@node Rhythms
@section Rhythms
-@lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
+@lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
{rhythms-headword.ly}
-This section discusses rhythms, durations, and bars.
+This section discusses rhythms, rests, durations, beaming and bars.
@menu
* Writing rhythms::
* Durations::
* Tuplets::
* Scaling durations::
+* Ties::
@end menu
@node Durations
-@unnumberedsubsubsec Durations
+@subsubsection Durations
+
+@cindex durations, of notes
+@cindex note durations
-@cindex duration
@funindex \longa
@funindex \breve
@funindex \maxima
-When entering notes or rests, durations are designated by
-numbers and dots: durations are entered as their reciprocal
-values. For example, a quarter note is entered using a @code{4}
-(since it is a 1/4 note), while a half note is entered using a
-@code{2} (since it is a 1/2 note). For notes longer than a whole
-you must use the @code{\longa} and @code{\breve} commands.
-
-@ignore
----- Example to be removed if following is thought better ----
-@example
-c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-@end example
+Durations are designated by numbers and dots.
+Durations are entered as their reciprocal values. For example, a
+quarter note is entered using a @code{4} (since it is a 1/4 note),
+and a half note is entered using a @code{2} (since it is a 1/2
+note). For notes longer than a whole you must use the
+@code{\longa} (a double breve) and @code{\breve} commands.
+Durations as short as 64th notes may be specified. Shorter values
+are possible, but only as beamed notes.
-@lilypond[quote]
-\score {
-\relative c'' {
- a\longa*1/4 a\breve*1/2 \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
- }
- \layout {
- ragged-right = ##t
- indent=0\mm
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
- \context {
- \Staff
- \remove "Clef_engraver"
- \override StaffSymbol #'transparent = ##t
- \override TimeSignature #'transparent = ##t
- \override BarLine #'transparent = ##t
- \consists "Pitch_squash_engraver"
- }
- }
-}
+@c Two 64th notes are needed to obtain beams
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\time 8/1
+c\longa c\breve c1 c2
+c4 c8 c16 c32 c64 c64
@end lilypond
-@end ignore
-@c TODO Consider whether the beams should be
-@c removed in the following. If they,
-@c the c'128 notes are not displayed
-@c properly. See Note below. \autoBeamOff ?
+@noindent
+Here are the same durations with automatic beaming turned off.
-@lilypond[quote,ragged-right,verbatim,fragment]
-<<
- \new Staff {
- \time 8/1
- c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'128 c'128
- }
- \new Staff {
- r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128
- }
->>
+@c not strictly "writing rhythms"; more of a "displaying" thing,
+@c but it's ok here. -gp
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\time 8/1
+\autoBeamOff
+c\longa c\breve c1 c2
+c4 c8 c16 c32 c64 c64
@end lilypond
-Note: Up to four flags and up to five beams can be attached
-to note stems, so durations as small as 128 may be specified
-with beaming, but without beaming durations shorter than
-64 should not be entered - a warning will be produced.
-Durations up to 128 may be specified for rests.
+A note with the duration of a quadruple breve may be entered with
+@code{\maxima}, but this is supported only within ancient music
+notation. For details, see @ref{Ancient notation}.
-If the duration is omitted then it is set to the previously
+If the duration is omitted, it is set to the previously
entered duration. The default for the first note is a quarter
note.
-@lilypond[quote,ragged-right,verbatim,fragment]
-{ a a a2 a a4 a a1 a }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a a a2 a a4 a a1 a
@end lilypond
+@cindex notes, dotted
+@cindex dotted notes
@funindex .
-To obtain dotted note lengths, simply add a dot (@samp{.}) to the
-number. Double-dotted notes are produced in a similar way.
+To obtain dotted note lengths, place a dot (@code{.}) after the
+duration. Double-dotted notes are specified by appending two
+dots, and so on.
-@lilypond[quote,ragged-right,fragment,verbatim]
-a'4 b' c''4. b'8 a'4. b'4.. c''8.
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 b c4. b8 a4. b4.. c8.
@end lilypond
+Some durations cannot be represented with just binary durations
+and dots; they can be represented only by tying two or more
+notes together. For details, see @ref{Ties}.
+
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes, see @ref{Vocal music}.
+
+Optionally, notes can be spaced strictly proportionately to their
+duration. For details of this and other settings which control
+proportional notation, see @ref{Proportional notation}.
+
@refcommands
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. The following commands may be used to
-force a particular direction manually
+force a particular direction manually, and to return to the
+default behaviour:
@funindex \dotsUp
@code{\dotsUp},
@funindex \dotsNeutral
@code{\dotsNeutral}.
-@c TODO: after deciding the link question, fix these. -gp
-Durations are entered in the same way in @code{drummode},
-@code{chordmode}, @code{figuremode} and (optionally)
-in @code{lyricmode}.
@seealso
-For alternative ways of aligning lyrics to notes see
-This manual: @ref{Vocal music}
+Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
+@rglos{Duration names notes and rests}.
+
+Notation Reference: @ref{Automatic beams}, @ref{Ties},
+@ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
+@ref{Ancient notation}, @ref{Proportional notation}.
-For a complete description of how to enter rests see
-This manual: @ref{Writing rests}
+Snippets: @lsrdir{Rhythms,Rhythms}
-Program reference: @internalsref{Dots}, and
+Internals Reference: @internalsref{Dots},
@internalsref{DotColumn}.
+@refbugs
+
+@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.
+
+
@node Tuplets
-@unnumberedsubsubsec Tuplets
+@subsubsection Tuplets
@cindex tuplets
@cindex triplets
@funindex \times
Tuplets are made out of a music expression by multiplying all
-durations with a fraction
+durations with a fraction:
@example
\times @var{fraction} @var{musicexpr}
@end example
@noindent
-The duration of @var{musicexpr} will be multiplied by the
-fraction. The fraction's denominator will be printed over the
-notes, optionally with a bracket. The most common tuplet is the
-triplet in which 3 notes have the length of 2, so the notes are
-2/3 of their written length
+The duration of @var{musicexpr} will be multiplied by the
+fraction. The fraction's denominator 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 length of 2, so
+the notes are 2/3 of their written length.
-@lilypond[quote,ragged-right,fragment,verbatim]
-g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+g4 \times 2/3 {c4 c c} d4 d4
@end lilypond
-Tuplets may be nested, for example,
+Tuplets may be nested; for example,
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
-\times 4/6 {
+\times 2/3 {
a4 a
\times 3/5 { a a a a a }
}
@commonprop
-@funindex tupletNumberFormatFunction
@cindex tuplet formatting
+@cindex triplet formatting
+@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
+
+@c Sent to Snippet 5 Feb 08
The property @code{tupletSpannerDuration} specifies how long each
bracket should last. With this, you can make lots of tuplets
while typing @code{\times} only once, thus saving lots of typing.
In the next example, there are two triplets shown, while
-@code{\times} was only used once
+@code{\times} was only used once.
@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
For more information about @code{make-moment}, see
@ref{Time administration}.
-The format of the number is determined by the property @code{text}
-in @code{TupletNumber}. The default prints only the denominator,
-but if it is set to the function
-@code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will
-be printed instead.
+@funindex TupletNumber
+
+By default, only the numerator of the tuplet number
+is printed over the tuplet bracket, i.e. the denominator
+of the argument to the @code{\times} command. Alternatively,
+@var{num}:@var{den} of the tuplet number may be printed, or
+the tuplet number may be suppressed altogether.
-To avoid printing tuplet numbers, use
@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\times 2/3 { c8 c c } \times 2/3 { c8 c c }
+\override TupletNumber #'text = #tuplet-number::calc-fraction-text
+\times 2/3 { c8 c c }
\override TupletNumber #'transparent = ##t
-\times 2/3 { c8 c c } \times 2/3 { c8 c c }
+\times 2/3 { c8 c c }
+@end lilypond
+
+@c TODO Add snippet to show this
+Tuplets may extend over bar lines, but they will inhibit a
+line break unless the @code{Forbid_line_break_engraver} is
+removed from the @code{Voice context}.
+
+@subheading Modifying nested tuplets
+
+@cindex tuplets, nested
+@cindex triplets, nested
+@cindex bracket, tuplet
+@cindex tuplet bracket
+@cindex triplet bracket
+@funindex TupletBracket
+
+If nested tuplets do not begin at the same moment their
+appearance may be modified in the usual way with
+@code{\override} commands:
+
+@c NOTE Tuplet brackets collide if notes are high on staff
+@c See issue 509
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
+\times 2/3 { c8[ c c]}
+\once \override TupletNumber #'text = #tuplet-number::calc-fraction-text
+\times 2/3 {
+ c[ c]
+ c[ c]
+ \once \override TupletNumber #'transparent = ##t
+ \times 2/3 { c8[ c c] }
+\times 2/3 { c8[ c c]}
+}
@end lilypond
-Use the @code{\tweak} function to override nested tuplets
-beginning at the same music moment. In this example,
-@code{\tweak} specifies fraction text for the outer
-@code{TupletNumber} and denominator text for the
-@code{TupletNumber} of the first of the three inner tuplets.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff {
- \tweak #'text #tuplet-number::calc-fraction-text
- \times 4/3 {
- \tweak #'text #tuplet-number::calc-denominator-text
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- }
+However, if the nested tuplets begin at the same musical moment,
+@code{\override} commands cannot be applied to just one of them
+-- they apply to both. So to change the appearance of nested
+tuplets beginning at the same musical moment individually, the
+@code{\tweak} function must be used (see @ref{Objects connected
+to the input}). The @code{\tweak} function is applied to the
+following @code{\times} command as it appears in the input stream,
+and so can distinguish between separate @code{\times} commands
+even if their tuplets begin at the same musical moment.
+
+In this example, the @code{\tweak} command is used to specify
+fraction text for the outer @code{TupletNumber} and denominator
+text for the @code{TupletNumber} of the first of the three
+inner tuplets.
+
+@c NOTE Tuplet brackets collide if notes are high on staff
+@c so use relative=1 until this is fixed
+@c See issue 509
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
+\tweak #'text #tuplet-number::calc-fraction-text
+\times 4/3 {
+ \tweak #'text #tuplet-number::calc-denominator-text
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
}
@end lilypond
-Here @code{\tweak} and @code{\override} work together to specify
-@code{TupletBracket} direction. The first @code{\tweak} positions
-the @code{TupletBracket} of the outer tuplet above the staff. The
-second @code{\tweak} positions the @code{TupletBracket} of the
-first of the three inner tuplets below the staff. Note that this
-pair of @code{\tweak} functions affects only the outer tuplet and
-the first of the three inner tuplets because only those two
-tuplets begin at the same music moment. We use @code{\override}
-in the usual way to position the @code{TupletBrackets} of the
-second and third of the inner tuplets below the staff.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff {
- \tweak #'text #tuplet-number::calc-fraction-text
- \tweak #'direction #up
- \times 4/3 {
- \tweak #'direction #down
- \times 2/3 { c'8[ c'8 c'8] }
- \override TupletBracket #'direction = #down
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- }
+In the next example, @code{\tweak} and @code{\override} work
+together to specify @code{TupletBracket} direction. The first
+@code{\tweak} positions the @code{TupletBracket} of the outer
+tuplet above the staff. The second @code{\tweak} positions the
+@code{TupletBracket} of the first of the three inner tuplets below
+the staff. Note that the @code{\tweak} command needs to be used
+only for events that begin at the same music moment: the outer
+tuplet and the first of the three inner tuplets. To position the
+@code{TupletBracket}s of the second and third of the inner tuplets
+below the staff, we can use @code{\override} in the usual way.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\tweak #'text #tuplet-number::calc-fraction-text
+\tweak #'direction #up
+\times 4/3 {
+ \tweak #'direction #down
+ \times 2/3 { c8[ c8 c8] }
+ \override TupletBracket #'direction = #down
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
}
@end lilypond
-Tuplet brackets can be made to run to prefatory matter or the next
-note
+@subheading Modifying tuplet bracket length
+
+@cindex tuplet bracket length
+@cindex triplet bracket length
+@cindex bracket length, tuplets
+@funindex tupletFullLength
+@funindex tupletFullLengthNote
+
+Tuplet brackets can be made to run to prefatory matter or the
+next note.
+Default tuplet brackets end at the right edge of the final note
+of the tuplet; full-length tuplet brackets extend farther to the
+right, either to cover all the non-rhythmic notation up to the
+following note, or to cover only the whitespace before the next
+item of notation, be that a clef, time signature, key signature,
+or another note. The example shows how to switch tuplets to
+full length mode and how to modify what material they cover.
-@lilypond[ragged-right]
+
+@lilypond[ragged-right,verbatim,quote]
\new RhythmicStaff {
+ % Set tuplets to be extendable ..
\set tupletFullLength = ##t
- \time 4/4
- \times 4/5 {
- c4 c1
- }
+ % .. to cover all items up to the next note
\set tupletFullLengthNote = ##t
\time 2/4
- \times 2/3 {
- c4 c c
- }
+ \times 2/3 { c4 c c }
+ % .. or to cover just whitespace
+ \set tupletFullLengthNote = ##f
+ \time 4/4
+ \times 4/5 { c4 c1 }
\time 3/4
c4
}
@end lilypond
+@subheading Compressing music
+
+@cindex compressing music
+@funindex \compressMusic
+
+@code{\compressMusic} works similarly to \times, but does not
+create a tuplet bracket. One application is in polymetric
+notation, as shown in the following example. See
+@ref{Polymetric notation}.
+
+@c not added yet. -gp
+@c @lilypondfile [ragged-right,line-width=16\cm,staffsize=14,quote]
+@c {printing-music-with-different-time-signatures.ly}
+
@seealso
-Program reference: @internalsref{TupletBracket},
+Music Glossary: @rglos{triplet}, @rglos{tuplet},
+@rglos{polymetric}.
+
+Notation Reference: @ref{Time administration},
+@ref{Objects connected to the input}, @ref{Polymetric notation}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}.
+
+Internals Reference: @internalsref{TupletBracket},
@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
@node Scaling durations
-@unnumberedsubsubsec Scaling durations
+@subsubsection Scaling durations
-You can alter the length of duration by a fraction @var{N/M}
-appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
+You can alter the length of a duration by a fraction @var{N/M}
+by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
This will not affect the appearance of the notes or rests
-produced. These may be combined such as @samp{*M*N}.
+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{*M*N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
b16*4 c4
@end lilypond
+The duration of skip or spacing notes may also be modified by
+a multiplier. This is useful for skipping many measures, e.g.,
+@code{s1*23}.
+
+@seealso
+
+Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+@node Ties
+@subsubsection Ties
+
+@cindex tie
+@funindex ~
+
+A tie connects two adjacent note heads of the same pitch. The tie
+in effect extends the length of a note.
+
+@warning{Ties should not be confused with @emph{slurs}, which
+indicate articulation, or @emph{phrasing slurs}, which indicate
+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{~}
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+e' ~ e'
+@end lilypond
+
+
+@noindent
+Ties are used either when the note crosses a bar line, or when
+dots cannot be used to denote the rhythm. Ties should also be
+used when note values cross larger subdivisions of the measure:
+
+@lilypond[fragment,quote,ragged-right]
+\relative {
+ r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+}
+@end lilypond
+
+If you need to tie a lot of notes across bar lines, it may be
+easier to use automatic note splitting (see @ref{Automatic note
+splitting}). This mechanism automatically splits long notes, and
+ties them across bar lines.
+
+@funindex \repeatTie
+@cindex repeating ties
+@cindex volta brackets and ties
+
+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
+the chord.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+ <c e g> ~ <c e g>
+<c~ e g~ b> <c e g b>
+@end lilypond
+
+When a second alternative of a repeat starts with a tied note, you
+have to repeat the tie. This can be achieved with
+@code{\repeatTie},
+
+@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
+\repeat volta 2 { c g <c e>2 ~ }
+\alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
+@end lilypond
+
+@cindex laissez vibrer
+@cindex ties, laissez vibrer
+@funindex \laissezVibrer
+@funindex \tieUp
+@funindex \tieDown
+@funindex \tieNeutral
+
+@notation{L.v.} ties (@notation{laissez vibrer}) indicate that
+notes must not be damped at the end. It is used in notation for
+piano, harp and other string and percussion instruments. They can
+be entered using @code{\laissezVibrer}:
+
+@lilypond[fragment,ragged-right,verbatim,relative=1]
+<c f g>\laissezVibrer
+@end lilypond
+
+The direction of a tie can be specified with @code{\tieUp} or
+@code{\tieDown} (see example below). @code{\tieNeutral} reverts
+to the default behaviour again.
+
+However, as with other music elements of this kind, there is a
+convenient shorthand for forcing tie directions. By adding
+@code{_} or @code{^} before the tilde, the direction is also set:
+
+@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
+c4_~ c c^~ c)
+@end lilypond
+
+
+@seealso
+
+Music Glossary: @rglos{tie},
+@c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@c @lsr{connecting,laissez-vibrer-ties.ly}
+
+
+@commonprop
+
+Ties are sometimes used to write out arpeggios. In this case, two
+tied notes need not be consecutive. This can be achieved by
+setting the @code{tieWaitForNote} property to true. The same
+feature is also useful, for example, to tie a tremolo to a chord,
+but in principle, it can also be used for ordinary, consecutive
+notes:
+
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+\set tieWaitForNote = ##t
+\grace { c16[~ e~ g]~ } <c, e g>2
+\repeat tremolo 8 { c32~ c'~ } <c c,>1
+e8~ c~ a~ f~ <e' c a f>2
+\tieUp c8~ a \tieDown \tieDotted g~ c g2
+@end lilypond
+
+Ties may be engraved manually by changing the
+@code{tie-configuration} property of the @code{TieColumn} object.
+The first number indicates the distance from the center of the
+staff in staff-spaces, and the second number indicates the
+direction (1=up, -1=down).
+
+@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
+<c e g>2~ <c e g> |
+\override TieColumn #'tie-configuration =
+ #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
+<c e g>~ <c e g> |
+@end lilypond
+
+
+@refcommands
+
+
+@funindex \tieUp
+@code{\tieUp},
+@funindex \tieDown
+@code{\tieDown},
+@funindex \tieNeutral
+@code{\tieNeutral},
+@funindex \tieDotted
+@code{\tieDotted},
+@funindex \tieDashed
+@code{\tieDashed},
+@funindex \tieSolid
+@code{\tieSolid}.
+
@seealso
-This manual: @ref{Tuplets}.
+
+
+Notation Reference: @ref{Automatic note splitting}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference: @internalsref{Tie}.
+
+
+@refbugs
+
+Switching staves when a tie is active will not produce a slanted
+tie.
+
+Changing clefs or octavations during a tie is not really
+well-defined. In these cases, a slur may be preferable.
+
@menu
* Rests::
* Skips::
-* Multi measure rests::
+* Full measure rests::
@end menu
@node Rests
-@unnumberedsubsubsec Rests
-@cindex Rests
+@subsubsection Rests
+@cindex rest
+@cindex maxima
+@cindex longa
+@cindex breve
@funindex \rest
@funindex r
+@funindex \maxima
+@funindex \longa
+@funindex \breve
-Rests are entered like notes with the note name @code{r}
+Rests are entered like notes with the note name @code{r}:
+@c \time 16/1 is used to avoid spurious bar lines
+@c and long tracts of empty measures
@lilypond[fragment,quote,ragged-right,verbatim]
-r1 r2 r4 r8
+\new Staff {
+ \time 16/1
+ \override Staff.TimeSignature #'stencil = ##f
+ r\maxima
+ r\longa r\breve r1 r2
+ r4 r8 r16 r32 r64
+}
@end lilypond
-Whole bar rests, centered in middle of the bar, must be entered as
-multi-measure rests. They can be used for a single bar as well as
-many bars, and are discussed in @ref{Multi measure rests}.
+Whole measure rests, centered in middle of the measure, must be entered as
+multi-measure rests. They can be used for a single measure as well as
+many measures and are discussed in @ref{Full measure rests}.
To explicitly specify a rest's vertical position, write a note
followed by @code{\rest}. A rest will be placed in the position
-where the note would appear,
+where the note would appear. This allows for precise manual
+formatting of polyphonic music, since the automatic rest collision
+formatter will leave these rests alone.
-@lilypond[fragment,quote,ragged-right,verbatim]
-a'4\rest d'4\rest
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a4\rest d4\rest
@end lilypond
-@noindent
-This makes manual formatting of polyphonic music much easier,
-since the automatic rest collision formatter will leave these
-rests alone.
@seealso
-Program reference: @internalsref{Rest}.
+Notation Reference: @ref{Full measure rests}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}.
+
+Internals Reference: @internalsref{Rest}.
+@refbugs
+
+@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).
+
@node Skips
-@unnumberedsubsubsec Skips
+@subsubsection Skips
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
+@cindex skip
+@cindex invisible rest
+@cindex space note
@funindex \skip
@funindex s
An invisible rest (also called a @q{skip}) can be entered like a
-note with note name @samp{s} or with @code{\skip @var{duration}}
+note with note name @code{s} or with @code{\skip @var{duration}}
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
@end lilypond
+@cindex lyrics, skip
+
The @code{s} syntax is only available in note mode and chord mode.
-In other situations, for example, when entering lyrics, you should
-use the @code{\skip} command
+In other situations, for example, when entering lyrics, one must
+use the @code{\skip} command:
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,ragged-right,verbatim,relative=2]
<<
- \relative { a'2 a2 }
+ { a2 a2 }
\new Lyrics \lyricmode { \skip 2 bla2 }
>>
@end lilypond
@internalsref{Voice} when necessary, similar to note and rest
commands. For example, the following results in an empty staff.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
{ s4 }
@end lilypond
+@c with ragged-right, the staff lines are cut BEFORE the time
+@c signature, which makes for a VERY empty staff
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
+@c The fragment @code{@{ \skip 4 @} } would produce an empty page.
+@c Misleading -- it doesn't produce anything, not even an empty page.
+@c Ppl who want to make empty sheets will see this and wonder what's
+@c happening. -eo
@seealso
-Program reference: @internalsref{SkipMusic}.
+Snippets: @lsrdir{Rhythms,Rhythms}
+Internals Reference: @internalsref{SkipMusic}.
-@node Multi measure rests
-@unnumberedsubsubsec Multi measure rests
+
+@node Full measure rests
+@subsubsection Full measure rests
@cindex multi measure rests
@cindex full measure rests
-@cindex Rests, multi measure
-@cindex Rests, full measure
-@cindex whole rests for a full measure
+@cindex rest, multi measure
+@cindex rest, full measure
+@cindex whole rest for a full measure
@funindex R
-Rests for one or more full measures are entered using
-@code{R} followed by a duration (see @ref{Durations}).
-The duration should correspond to an integral number
-of bars, otherwise a barcheck warning is printed.
-Multi-measure rests are principally used to indicate
-that a part in a multi-part score should be silent:
+Rests for one or more full measures are entered using @code{R}
+followed by a duration (see @ref{Durations}). The duration should
+correspond to an integral number of measures, otherwise a barcheck
+warning is printed. A @rglos{multi-measure rest} is used
+principally to indicate that a part in a multi-part score should
+be silent:
-@lilypond[quote,ragged-right,fragment,verbatim]
-{
- \set Score.skipBars = ##t
- R1*4^"Piano" R1*24^"Solo" R1*4^"Piano" b'2 b'4 a'4
-}
+@lilypond[quote,fragment,verbatim,relative=2]
+\set Score.skipBars = ##t
+R1*4
+R1*24
+R1*4
+b2^"Tutti" b4 a4
@end lilypond
A multi-measure rest can be expanded in the printed score
-to show all the rest bars explicitly, or, as above, it can be
-condensed to a single bar
+to show all the rest measures explicitly, or, as above, it can be
+condensed to a single measure
containing a multi-measure rest symbol, with the number of
-bars of rest printed above the bar. This expansion
+measures of rest printed above the measure. This expansion
is controlled by the property @code{Score.skipBars}. If this is
-set to true, empty measures will condensed to a single bar.
+set to true, empty measures will be condensed to a single measure.
@lilypond[quote,ragged-right,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2 |
@end lilypond
The @code{1} in @code{R1} is similar to the duration notation
-used for notes and is the length of a bar in 2/2 or 4/4 time.
+used for notes and is the length of a measure in 2/2 or 4/4 time.
The duration in a multi-measure rest must always be an integral
-number of bar-lengths, so in other time signatures you must
-use augmentation dots or fractions:
+number of measure-lengths, so in other time signatures augmentation
+dots or fractions must be used:
@lilypond[quote,ragged-right,fragment,verbatim]
\set Score.skipBars = ##t
or breve rest, centered in the measure, regardless of the time
signature.
-@c TODO Is "church rests" an accepted musical term? I can't
-@c find it anywhere. Is there a better term? If it is
-@c retained it should be added to glossary.
+@cindex church rest
+@cindex rest, church
+@cindex kirchenpausen
If there are 10 or fewer measures of rest, LilyPond prints
-@q{church rests} (a series of rectangles) in the staff and
-prints a simple line otherwise. This default number
+a series of longa and breve rests (called in German
+Kirchenpausen - @q{church rests}) within the staff and
+prints a simple line otherwise. This default number of 10
may be changed by overriding
@code{MultiMeasureRest.expand-limit}.
R1*2 | R1*5 | R1*9
@end lilypond
+Note that unlike ordinary rests, the vertical position on the
+staff of the multi-measure rest symbol of either form cannot be
+changed.
+
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
Text can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax @ref{Text markup}. A variable
-(@code{\fermataMarkup}) is provided for adding fermatas
+@var{note}-@code{markup} syntax described in @ref{Text markup}.
+The variable @code{\fermataMarkup} is provided for adding
+fermatas.
@lilypond[quote,ragged-right,verbatim,fragment]
\set Score.skipBars = ##t
R2.^\fermataMarkup
@end lilypond
-Warning! This text is created by @code{MultiMeasureRestText}, not
-@code{TextScript}.
+@warning{Text attached to a multi-measure rest is created
+by @code{MultiMeasureRestText}, not
+@code{TextScript}. Overrides must be directed to the correct
+object, or they will be ignored. See the following example.}
@lilypond[quote,ragged-right,verbatim,fragment]
\override TextScript #'padding = #5
R1^"high"
@end lilypond
-Text attached to a multi-measure rest will be centered above
-(or below) it. Long text attached in this way will not cause
-the bar to expand, and may collide with text in adjacent bars.
+Text attached to a multi-measure rest will be centered above or
+below it. Long text attached in this way does not cause the
+measure to expand, and may collide with text in adjacent measures.
Long text is better attached to a zero-length skip note preceding
-the rest, since this will cause the bar to expand to accommodate
-the length of the text. However, text attached above the bar
-in this way will collide with the rest number unless it is
-raised, either by increasing the padding or using @code{\raise}:
+the rest, preceded by @code{\textLengthOn} (turn off again with
+@code{\textLengthOff}), since this will cause the measure to expand to
+accommodate the length of the text:
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\set Score.skipBars = ##t
-s1*0^\markup {\hspace #0 \raise #3 [FRED.]}
-R1*4
-s1*0^\markup {\hspace #0 \raise #3 [MABEL] }
-s1*0_\markup {\italic {Cue: ...so let it be}}
-R1*6
+\textLengthOn
+s1*0^\markup {[MAJOR GENERAL]}
+R1*19
+s1*0^\markup {[MABEL] }
+s1*0_\markup {\italic {Cue: ... it is yours}}
+R1*30
+\textLengthOff
+c4^\markup {CHORUS} d f c
@end lilypond
+@noindent
+Text attached to a skip note in this way is left-aligned to the
+position where the note would be placed in the bar, and placed
+above the bar count numeral, but because the bar length is
+determined by the length of the text, the text will appear to be
+centered. If two (or more) texts are
+attached to skip notes in a bar the bar length is determined by
+the longer text, and the shorter text is then clearly
+left-aligned, as shown in the second bar above. If the shorter
+text of two marks is short enough to fit it will be placed
+alongside and to the left of the bar count numeral.
@seealso
-Program reference: @internalsref{MultiMeasureRestMusicGroup},
-@internalsref{MultiMeasureRest}.
+Notation Reference: @ref{Durations}, @ref{Text},
+@ref{Text markup}, @ref{Text scripts}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference: @internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
@refbugs
-It is not possible to use fingerings (e.g., @code{R1-4}) to put
-numbers over multi-measure rests. And the pitch of multi-measure
-rests (or staff-centered rests) can not be influenced.
+If an attempt is made to use fingerings (e.g.,
+@code{R1*10-4}) to put numbers over multi-measure rests, the
+fingering numeral (4) may collide with the bar counter
+numeral (10).
@cindex condensing rests
Be careful when entering multi-measure rests followed by whole
notes. The following will enter two notes lasting four measures
-each
+each:
@example
R1*4 cis cis
@end example
-When @code{skipBars} is
-set, the result will look OK, but the bar numbering will be off.
-
-
@node Displaying rhythms
@subsection Displaying rhythms
@end menu
@node Time signature
-@unnumberedsubsubsec Time signature
+@subsubsection Time signature
-@cindex Time signature
+@cindex time signature
@cindex meter
@funindex \time
-@c TODO The word 'metrum' is latin for 'metre', I think
-@c Should we not use 'metre' or 'meter' here?
-Time signature indicates the metrum of a piece: a regular pattern
-of strong and weak beats. It is denoted by a fraction at the
-start of the staff.
-
-The time signature is set with the @code{\time} command
+The time signature is set with the @code{\time} command:
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 2/4 c'2 \time 3/4 c'2.
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c2 \time 3/4 c2.
@end lilypond
@commonprop
property. Setting it to @code{#'()} uses fraction style for 4/4
and 2/2 time,
-@lilypond[fragment,quote,ragged-right,verbatim]
-\time 4/4 c'1
-\time 2/2 c'1
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+\time 4/4 c1
+\time 2/2 c1
\override Staff.TimeSignature #'style = #'()
-\time 4/4 c'1
-\time 2/2 c'1
+\time 4/4 c1
+\time 2/2 c1
+@end lilypond
+
+A time signature symbol is normally printed whenever the time
+signature changes. If this takes place at the end of a line a
+warning time signature sign is printed at the end of the line and
+again at the start of a new line. This default behaviour can be
+modified by setting the value of the @code{break-visibility}
+property. This takes three values which may be set to @code{#t}
+or @code{#f} to specify whether the corresponding time signature
+is visible or not. The order of the three values is @code{end of
+line visible}, @code{middle of line visible}, @code{beginning of
+line visible}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+% Do not print any time signatures at end of line
+\override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
+\time 4/4 c1
+\time 3/4 c2.
+% Do not print the following 9/8 time signature
+\once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
+\time 9/8 c4. c c
+\time 2/2 c1
+\break
+\time 9/8 c4. c c
+\time 12/8 c2. c2.
@end lilypond
There are many more options for its layout. See @ref{Ancient time
signatures}, for more examples.
-@code{\time} sets the property @code{timeSignatureFraction},
-@code{beatLength} and @code{measureLength} in the @code{Timing}
+@code{\time} sets the properties @code{timeSignatureFraction},
+@code{beatLength}, and @code{measureLength} in the @code{Timing}
context, which is normally aliased to @internalsref{Score}. The
property @code{measureLength} determines where bar lines should be
inserted, and how automatic beams should be generated. Changing
the value of @code{timeSignatureFraction} also causes the symbol
to be printed.
-@cindex Measure groupings
+@cindex measure groupings
More options are available through the Scheme function
-@code{set-time-signature}. In combination with the
-@internalsref{Measure_grouping_engraver}, it will create
+@code{set-time-signature}, which takes three arguments: the number
+of beats, the beat length, and the internal grouping of beats in
+the measure. If the @internalsref{Measure_grouping_engraver} is
+included, the function will also create
@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the
9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}:
@lilypond[quote,ragged-right,verbatim]
\score {
@seealso
-Program reference: @internalsref{TimeSignature}, and
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference: @internalsref{TimeSignature}, and
@internalsref{Timing_translator}.
-Examples: @lsr{contemporary,compound-time-signature.ly}.
+Examples: @c @lsr{contemporary,compound-time-signature.ly}.
@refbugs
@node Upbeats
-@unnumberedsubsubsec Upbeats
+@subsubsection Upbeats
@cindex anacrusis
@cindex upbeat
@cindex partial measure
@cindex measure, partial
+@cindex pickup measure
@cindex shorten measures
@funindex \partial
-Partial measures, such as an anacrusis or upbeat, are entered
-using the
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
-@end lilypond
-
-The syntax for this command is
+Partial or pickup measures, such as an anacrusis or upbeat, are
+entered using the @code{\partial} command, with the syntax
@example
\partial @var{duration}
@end example
where @code{duration} is the rhythmic length to be added before
-the next bar.
+the next measure:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+@end lilypond
-This is internally translated into
+Internally, this is translated into
@example
\set Timing.measurePosition = -@var{length of duration}
@refbugs
This command does not take into account grace notes at the start
-of the music. When a piece starts with graces notes in the
-pickup, then the @code{\partial} should follow the grace notes
+of the music. When a piece starts with grace notes in the
+pickup, then the @code{\partial} should follow the grace notes:
@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
piece. If you use it after the beginning, some odd warnings may
occur.
+@seealso
+
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Unmetered music
-@unnumberedsubsubsec Unmetered music
+@subsubsection Unmetered music
@cindex cadenza
@funindex \cadenzaOn
d4 e d c
@end lilypond
+Bar numbering is resumed at the end of the cadenza as if the
+cadenza were not there:
+
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+\override Score.BarNumber #'break-visibility = ##( #t #t #t )
+c4 d e d
+\cadenzaOn
+c4 c d8 d d f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
@refbugs
LilyPond will only insert line breaks and page breaks at a
-barline. Unless the unmetered music ends before the end of the
-staff line, you will need to insert invisible bar lines
+bar line. Unless the unmetered music ends before the end of the
+staff line, you will need to insert invisible bar lines with
@example
\bar ""
@noindent
to indicate where breaks can occur.
+@seealso
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
@node Polymetric notation
-@unnumberedsubsubsec Polymetric notation
+@subsubsection Polymetric notation
@cindex double time signatures
@cindex signatures, polymetric
@cindex polymetric signatures
@cindex meter, polymetric
+Music Glossary:
+@rglos{polymetric}
+@rglos{polymetric time signature}
+@rglos{meter}
+
Double time signatures are not supported explicitly, but they can
be faked. In the next example, the markup for the time signature
is created with a markup text. This markup text is inserted in
the @internalsref{TimeSignature} grob. See also
-@lsr{contemporary,compound-time-signature}.
+@c @lsr{contemporary,compound-time-signature}.
@lilypond[verbatim,ragged-right]
% create 2/4 + 5/8
-tsMarkup =\markup {
+tsMarkup = \markup {
\override #'(baseline-skip . 2) \number {
\column { "2" "4" }
\vcenter "+"
moving the @internalsref{Timing_translator} to the
@internalsref{Staff} context.
-@example
-\layout @{
- \context @{ \Score
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
- @}
- \context @{
+@lilypond[quote,verbatim,ragged-right]
+\layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ \context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
- @}
-
-@}
-@end example
-
-
-Now, each staff has its own time signature.
-
-@example
-<<
- \new Staff @{
- \time 3/4
- c4 c c | c c c |
- @}
- \new Staff @{
- \time 2/4
- c4 c | c c | c c
- @}
- \new Staff @{
- \time 3/8
- c4. c8 c c c4. c8 c c
- @}
->>
-@end example
-
-@lilypond[quote,ragged-right]
-\layout{
- \context{
- \Score
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
- }
- \context{ \Staff
- \consists "Timing_translator"
- \consists "Default_bar_line_engraver"
}
}
+%Now, each staff has its own time signature.
\relative c' <<
\new Staff {
A different form of polymetric notation is where note lengths have
-different values across staves.
+different values across staves, but the measures are all the same
+length.
This notation can be created by setting a common time signature
for each staff but replacing it manually using
@code{timeSignatureFraction} to the desired fraction. Then the
printed durations in each staff are scaled to the common time
signature. The latter is done with @code{\compressMusic}, which
-is used similar to @code{\times}, but does not create a tuplet
-bracket. The syntax is @example \compressMusic #'(@var{numerator}
-. @var{denominator}) @var{musicexpr} @end example
+is used in a similar way to @code{\times}, but does not create
+a tuplet bracket. The syntax is
+
+@funindex \compressMusic
+
+@example
+\compressMusic
+#'(@var{numerator} . @var{denominator}) @var{musicexpr}
+@end example
When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.
+@seealso
+
+Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
+
+Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
+
@node Automatic note splitting
-@unnumberedsubsubsec Automatic note splitting
+@subsubsection Automatic note splitting
-Long notes can be converted automatically to tied notes. This is
-done by replacing the @internalsref{Note_heads_engraver} by the
+Long notes which overrun bar lines can be converted automatically
+to tied notes. This is done by replacing the
+@internalsref{Note_heads_engraver} by the
@internalsref{Completion_heads_engraver}. In the following
examples, notes crossing the bar line are split and tied.
@seealso
-Program reference: @internalsref{Completion_heads_engraver}.
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference: @internalsref{Note_heads_engraver},
+@internalsref{Completion_heads_engraver},
+@internalsref{Forbid_line_break_engraver}.
+
@menu
* Automatic beams::
+* Setting automatic beam behavior::
* Manual beams::
+* Feathered beams::
@end menu
@node Automatic beams
-@unnumberedsubsubsec Automatic beams
+@subsubsection Automatic beams
+
+By default, beams are inserted automatically:
-By default beams are inserted automatically
+@cindex beams, manual
+@cindex manual beams
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c c c
\time 6/8 c c c c8. c16 c8
@end lilypond
-When these automatic decisions are not good enough, beaming
-can be entered explicitly, see @ref{Manual beams} below.
-It is also possible to define beaming
-patterns that differ from the defaults. See @ref{Manual beams}
-and @ref{Setting automatic beam behavior}.
-
+If these automatic decisions are not satisfactory, beaming can be
+entered explicitly; see @ref{Manual beams}. It is also possible
+to define beaming patterns that differ from the defaults; see
+@ref{Setting automatic beam behavior}. The default beaming rules
+are defined in @file{scm/@/auto@/-beam@/.scm}.
-@commonprop
+@cindex autoBeamOn
+@cindex autoBeamOff
-Feathered beams are printed by setting the @code{grow-direction}
-property of a @code{Beam}. The @code{\featherDurations} function
-can be used to adjust note durations.
+@noindent
+Automatic beaming may be turned off and on with
+@code{\autoBeamOff} and @code{\autoBeamOn} commands:
-@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
-\override Beam #'grow-direction = #LEFT
-\featherDurations #(ly:make-moment 5 4)
-{
- c16[ c c c c c c]
-}
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+c4 c8 c8. c16 c8. c16 c8
+\autoBeamOff
+c4 c8 c8. c16 c8.
+\autoBeamOn
+c16 c8
@end lilypond
-@seealso
+@commonprop
-Program reference: @internalsref{Beam}.
+Beaming patterns may be altered with the @code{beatGrouping} property,
+
+@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
+\time 5/16
+\set beatGrouping = #'(2 3)
+c8[^"(2+3)" c16 c8]
+\set beatGrouping = #'(3 2)
+c8[^"(3+2)" c16 c8]
+@end lilypond
+
+The beams of consecutive 16th (or shorter) notes are, by default,
+not sub-divided. That is, the three (or more) beams stretch
+unbroken over entire groups of notes. This behaviour can
+be modified to sub-divide the beams into sub-groups by setting
+the property @code{subdivideBeams}. When set, multiple beams
+will be sub-divided at intervals defined by the current value of
+@code{beatLength} by reducing the multiple beams to just one beam
+between the sub-groups. Note that @code{beatLength} lives in the
+@code{Score} context and defaults to a quarter note. It must be
+set to a fraction giving the duration of the beam sub-group
+using the @code{make-moment} function, as shown here:
+
+@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
+c32[ c c c c c c c]
+\set subdivideBeams = ##t
+c32[ c c c c c c c]
+% Set beam sub-group length to an eighth note
+\set Score.beatLength = #(ly:make-moment 1 8)
+c32[ c c c c c c c]
+% Set beam sub-group length to a sixteenth note
+\set Score.beatLength = #(ly:make-moment 1 16)
+c32[ c c c c c c c]
+@end lilypond
+@funindex subdivideBeams
+
+@noindent
+For more information about @code{make-moment}, see
+@ref{Time administration}.
+
+@funindex breakable
+@cindex break, line
+@cindex line breaks
+
+Line breaks are normally forbidden when beams cross bar lines.
+This behavior can be changed by setting the @code{breakable}
+property: @code{\override Beam #'breakable = ##t}.
+
+@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
+\override Beam #'breakable = ##t
+c8 \repeat unfold 15 {c[ c] } c
+@end lilypond
+
+@cindex beams and line breaks
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+
+Kneed beams are inserted automatically when a large gap is
+detected between the note heads. This behavior can be tuned
+through the @code{auto-knee-gap} property. A kneed beam is
+drawn if the gap is larger than the value of
+@code{auto-knee-gap} plus the width of the beam object (which
+depends on the duration of the notes and the slope of the beam).
+By default @code{auto-knee-gap} is set to 5.5 staff spaces.
+
+@lilypond[fragment,ragged-right,quote,verbatim]
+f8 f''8 f8 f''8
+\override Beam #'auto-knee-gap = #6
+f8 f''8 f8 f''8
+@end lilypond
+
+
+@seealso
+
+Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference: @internalsref{Beam}.
@refbugs
-The @code{\featherDurations} command only works with very short
-music snippets.
+Automatically kneed cross-staff beams cannot be used together with
+hidden staves. See @ref{Hiding staves}.
-@node Manual beams
-@unnumberedsubsubsec Manual beams
+Beams can collide with note heads and accidentals in other voices
-@cindex beams, manual
-Individual notes may be marked with @code{\noBeam} to prevent them
-from being beamed
+@node Setting automatic beam behavior
+@subsubsection Setting automatic beam behavior
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\time 2/4 c8 c\noBeam c c
+@funindex autoBeamSettings
+@funindex (end * * * *)
+@funindex (begin * * * *)
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
+
+@c [TODO: use \applyContext]
+
+In normal time signatures, automatic beams can start on any note
+but can end in only a few positions within the measure: beams can
+end on a beat, or at durations specified by the properties in
+@code{autoBeamSettings}. The properties in
+@code{autoBeamSettings} consist of a list of rules for where beams
+can begin and end. The default @code{autoBeamSettings} rules are
+defined in @file{scm/@/auto@/-beam@/.scm}.
+
+In order to add a rule to the list, use
+@example
+#(override-auto-beam-setting '(be p q n m) a b [context])
+@end example
+
+@itemize
+
+@item @code{be} is either @code{begin} or @code{end}.
+
+@item @code{p/q} is the duration of the note for which you want
+to add a rule. A beam is considered to have the duration of its
+shortest note. Set @code{p} and @code{q} to @code{'*'} to
+have this apply to any beam.
+
+@item @code{n/m} is the time signature to which
+this rule should apply. Set @code{n} and @code{m} to @code{'*'}
+to have this apply in any time signature.
+
+@item @code{a/b} is the position in the bar at which the beam should
+begin/end.
+
+@item @code{context} is optional, and it specifies the context at which
+the change should be made. The default is @code{'Voice}.
+
+@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
+@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
+
+@end itemize
+
+For example, if automatic beams should always end on the first quarter
+note, use
+
+@example
+#(override-auto-beam-setting '(end * * * *) 1 4)
+@end example
+
+You can force the beam settings to only take effect on beams whose shortest
+note is a certain duration
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 2/4
+#(override-auto-beam-setting '(end 1 16 * *) 1 16)
+a16 a a a a a a a |
+a32 a a a a16 a a a a a |
+#(override-auto-beam-setting '(end 1 32 * *) 1 16)
+a32 a a a a16 a a a a a |
@end lilypond
-@cindex autoBeamOn
-@cindex autoBeamOff
+You can force the beam settings to only take effect in certain time
+signatures
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 5/8
+#(override-auto-beam-setting '(end * * 5 8) 2 8)
+c8 c d d d
+\time 4/4
+e8 e f f e e d d
+\time 5/8
+c8 c d d d
+@end lilypond
+
+You can also remove a previously set beam-ending rule by using
+
+@example
+#(revert-auto-beam-setting '(be p q n m) a b [context])
+@end example
@noindent
-and automatic beaming may be turned off and on with
-@code{\autoBeamOff} and @code{\autoBeamOn} commands:
+be, p, q, n, m, a, b and context are the same as above. Note that the
+default rules are specified in @file{scm/@/auto@/-beam@/.scm},
+so you can revert rules that you did not explicitly create.
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 4/4
+a16 a a a a a a a a a a a a a a a
+#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
+a16 a a a a a a a a a a a a a a a
@end lilypond
-@funindex ]
-@funindex [
+The rule in a revert-auto-beam-setting statement must exactly match the
+original rule. That is, no wildcard expansion is taken into account.
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 1/4
+#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
+a16 a a a
+#(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
+a a a a
+#(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
+a a a a
+@end lilypond
+
+
+
+@c TODO: old material -- not covered by above stuff, I think.
+If automatic beams should end on every quarter in 5/4 time, specify
+all endings
+@example
+#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
+#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
+@dots{}
+@end example
+
+The same syntax can be used to specify beam starting points. In this
+example, automatic beams can only end on a dotted quarter note
+@example
+#(override-auto-beam-setting '(end * * * *) 3 8)
+#(override-auto-beam-setting '(end * * * *) 1 2)
+#(override-auto-beam-setting '(end * * * *) 7 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8, has passed within the measure).
+
+If any unexpected beam behaviour occurs, check the default automatic beam
+settings in @file{scm/@/auto@/-beam@/.scm}
+for possible interference, because the beam
+endings defined there will still apply on top of your own overrides. Any
+unwanted endings in the default vales must be reverted for your time
+signature(s).
+
+For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
+with
+
+@example
+%%% revert default values in scm/auto-beam.scm regarding 12/8 time
+#(revert-auto-beam-setting '(end * * 12 8) 3 8)
+#(revert-auto-beam-setting '(end * * 12 8) 3 4)
+#(revert-auto-beam-setting '(end * * 12 8) 9 8)
+
+%%% your new values
+#(override-auto-beam-setting '(end 1 8 12 8) 3 8)
+#(override-auto-beam-setting '(end 1 8 12 8) 7 8)
+#(override-auto-beam-setting '(end 1 8 12 8) 10 8)
+@end example
+
+@cindex automatic beam generation
+@cindex autobeam
+@funindex autoBeaming
+@cindex lyrics
+
+If beams are used to indicate melismata in songs, then automatic
+beaming should be switched off with @code{\autoBeamOff}.
+
+
+@refcommands
+
+@funindex \autoBeamOff
+@code{\autoBeamOff},
+@funindex \autoBeamOn
+@code{\autoBeamOn}.
+
+
+@refbugs
+
+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.
+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: @lsrdir{Rhythms,Rhythms}
+
+
+@node Manual beams
+@subsubsection Manual beams
+
+@cindex beams, manual
In some cases it may be necessary to override the automatic
beaming algorithm. For example, the autobeamer will not put beams
@end lilypond
-@commonprop
+Individual notes may be marked with @code{\noBeam} to prevent them
+from being beamed:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c8 c\noBeam c c
+@end lilypond
+
+@funindex ]
+@funindex [
@funindex stemLeftBeamCount
@funindex stemRightBeamCount
-
-LilyPond can automatically determine beaming patterns within a
-beam, but this automatic behavior can sometimes produce odd
-results; therefore the @code{stemLeftBeamCount} and
-@code{stemRightBeamCount} properties can be used to override the
-defaults. If either property is set, its value will be used only
-once, and then it is erased.
+Even more strict manual control with the beams can be achieved by
+setting the properties @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}. They specify the number of beams to
+draw on the left and right side, respectively, of the next note.
+If either property is set, its value will be used only once, and
+then it is erased. In this example, the last @code{f} is printed
+with only one beam on the left side, i.e. the eigth-note beam of
+the group as a whole.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
- f8[ r16
- f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
+ f8[ r16 f g a]
+ f8[ r16
+ \set stemLeftBeamCount = #1
+ f g a]
}
@end lilypond
-The property @code{subdivideBeams} can be set in order to
-subdivide all 16th or shorter beams.
-When set, multiple beams will be sub-divided at beat
-positions, defined by the current value of @code{beatLength},
-by drawing only one beam over the beat.
-@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
-c16[ c c c c c c c]
-\set subdivideBeams = ##t
-c16[ c c c c c c c]
-\set Score.beatLength = #(ly:make-moment 1 8)
-c16[ c c c c c c c]
-@end lilypond
-@funindex subdivideBeams
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-
-Line breaks are normally forbidden when beams cross bar lines.
-This behavior can be changed by setting the @code{breakable}
-property: @code{\override Beam #'breakable = ##t}.
+@commonprop
-@funindex breakable
+@node Feathered beams
+@subsubsection Feathered beams
+
+@cindex beams, feathered
+@funindex \featherDurations
+
+Feathered beams are used to indicate that a small group of notes
+should be played at an increasing (or decreasing) tempo, without
+changing the overall tempo of the piece. The extent of the
+feathered beam must be indicated manually using @code{[} and
+@code{]}, and the beam feathering is turned on by specifying a
+direction to the Beam property @code{grow-direction}.
+
+If the placement of the notes and the sound in the MIDI output
+is to reflect the ritardando or accelerando indicated by the
+feathered beam the notes must be grouped as a
+music expression delimited by braces and preceded by a
+@code{featheredDurations} command which specifies the ratio
+between the durations of the first and last notes in the group.
+
+The square brackets
+show the extent of the beam and the braces show
+which notes are to have their durations modified. Normally
+these would delimit the same group of notes, but this is not
+required: the two commands are independent.
+
+In the following example the eight 16th notes occupy exactly the
+same time as a half note, but the first note is one half as long
+as the last one, with the intermediate notes gradually
+lengthening. The first four 32nd notes gradually speed up, while
+the last four 32nd notes are at a constant tempo.
-@cindex beams and line breaks
-@cindex beams, kneed
-@cindex kneed beams
-@cindex auto-knee-gap
-
-Kneed beams are inserted automatically when a large gap is
-detected between the note heads. This behavior can be tuned
-through the @code{auto-knee-gap} property. A kneed beam is
-drawn if the gap is larger than the value of
-@code{auto-knee-gap} plus the width of the beam object (which
-depends on the duration of the notes and the slope of the beam).
-By default @code{auto-knee-gap} is set to 5.5 staff spaces.
-
-@lilypond[fragment,ragged-right,quote,verbatim]
-f8 f''8 f8 f''8
-\override Beam #'auto-knee-gap = #6
-f8 f''8 f8 f''8
+@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
+\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)
+{ c32[ d e f] }
+% revert to non-feathered beams
+\override Beam #'grow-direction = #'()
+{ g32[ a b c] }
@end lilypond
+@noindent
+The spacing in the printed output represents the
+note durations only approximately, but the midi output is exact.
+
@refbugs
-Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
+The @code{\featherDurations} command only works with very short
+music snippets, and when numbers in the fraction are small.
+
+@seealso
-@c Is this still true with skyline spacing stuff? -J.Mandereau
-Beams do not avoid collisions with symbols around the notes, such
-as texts and accidentals.
+Snippets: @lsrdir{Rhythms,Rhythms}
@end menu
@node Bar lines
-@unnumberedsubsubsec Bar lines
+@subsubsection Bar lines
-@cindex Bar lines
+@cindex bar lines
@funindex \bar
@cindex measure lines
@cindex repeat bars
Bar lines delimit measures, and are also used to indicate
-repeats. Normally, simple barlines are automatically inserted
-into the printed output at places
-based on the current time signature. It is not invalid if the
-final note in a bar does not end on the automatically entered
-barline: the note is assumed to carry over into the next bar.
+repeats. Normally, simple bar lines are automatically inserted
+into the printed output at places based on the current time
+signature.
-The simple barlines inserted automatically can be changed to
+The simple bar lines inserted automatically can be changed to
other types with the @code{\bar} command. For example, a closing
-double barline is usually placed at the end of a piece:
+double bar line is usually placed at the end of a piece:
@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
-e4 d c2 \bar "||"
+e4 d c2 \bar "|."
@end lilypond
-This and other special barlines may be inserted manually at any
+@warning{An incorrect duration can lead to poorly formatted
+music.}
+
+It is not invalid if the final note in a bar does not
+end on the automatically entered bar line: the note is assumed
+to carry over into the next bar. But if a long sequence
+of such carry-over bars appears the music can appear compressed
+or even flowing off the page. This is because automatic line
+breaks happen only at the end of complete bars, i.e. where
+the end of a note coincides with the end of a bar.
+
+@cindex line breaks
+@cindex bar lines, invisible
+@cindex measure lines, invisible
+
+Line breaks are also permitted at manually inserted bar lines
+even within incomplete bars. To allow a line break without
+printing a bar line, use
+
+@example
+\bar ""
+@end example
+
+@noindent
+This will insert an invisible bar line and allow (but not
+force) a line break to occur at this point. The bar number
+counter is not increased. To force a line break see
+@ref{Line breaking}.
+
+This and other special bar lines may be inserted manually at any
point. When they coincide with the end of a bar they replace
-the simple barline which would have been inserted there
+the simple bar line which would have been inserted there
automatically. When they do not coincide
-with the end of a bar the specified barline is inserted at that
+with the end of a bar the specified bar line is inserted at that
point in the printed output. Such insertions do not affect
-the calculation and placement of subsequent automatic barlines.
+the calculation and placement of subsequent automatic bar lines.
-Although the barline types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
-a repeated section. Such repeated sections are better entered
-using the various repeat commands (see @ref{Repeats}), which
-automatically print the appropriate barlines.
+The simple bar line and four types of double bar line are available
+for manual insertion:
-The following bar types are available for manual insertion:
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
+@end lilypond
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\override Score.RehearsalMark #'padding = #3
-c4 \bar "|" \mark \markup {\simple #"|" }
-c \bar "|:" \mark \markup {\simple #"|:" }
-c \bar "||" \mark \markup {\simple #"||" }
-c \bar ":|" \mark \markup {\simple #":|" }
-c \bar ".|" \mark \markup {\simple #".|" }
-c \bar ".|." \mark \markup {\simple #".|."}
-c \bar ":|:" \mark \markup {\simple #":|:"}
-c \bar "|." \mark \markup {\simple #"|." }
-c \bar ":" \mark \markup {\simple #":" }
-c c c
-\break
-c \bar "dashed" \mark \markup { \simple #"dashed" }
-c c c
+@noindent
+together with dotted and dashed bar lines:
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+f1 \bar ":" g \bar "dashed" a
+@end lilypond
+
+@noindent
+and three types of repeat bar line:
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+f1 \bar "|:" g \bar ":|:" a \bar ":|" b
@end lilypond
+@cindex repeats
+
+Although the bar line types signifying repeats may be inserted
+manually they do not in themselves cause LilyPond to recognise
+a repeated section. Such repeated sections are better entered
+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
line at the end of the line and a start repeat at the beginning of
@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
-\bar "||:" \mark \markup {
- \tiny \typewriter "unbroken" \simple #"||:" }
+\bar "||:"
c c c c \break
-\bar "||:" \mark \markup {
- \tiny \typewriter "broken" \simple #"||:" }
+\bar "||:"
c c c c
@end lilypond
-Entered music is
-automatically broken into lines, but this happens only at
-manually inserted barlines or at automatically inserted barlines
-where these occur at the
-end of complete bars, i.e. where the end of a note coincides
-with the end of a bar. If this never happens, perhaps due to
-an error in entering durations, the outputted music can appear
-very compressed as no place can be found to make a line break.
-
-To allow a line break without printing a bar line, use
-
-@example
-\bar ""
-@end example
-
-@noindent
-This will insert an invisible bar line and allow (but not
-force) a line break to occur at this point. The bar number
-counter is not increased. To force a line break see
-@ref{Line breaking}.
-
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},
@commonprop
@funindex whichBar
-@c TODO remove? @funindex repeatCommands
@funindex defaultBarType
-The command @code{\bar }@var{bartype} is a short cut for
+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.
@code{"|"}. This may be changed at any time
with @code{\set Timing.defaultBarType = }@var{bartype}.
-@ignore
-TODO Delete this section - repeats are mentioned earlier
-The contents of
-@code{repeatCommands} are used to override default measure bars.
-
-You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeats}.
-@end ignore
-
@seealso
-In this manual: @ref{Repeats}, @ref{System start delimiters}.
+Notation Reference: @ref{Line breaking}, @ref{Repeats},
+@ref{System start delimiters}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
-Program reference: @internalsref{BarLine} (created at
+Internals Reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across
staves), @internalsref{Timing_translator} (for Timing
properties).
@node Bar numbers
-@unnumberedsubsubsec Bar numbers
+@subsubsection Bar numbers
-@cindex Bar numbers
+@cindex bar numbers
@cindex measure numbers
@funindex currentBarNumber
-Bar numbers are typeset by default at the start of every line
-except the first line. The
-number itself is stored in the @code{currentBarNumber} property,
-which is normally updated automatically for every measure. It
-may also be set manually:
+Bar numbers are typeset by default at the start of every line except
+the first line. The number itself is stored in the
+@code{currentBarNumber} property, which is normally updated
+automatically for every measure. It may also be set manually:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\repeat unfold 4 {c4 c c c} \break
+c1 c c c
+\break
\set Score.currentBarNumber = #50
-\repeat unfold 4 {c4 c c c}
+c1 c c c
@end lilypond
-Bar numbers may only be printed at bar lines; to print a bar
-number at the beginning of a piece, an empty bar line must be
-inserted there:
+
+@commonprop
+
+@funindex barNumberVisibility
+@cindex bar numbers, regular spacing
+
+Bar numbers can be typeset at regular intervals instead of just at
+the beginning of every line. To do this the default behaviour
+must be overridden to permit bar numbers to be printed at places
+other than the start of a line. This is controlled by the
+@code{break-visibility} property of @code{BarNumber}. This takes
+three values which may be set to @code{#t} or @code{#f} to specify
+whether the corresponding bar number is visible or not. The order
+of the three values is @code{end of line visible}, @code{middle of
+line visible}, @code{beginning of line visible}. In the following
+example bar numbers are printed at all possible places:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\set Score.currentBarNumber = #50
-\bar ""
-\repeat unfold 4 {c4 c c c} \break
-\repeat unfold 4 {c4 c c c}
+\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+\set Score.currentBarNumber = #11
+\bar "" % Permit first bar number to be printed
+c1 c c c
+\break
+c c c c
@end lilypond
-Bar numbers can be typeset at regular intervals instead of at the
-beginning of every line. This is illustrated in the following
-example, which also shows how to enclose bar numbers in boxes and
-circles.
+@c All the rest of these examples will be added to LSR
+@c and moved into the Snippets. -gp
-@ignore
- TODO Text to be deleted ?
-whose source is available as
-@lsr{staff,making-bar-numbers-appear-at-regular-intervals.ly}.
-@end ignore
+@noindent
+and here the bar numbers are printed every two bars
+except at the end of the line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
-% Avoid printing a bar number at the end of a line
-\override Score.BarNumber #'break-visibility = #end-of-line-invisible
+\override Score.BarNumber #'break-visibility = ##(#f #t #t)
+\set Score.currentBarNumber = #11
+\bar "" % Permit first bar number to be printed
+% Print a bar number every 2nd bar
+\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
+c1 c c c c
+\break
+c c c c c
+@end lilypond
+
+@cindex measure number, format
+@cindex bar number, format
-% Print a bar number every 3th bar
-\set Score.barNumberVisibility = #(every-nth-bar-number-visible 3)
+The size of the bar number may be changed. This is illustrated
+in the following example, which also shows how to enclose bar
+numbers in boxes and circles, and shows an alternative way
+of specifying @code{#(#f #t #t)} for @code{break-visibility}.
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+% Prevent bar numbers at the end of a line and permit them elsewhere
+\override Score.BarNumber #'break-visibility
+ = #end-of-line-invisible
% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
+\repeat unfold 3 { c1 } \bar "|"
% Draw a box round the following bar number(s)
\override Score.BarNumber #'stencil
- = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
-\repeat unfold 5 { c1 } \bar "|"
+ = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
+\repeat unfold 3 { c1 } \bar "|"
% Draw a circle round the following bar number(s)
\override Score.BarNumber #'stencil
\repeat unfold 4 { c1 } \bar "|."
@end lilypond
+@cindex bar number alignment
+
+Bar numbers by default are left-aligned to their parent object.
+This is usually the left edge of a line or, if numbers are printed
+within a line, the left bar line of the bar. The numbers may also
+be positioned directly on the bar line or right-aligned to the
+bar line:
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #111
+\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+% Increase the size of the bar number by 2
+\override Score.BarNumber #'font-size = #2
+% Print a bar number every 2nd bar
+\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
+c1 c1
+% Centre-align bar numbers
+\override Score.BarNumber #'self-alignment-X = #0
+c1 c1
+% Right-align bar numbers
+\override Score.BarNumber #'self-alignment-X = #-1
+c1 c1
+@end lilypond
+
Bar numbers can be removed entirely by removing the Bar number
engraver from the score context.
@seealso
-Program reference: @internalsref{BarNumber}.
+Snippets: @lsrdir{Rhythms,Rhythms}
-Examples: @lsrdir{staff}
+Internals Reference: @internalsref{BarNumber}.
@refbugs
-@c TODO is this still a bug in 11?
-Bar numbers can collide with the top of the
-@internalsref{StaffGroup} bracket, if there is one.
-To solve this, the @code{padding} property of
-@internalsref{BarNumber} can be used to
-position the number correctly.
+Bar numbers may collide with the top of the
+@internalsref{StaffGroup} bracket, if there is one. To solve
+this, the @code{padding} property of @internalsref{BarNumber} can
+be used to position the number correctly.
+
+Bar numbers may only be printed at bar lines; to print a bar
+number at the beginning of a piece, an empty bar line must be
+inserted there, and a value other than @code{1} must be placed
+in @code{currentBarNumber}:
+
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #50
+\bar ""
+c1 c c c
+c1 c c c
+\break
+@end lilypond
+
@node Bar and bar number checks
-@unnumberedsubsubsec Bar and bar number checks
+@subsubsection Bar and bar number checks
-@cindex Bar check
+@cindex bar check
@funindex barCheckSynchronize
@funindex |
a list of warnings is printed in the log file,
showing the line numbers and lines
in which the bar checks failed. In the next
-example, the second bar check will signal an error
+example, the second bar check will signal an error.
@example
\time 3/4 c2 e4 | g2 |
@funindex |
@funindex pipeSymbol
-It is also possible to redefine the meaning of @code{|}. This is
-done by assigning a music expression to @code{pipeSymbol},
+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}.
+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,ragged-right,verbatim]
pipeSymbol = \bar "||"
-
-{ c'2 c' | c'2 c' }
+{
+ c'2 c'2 |
+ c'2 c'2
+ c'2 | c'2
+ c'2 c'2
+}
@end lilypond
When copying large pieces of music, it can be helpful to check
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
+@seealso
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
@node Rehearsal marks
-@unnumberedsubsubsec Rehearsal marks
+@subsubsection Rehearsal marks
-@cindex Rehearsal marks
+@cindex rehearsal marks
+@cindex mark, rehearsal
@funindex \mark
To print a rehearsal mark, use the @code{\mark} command
mark manually. The value to use is stored in the property
@code{rehearsalMark}.
+@cindex rehearsal mark format
+@cindex rehearsal mark style
+@cindex style, rehearsal mark
+@cindex format, rehearsal mark
+@cindex mark, rehearsal, style
+@cindex mark, rehearsal, format
+
The style is defined by the property @code{markFormatter}. It is
a function taking the current mark (an integer) and the current
context as argument. It should return a markup object. In the
-following example, @code{markFormatter} is set to a canned
-procedure. After a few measures, it is set to function that
+following example, @code{markFormatter} is set to a pre-defined
+procedure. After a few measures, it is set to a procedure that
produces a boxed number.
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
@seealso
-This manual: @ref{Text marks}.
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+This manual: @ref{The Feta font}, @ref{Text marks}.
-Program reference: @internalsref{RehearsalMark}.
+Internals Reference: @internalsref{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains
the definition of @code{format-mark-numbers} and
@code{format-mark-letters}. They can be used as inspiration for
other formatting functions.
-Examples: @lsr{parts,rehearsal-mark-numbers.ly}
+Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
@node Special rhythmic concerns
* Grace notes::
* Aligning to cadenzas::
* Time administration::
-* Proportional notation (introduction)::
@end menu
@node Grace notes
-@unnumberedsubsubsec Grace notes
+@subsubsection Grace notes
@funindex \grace
@cindex ornaments
@cindex appoggiatura
@cindex acciaccatura
-Grace notes are ornaments that are written out. The most common
-ones are acciaccatura, which should be played as very short. It
-is denoted by a slurred small note with a slashed stem. The
-appoggiatura is a grace note that takes a fixed fraction of the
-main note, and is denoted as a slurred note in small print without
-a slash. They are entered with the commands @code{\acciaccatura}
-and @code{\appoggiatura}, as demonstrated in the following example
+Grace notes are ornaments that are written out. They are made with
+the @code{\grace} command. By prefixing this keyword to a music
+expression, a new one is formed, which will be printed in a
+smaller font and takes up no logical time in a measure.
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4 \appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
@end lilypond
-Both are special forms of the @code{\grace} command. By prefixing
-this keyword to a music expression, a new one is formed, which
-will be printed in a smaller font and takes up no logical time in
-a measure.
+Two special forms of the @code{\grace} command exist.
+An @emph{acciaccatura}, which should be played as very short,
+is denoted by a slurred small note with a slashed stem. The
+@emph{appoggiatura}, a grace note that takes a fixed fraction of the
+main note, is denoted as a slurred note in small print without
+a slash. They are entered with the commands @code{\acciaccatura}
+and @code{\appoggiatura}, as demonstrated in the following
+example:
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
+b4 \acciaccatura d8 c4
+\appoggiatura e8 d4
+\acciaccatura { g16[ f] } e4
@end lilypond
@noindent
-Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
-@code{\grace} command does not start a slur.
-
-@cindex timing, internal
-
-Internally, timing for grace notes is done using a second,
-@q{grace} timing. Every point in time consists of two rational
-numbers: one denotes the logical time, one denotes the grace
-timing. The above example is shown here with timing tuples
-
-@lilypond[quote,ragged-right]
-<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
- }
- \new Lyrics \lyricmode {
- \override LyricText #'font-family = #'typewriter
-
- \markup { (0,0) } 4
- \grace { \markup {
- ( \fraction 1 4 , \fraction -1 16 ) } 16 }
- \markup { (\fraction 1 4 , 0 ) } 4
- \grace {
- \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
- \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
- }
- \markup { ( \fraction 2 4 , 0 ) }
- }
->>
-@end lilypond
+@code{\acciaccatura} and @code{\appoggiatura} start a slur,
+@code{\grace} does not.
The placement of grace notes is synchronized between different
staves. In the following example, there are two sixteenth grace
@funindex \afterGrace
+@cindex grace notes, following
+
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
notes following the main note.
@noindent
By adjusting the duration of the skip note (here it is a
-half-note), the space between the main-note and the grace is
-adjusted.
+half-note), the space between the main-note and the grace
+may be adjusted.
A @code{\grace} music expression will introduce special
typesetting settings, for example, to produce smaller type, and
Another option is to change the variables @code{startGraceMusic},
@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
-@code{stopAppoggiaturaMusic}. More information is in the file
-@file{ly/@/grace@/-init@/.ly}.
+@code{stopAppoggiaturaMusic}. The default values of these can be
+seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
+them other effects may be obtained.
+
+@cindex stem, with slash
@noindent
-The slash through the stem in acciaccaturas can be obtained in
+The slash through the stem in @emph{acciaccatura}s can be obtained in
other situations by @code{\override Stem #'stroke-style =
#"grace"}.
@commonprop
-Grace notes may be forced to use floating spacing,
+Grace notes may be forced to use align with regular notes
+in other staves by setting @code{strict-grace-spacing} to
+##t:
@lilypond[relative=2,ragged-right]
<<
@seealso
-Program reference: @internalsref{GraceMusic}.
+Music Glossary:
+@rglos{grace notes},
+@rglos{acciaccatura},
+@rglos{appoggiatura}
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference: @internalsref{GraceMusic}.
@refbugs
-A score that starts with a @code{\grace} expression needs an
-explicit @code{\new Voice} declaration, otherwise the main note
-and the grace note end up on different staves.
+A multi-note beamed @emph{acciaccatura} is printed without a slash,
+and looks exactly the same as a multi-note beamed
+@emph{appoggiatura}.
+@c TODO Add link to LSR snippet to add slash when available
Grace note synchronization can also lead to surprises. Staff
notation, such as key signatures, bar lines, etc., are also
supported, and might produce crashes or other errors.
@node Aligning to cadenzas
-@unnumberedsubsubsec Aligning to cadenzas
+@subsubsection Aligning to cadenzas
+
+@cindex cadenza
+@cindex cadenza, aligning to
+@cindex aligning to cadenza
In an orchestral context, cadenzas present a special problem: when
constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
cadenza, otherwise they will start too soon or too late.
-A solution to this problem are the functions
+A solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a piece of music as argument, and generate a
-@code{\skip} or multi-rest, exactly as long as the piece. The use
-of @code{mmrest-of-length} is demonstrated in the following
-example.
+functions take a piece of music as argument, and generate a multi-rest
+or @code{\skip}, exactly as long as the piece. The use of
+@code{mmrest-of-length} is demonstrated in the following example.
@lilypond[verbatim,ragged-right,quote]
cadenza = \relative c' {
>>
@end lilypond
+@seealso
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
@node Time administration
-@unnumberedsubsubsec Time administration
+@subsubsection Time administration
+
+@cindex time administration
+@cindex timing (within the score)
+@cindex music, unmetered
+@cindex unmetered music
+
+@funindex currentBarNumber
+@funindex measurePosition
+@funindex measureLength
-@cindex Time administration
+Time is administered by the @code{Timing_translator}, which by
+default is to be found in the @code{Score} context. An alias,
+@code{Timing}, is added to the context in which the
+@code{Timing_translator} is placed.
-Time is administered by the
-@internalsref{Time_signature_engraver}, which by default is
-to be found in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
+The following properties of @code{Timing} are used
+to keep track of timing within the score.
+
+@cindex bar number
+@cindex measure number
@table @code
@item currentBarNumber
-The measure number.
+The current measure number. For an example showing the
+use of this property see @ref{Bar numbers}.
@item measureLength
The length of the measures in the current time signature. For a
-4/4 time this is@tie{}1, and for 6/8 it is 3/4.
+4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
+determines when bar lines are inserted and how automatic beams
+should be generated.
@item measurePosition
The point within the measure where we currently are. This
-quantity is reset to@tie{}0 whenever it exceeds
-@code{measureLength}. When that happens, @code{currentBarNumber}
-is incremented.
+quantity is reset by subtracting @code{measureLength} whenever
+@code{measureLength} is reached or exceeded. When that happens,
+@code{currentBarNumber} is incremented.
@item timing
If set to true, the above variables are updated for every time
@end table
Timing can be changed by setting any of these variables
-explicitly. In the next example, the 4/4 time signature is
-printed, but @code{measureLength} is set to 5/4. After a while,
-the measure is shortened by 1/8, by setting @code{measurePosition}
-to 7/8 at 2/4 in the measure, so the next bar line will fall at
-2/4 + 3/8. The 3/8 arises because 5/4 normally has 10/8, but we
-have manually set the measure position to be 7/8 and 10/8 - 7/8 =
-3/8.
+explicitly. In the next example, the default 4/4 time
+signature is printed, but @code{measureLength} is set to 5/4.
+At 4/8 through the third measure, the @code{measurePosition} is
+advanced by 1/8 to 5/8, shortening that bar by 1/8.
+The next bar line then falls at 9/8 rather than 5/4.
@lilypond[quote,ragged-right,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
c4 c4
-\set Score.measurePosition = #(ly:make-moment 7 8)
-b8 b b
+\set Score.measurePosition = #(ly:make-moment 5 8)
+b4 b4 b8
c4 c1
@end lilypond
notes.
-@node Proportional notation (introduction)
-@unnumberedsubsubsec Proportional notation (introduction)
-@cindex Proportional notation
-
-See @ref{Proportional notation}.
-
-
-TODO: remove all this stuff?
-
-Notes can be spaced proportionally to their time-difference by
-assigning a duration to @code{proportionalNotationDuration}
+@seealso
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-<<
- \set Score.proportionalNotationDuration = #(ly:make-moment 1 16)
- \new Staff { c8[ c c c c c] c4 c2 r2 }
- \new Staff { c2 \times 2/3 { c8 c c } c4 c1 }
->>
-@end lilypond
+This manual: @ref{Bar numbers}, @ref{Unmetered music}
-Setting this property only affects the ideal spacing between
-consecutive notes. For true proportional notation, the following
-settings are also required.
+Snippets: @lsrdir{Rhythms,Rhythms}
-@itemize
+Internals Reference: @internalsref{Timing_translator},
+@internalsref{Score}
-@item True proportional notation requires that symbols are allowed
-to overstrike each other. That is achieved by removing the
-@internalsref{Separating_line_group_engraver} from
-@internalsref{Staff} context.
-
-@item Spacing influence of prefatory matter (clefs, bar lines,
-etc.) is removed by setting the @code{strict-note-spacing}
-property to @code{#t} in @internalsref{SpacingSpanner} grob.
-@item Optical spacing tweaks are switched by setting
-@code{uniform-stretching} in @internalsref{SpacingSpanner} to
-true.
-@end itemize
-@seealso
-Examples: @lsr{spacing,proportional@/-spacing@/.ly},
-@lsr{spacing,proportional@/-strict@/-grace@/-notes@/.ly}, and
-@lsr{spacing,proportional@/-strict@/-notespacing@/.ly}
-An example of strict proportional notation is in the
-example file @file{input/proportional.ly}.
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