@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}
@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]
+g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+@end lilypond
+
@cindex tuplet bracket placement
@funindex \tupletUp
@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
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
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
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
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:
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 "|"
@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.
@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 }
@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
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
projects / lilypond.git / blobdiff