the various repeat commands (see @ref{Repeats}), which
automatically print the appropriate bar lines.
-In addition, you can specify @code{"||:"}, which is equivalent to
-@code{"|:"} except at line breaks, where it gives a double bar
+In addition, you can specify @code{".|:-||"}, which is equivalent to
+@code{".|:"} except at line breaks, where it gives a double bar
line at the end of the line and a start repeat at the beginning of
the next line.
@lilypond[quote,relative=2,verbatim]
c4 c c c
-\bar "||:"
+\bar ".|:-||"
c4 c c c \break
-\bar "||:"
+\bar ".|:-||"
c4 c c c
@end lilypond
@lilypond[quote,relative=2,verbatim]
c4 c c c
-\bar ":|S"
+\bar ":|.S"
c4 c c c \break
-\bar ":|S"
+\bar ":|.S"
c4 c c c
-\bar ":|S."
+\bar ":|.S-S"
c4 c c c \break
-\bar ":|S."
+\bar ":|.S-S"
c4 c c c
-\bar "S|:"
+\bar "S.|:-S"
c4 c c c \break
-\bar "S|:"
+\bar "S.|:-S"
c4 c c c
-\bar ".S|:"
+\bar "S.|:"
c4 c c c \break
-\bar ".S|:"
+\bar "S.|:"
c4 c c c
-\bar ":|S|:"
+\bar ":|.S.|:"
c4 c c c \break
-\bar ":|S|:"
+\bar ":|.S.|:"
c4 c c c
-\bar ":|S.|:"
+\bar ":|.S.|:-S"
c4 c c c \break
-\bar ":|S.|:"
+\bar ":|.S.|:-S"
c1
@end lilypond
+Additionally there is an @code{\inStaffSegno} command which
+creates a segno bar, placed in cooperation
+with the @code{\repeat volta} command.
+
+@funindex \defineBarLine
+@funindex defineBarLine
+@cindex bar lines, defining
+@cindex defining bar lines
+
+New bar line types can be defined with @code{\defineBarLine}:
+
+@example
+\defineBarLine @var{bartype} #'(@var{end} @var{begin} @var{span})
+@end example
+
+The @code{\defineBarline} variables can include the
+@q{empty} string @code{""}, which is equivalent to an invisible
+bar line being printed. Or they can be set to @code{#f} which
+prints no bar line at all.
+
+After the definiton, the new bar line can be used by
+@code{\bar} @var{bartype}.
+
+There are currently ten bar line elements available:
+
+@lilypond[quote,verbatim]
+\defineBarLine ":" #'("" ":" "")
+\defineBarLine "=" #'("=" "" "")
+\defineBarLine "[" #'("" "[" "")
+\defineBarLine "]" #'("]" "" "")
+
+\new Staff {
+ s1 \bar "|"
+ s1 \bar "."
+ s1 \bar "!"
+ s1 \bar ";"
+ s1 \bar ":"
+ s1 \bar "k"
+ s1 \bar "S"
+ s1 \bar "="
+ s1 \bar "["
+ s1 \bar "]"
+ s1 \bar ""
+}
+@end lilypond
+
+The @code{"="} bar line provides the double span bar line, used
+in combination with the segno sign. Do not use it as a standalone
+double thin bar line; here, @code{\bar} @var{"||"} is
+preferred.
+
+The @code{"-"} sign starts annotations to bar lines which
+are useful to distinguish those with identical appearance
+but different behavior at line breaks and/or different span bars.
+The part following the @code{"-"} sign is not used for building up
+the bar line.
+
+@lilypond[quote,relative=2,verbatim]
+\defineBarLine "||-dashedSpan" #'("||" "" "!!")
+
+\new StaffGroup <<
+ \new Staff {
+ c1 \bar "||"
+ c1 \bar "||-dashedSpan"
+ c1
+ }
+ \new Staff {
+ c1
+ c1
+ c1
+ }
+>>
+@end lilypond
+
+Furthermore, the space character @code{" "} serves as a placeholder
+for defining span bars correctly aligned to the main bar lines:
+
+@lilypond[quote,relative=2,verbatim]
+\defineBarLine ":|.-wrong" #'(":|." "" "|.")
+\defineBarLine ":|.-right" #'(":|." "" " |.")
+
+\new StaffGroup <<
+ \new Staff {
+ c1 \bar ":|.-wrong"
+ c1 \bar ":|.-right"
+ c1
+ }
+ \new Staff {
+ c1
+ c1
+ c1
+ }
+>>
+@end lilypond
+
+If additional elements are needed, LilyPond provides a simple
+way to define them. For more informations 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
automatically applied to all staves. The resulting bar lines are
@cindex default bar lines, changing
@cindex bar lines, default, changing
-@snippets
-
@funindex whichBar
@funindex defaultBarType
@funindex \bar
@code{"|"}. This may be changed at any time with
@samp{\set Timing.defaultBarType = @var{bartype}}.
-
@seealso
Notation Reference:
@ref{Line breaking},
@ref{Repeats},
@ref{Grouping staves}.
+Installed Files:
+@file{scm/bar-line.scm}.
+
Snippets:
@rlsr{Rhythms}.
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 ""
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}.
@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
@lilypond[quote,relative=2,verbatim]
<<
- \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" d2. }
+ \new Staff { e4 \bar ".|:" \grace c16 d2. }
+ \new Staff { c4 \bar ".|:" d2. }
>>
@end lilypond
@lilypond[quote,relative=2,verbatim]
<<
- \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" \grace s16 d2. }
+ \new Staff { e4 \bar ".|:" \grace c16 d2. }
+ \new Staff { c4 \bar ".|:" \grace s16 d2. }
>>
@end lilypond
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}.
\MyCadenza c'1
}
\new Staff {
- $(mmrest-of-length MyCadenza)
+ #(mmrest-of-length MyCadenza)
c'1
- $(skip-of-length MyCadenza)
+ #(skip-of-length MyCadenza)
c'1
}
>>
@end lilypond
-
@seealso
Music Glossary:
@rglos{cadenza}.
@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 |
}
@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}.
-