version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
-
-@ignore
-GDP TODO list
-
-\compressMusic -> \scaleDurations.
-approved by Han-Wen; just needs somebody to kick up a fuss about
-it.
-
-1.2.3.1 Time signature
-Needs an example of beatLength, which is broken (see my recent
-mail
-to -bug). What to do? For now I've left a paragraph of text
-which really
-needs to be inserted with an example in a snippet.
-
-1.2.3.4 Polymetric notation
-Quite extensive changes. Could you please check through. Divided
-into three
-sections. Necessarily uses tweaks. I've also left an @lsr under
-@seealso
-Snippets - is this permitted or is @lsr now verboten? This
-snippet is too
-long to include, but seems relevant.
-A snippet "grouping beats" hasn't yet appeared (only sent to vv a
-couple of
-days ago). Text left in Snippets: with TODO.
-@end ignore
+@c \version "2.12.0"
@node Rhythms
@section Rhythms
This section discusses rhythms, rests, durations, beaming and bars.
@menu
-* Writing rhythms::
-* Writing rests::
-* Displaying rhythms::
-* Beams::
-* Bars::
-* Special rhythmic concerns::
+* Writing rhythms::
+* Writing rests::
+* Displaying rhythms::
+* Beams::
+* Bars::
+* Special rhythmic concerns::
@end menu
@subsection Writing rhythms
@menu
-* Durations::
-* Tuplets::
-* Scaling durations::
-* Ties::
+* Durations::
+* Tuplets::
+* Scaling durations::
+* Ties::
@end menu
@node Durations
-@subsubsection Durations
+@unnumberedsubsubsec Durations
@cindex durations, of notes
@cindex note durations
+@cindex length of notes
+@cindex note lengths
@funindex \longa
+@funindex longa
@funindex \breve
+@funindex breve
@funindex \maxima
+@funindex maxima
-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.
+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 128th notes may be
+specified. Shorter values are possible, but only as beamed notes.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
c\longa c\breve c1 c2
c4 c8 c16 c32 c64 c64
@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]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
\autoBeamOff
c\longa c\breve c1 c2
entered duration. The default for the first note is a quarter
note.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
a a a2 a a4 a a1 a
@end lilypond
@cindex notes, dotted
@cindex dotted notes
+@cindex notes, double-dotted
+@cindex double-dotted notes
@funindex .
duration. Double-dotted notes are specified by appending two
dots, and so on.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
proportional notation, see @ref{Proportional notation}.
@funindex \dotsUp
+@funindex dotsUp
@funindex \dotsDown
+@funindex dotsDown
@funindex \dotsNeutral
+@funindex dotsNeutral
Dots are normally moved up to avoid staff lines, except in
-polyphonic situations. Predefined commands are available to
+polyphonic situations. Predefined commands are available to
force a particular direction manually, for details
-see @ref{Controlling direction and placement}.
+see @ref{Direction and placement}.
-@predefined
+@predefined
@code{\autoBeamOff},
@code{\dotsUp},
@code{\dotsDown},
@code{\dotsNeutral}.
+@endpredefined
@seealso
-
Music Glossary:
@rglos{breve},
@rglos{longa},
+@rglos{maxima},
@rglos{note value},
@rglos{Duration names notes and rests}.
Notation Reference:
@ref{Automatic beams},
@ref{Ties},
+@ref{Stems},
@ref{Writing rhythms},
@ref{Writing rests},
@ref{Vocal music},
@node Tuplets
-@subsubsection Tuplets
+@unnumberedsubsubsec Tuplets
@cindex tuplets
@cindex triplets
+
@funindex \times
+@funindex times
Tuplets are made from a music expression by multiplying all the
durations with a fraction:
tuplet is the triplet in which 3 notes have the duration of 2, so
the notes are 2/3 of their written length.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a2 \times 2/3 { b4 b b }
c4 c \times 2/3 { b4 a g }
-
@end lilypond
@funindex \tupletUp
+@funindex tupletUp
@funindex \tupletDown
+@funindex tupletDown
@funindex \tupletNeutral
+@funindex tupletNeutral
The automatic placement of the tuplet bracket above or below the
notes may be overridden manually with predefined commands, for
-details see @ref{Controlling direction and placement}.
+details see @ref{Direction and placement}.
Tuplets may be nested:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\autoBeamOff
c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
To modify the duration of notes without printing a tuplet bracket,
see @ref{Scaling durations}.
-@predefined
+@predefined
@code{\tupletUp},
@code{\tupletDown},
@code{\tupletNeutral}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{triplet},
@rglos{tuplet},
Notation Reference:
@ref{Time administration},
@ref{Scaling durations},
-@ref{Objects connected to the input},
+@ref{The tweak command},
@ref{Polymetric notation}.
Snippets:
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
+
@knownissues
@cindex grace notes within tuplet brackets
-When the very first note on a staff is a grace note followed by a
+When the first note on a staff is a grace note followed by a
tuplet the grace note must be placed before the @code{\times}
command to avoid errors. Anywhere else, grace notes may be
placed within tuplet brackets.
@node Scaling durations
-@subsubsection Scaling durations
+@unnumberedsubsubsec Scaling durations
@cindex scaling durations
@cindex durations, scaling
-TODO Change \compressMusic to \scaleDurations when implemented.
-
You can alter the duration of single notes, rests or chords by a
-fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
-@code{M} is 1) to the duration.
-This will not affect the appearance of the notes or rests
-produced, but the altered duration will be used in calculating the
-position within the measure and setting the duration in the MIDI
-output. Multiplying factors may be combined such as @code{*L*M/N}.
+fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
+is 1) to the duration. This will not affect the appearance of the
+notes or rests produced, but the altered duration will be used in
+calculating the position within the measure and setting the duration
+in the MIDI output. Multiplying factors may be combined such as
+@code{*L*M/N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Alter durations to triplets
a4*2/3 gis4*2/3 a4*2/3
@code{s1*23}.
@cindex compressing music
-@funindex \compressMusic
-Longer stretches of music may be compressed by a fraction in
-the same way, as if every note, chord or rest had the fraction
-as a multiplier. The general syntax of the command to do this
-is:
+@funindex \scaleDurations
+@funindex scaleDurations
-@example
-\compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
-@end example
-
-@noindent
-This will leave the appearance of @emph{music} unchanged but
+Longer stretches of music may be compressed by a fraction in the
+same way, as if every note, chord or rest had the fraction as a
+multiplier. This leaves the appearance of the music unchanged but
the internal duration of the notes will be multiplied by the
-fraction @emph{num}/@emph{den}. The spaces around the dot
-are required. Here is an example showing how music can be
-compressed and expanded:
+fraction @emph{num}/@emph{den}. The spaces around the dot are
+required. Here is an example showing how music can be compressed
+and expanded:
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Normal durations
<c a>4 c8 a
% Scale music by *2/3
-\compressMusic #'(2 . 3) {
+\scaleDurations #'(2 . 3) {
<c a f>4. c8 a f
}
% Scale music by *2
-\compressMusic #'(2 . 1) {
+\scaleDurations #'(2 . 1) {
<c' a>4 c8 b
}
@end lilypond
@seealso
-
Notation Reference:
@ref{Tuplets},
-@ref{Skips},
+@ref{Invisible rests},
@ref{Polymetric notation}.
Snippets:
@node Ties
-@subsubsection Ties
+@unnumberedsubsubsec Ties
@cindex tie
+
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
A tie is entered using the tilde symbol @code{~}
-@lilypond[quote,ragged-right,fragment,verbatim]
-e' ~ e'
+@lilypond[quote,verbatim,relative=2]
+a2 ~ a
@end lilypond
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]
+@lilypond[verbatim,quote]
\relative c' {
r8 c8 ~ c2 r4 |
r8^"not" c2 ~ c8 r4
created. Chords may be partially tied by placing the tie inside
the chord.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c e g> ~ <c e g>
<c~ e g~ b> <c e g b>
@end lilypond
-@funindex \repeatTie
@cindex repeating ties
@cindex ties, repeating
@cindex volta brackets and ties
@cindex ties and volta brackets
+@funindex \repeatTie
+@funindex repeatTie
+
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
-@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
\alternative {
% First alternative: following note is tied normally
@cindex laissez vibrer
@cindex ties, laissez vibrer
+
@funindex \laissezVibrer
+@funindex laissezVibrer
@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 as follows:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
-<c f g>\laissezVibrer
+@lilypond[quote,verbatim,relative=1]
+<c f g>1\laissezVibrer
@end lilypond
@cindex ties, placement
+
@funindex \tieUp
+@funindex tieUp
@funindex \tieDown
+@funindex tieDown
@funindex \tieNeutral
+@funindex tieNeutral
The vertical placement of ties may be controlled, see
Predefined commands, or for details, see
-@ref{Controlling direction and placement}.
+@ref{Direction and placement}.
@cindex ties, appearance
+@cindex ties, dotted
+@cindex ties, dashed
+@cindex dashed ties
+@cindex dotted ties
+
@funindex \tieDotted
+@funindex tieDotted
@funindex \tieDashed
+@funindex tieDashed
@funindex \tieSolid
+@funindex tieSolid
Solid, dotted or dashed ties may be specified, see Predefined
commands.
@predefined
-
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
@code{\tieSolid}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{tie},
@rglos{laissez vibrer}.
-
-
@node Writing rests
@subsection Writing rests
+Rests are entered as part of the music in music expressions.
+
@menu
-* Rests::
-* Skips::
-* Full measure rests::
+* Rests::
+* Invisible rests::
+* Full measure rests::
@end menu
@node Rests
-@subsubsection Rests
+@unnumberedsubsubsec Rests
@cindex rest
-@cindex maxima
-@cindex longa
-@cindex breve
+@cindex rest, entering durations
+@cindex maxima rest
+@cindex longa rest
+@cindex breve rest
@funindex \rest
+@funindex rest
@funindex r
@funindex \maxima
+@funindex maxima
@funindex \longa
+@funindex longa
@funindex \breve
+@funindex breve
-Rests are entered like notes with the note name @code{r};
-longer rests with the predefined commands shown:
+Rests are entered like notes with the note name @code{r}.
+Durations longer than a whole rest use the predefined
+commands shown:
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[fragment,quote,ragged-right,verbatim]
+@lilypond[fragment,quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
r\longa
% Print a breve rest
r\breve
- r1 r2 r4 r8 r16 r32 r64
+ r1 r2 r4 r8 r16 r32 r64 r128
}
@end lilypond
-Whole measure rests, centered in the 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}.
+@cindex rest, multi-measure
+@cindex rest, whole-measure
+
+Whole measure rests, centered in the 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}.
+
+@cindex rest, specifying vertical position
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. This allows for precise manual
-formatting of polyphonic music, since the automatic rest collision
-formatter will leave these rests alone.
+followed by @code{\rest}. A rest of the duration of the note will
+be placed at the staff position where the note would appear. This
+allows for precise manual formatting of polyphonic music, since the
+automatic rest collision formatter will not move these rests.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
@seealso
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{maxima}.
-Notation Reference: @ref{Full measure rests}
+Notation Reference:
+@ref{Full measure rests}.
Snippets:
@rlsr{Rhythms}.
-Internals Reference: @rinternals{Rest}
+Internals Reference:
+@rinternals{Rest}.
@knownissues
longest and shortest), but the number of glyphs is limited: there
are rests from 128th to maxima (8 x whole).
-@node Skips
-@subsubsection Skips
+
+@node Invisible rests
+@unnumberedsubsubsec Invisible rests
@cindex skip
@cindex invisible rest
@cindex rest, invisible
@cindex spacer note
+@cindex spacer rest
-@funindex \skip
@funindex s
+@funindex \skip
+@funindex skip
-An invisible rest (also called a @q{skip rest}) can be entered like a
-note with note name @code{s} or with the predefined skip command
-followed by the required duration, as shown here:
+An invisible rest (also called a @q{spacer rest}) can be entered
+like a note with the note name@tie{}@code{s}:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-% Skip the third beat in the first measure
-a4 a4 s4 a4
-% Use skip command to skip a whole note (measure)
-\skip 1
-a2 a2
+@lilypond[verbatim,quote,relative=2]
+c4 c s c
+s2 c
@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, one must
-use the predefined skip command:
+Spacer rests are available only in note mode and chord mode. In
+other situations, for example, when entering lyrics, @code{\skip}
+is used to skip a musical moment. @code{\skip} requires an
+explicit duration.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
<<
- { a2 a2 }
- \new Lyrics \lyricmode { \skip 2 bla2 }
+ {
+ a2 \skip2 a2 a2
+ }
+ \new Lyrics {
+ \lyricmode {
+ foo2 \skip 1 bla2
+ }
+ }
>>
@end lilypond
-The @code{s} skip rest implicitly causes @code{Staff} and
-@code{Voice} contexts to be created if none exist, just
-like notes and rests do. These in turn cause a staff with default
-clef and time signature to be printed, with bar lines if necessary.
-For example, the following results in a complete staff with three
-short empty measures:
+A spacer rest implicitly causes @code{Staff} and @code{Voice}
+contexts to be created if none exist, just like notes and rests
+do:
-@lilypond[quote,verbatim,fragment,ragged-right]
-{ s1 s s }
+@lilypond[quote,verbatim,fragment]
+s1 s s
@end lilypond
-However, the predefined skip command behaves differently: it is
-merely an empty musical placeholder. It does not create any
-contexts and does not cause anything to be printed, not even
-transparently. On its own it does not even print an
-empty page:
+@code{\skip} simply skips musical time; it creates no output of
+any kind.
-@example
+@lilypond[quote,verbatim,fragment]
% This is valid input, but does nothing
-@{ \skip 1 @}
-@end example
+\skip 1 \skip1 \skip 1
+@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@node Full measure rests
-@subsubsection Full measure rests
+@unnumberedsubsubsec Full measure rests
@cindex multi-measure rests
@cindex full-measure rests
@cindex rest, multi-measure
@cindex rest, full-measure
@cindex whole rest for a full measure
+@cindex rest, whole for a full measure
+
@funindex R
Rests for one or more full measures are entered like notes with
the note name uppercase @code{R}:
-@lilypond[quote,fragment,verbatim,relative=2]
-% Rest bars contracted to single bar
+@lilypond[quote,verbatim,relative=2]
+% Rest measures contracted to single measure
\compressFullBarRests
R1*4
R1*24
b2^"Tutti" b4 a4
@end lilypond
-@funindex \expandFullBarRests
-@funindex \compressFullBarRests
+The duration of full-measure rests is identical to the duration
+notation used for notes. The duration in a multi-measure rest must
+always be an integral number of measure-lengths, so augmentation dots
+or fractions must often be used:
+
+@lilypond[quote,fragment,verbatim]
+\compressFullBarRests
+\time 2/4
+R1 | R2 |
+\time 3/4
+R2. | R2.*2 |
+\time 13/8
+R1*13/8 | R1*13/8*12 |
+\time 10/8
+R4*5*4 |
+@end lilypond
+
+A full-measure rest is printed as either a whole or breve rest,
+centered in the measure, depending on the time signature.
+
+@lilypond[quote,verbatim,fragment]
+\time 4/4
+R1 |
+\time 6/4
+R1*3/2 |
+\time 8/4
+R1*2 |
+@end lilypond
+
@cindex multi-measure rest, expanding
@cindex multi-measure rest, contracting
-By default a multi-measure rest is expanded in the printed score
-to show all the rest measures explicitly or (as in the example
-above) it can be contracted to a single measure containing a
-multi-measure rest symbol, with the number of measures of rest
-printed above the measure:
+@funindex \expandFullBarRests
+@funindex expandFullBarRests
+@funindex \compressFullBarRests
+@funindex compressFullBarRests
+
+By default a multi-measure rest is expanded in the printed score to
+show all the rest measures explicitly. Alternatively, a multi-measure
+rest can be shown as a single measure containing a multi-measure rest
+symbol, with the number of measures of rest printed above the measure:
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
R2.*2 |
@end lilypond
-The @code{1} in @code{R1} is similar to the duration notation
-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 measure-lengths, so in other time signatures augmentation
-dots or fractions must be used:
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\compressFullBarRests
-\time 3/4
-R2. | R2.*2
-\time 13/8
-R1*13/8 | R1*13/8*12 |
-\time 10/8
-R4*5*4 |
-@end lilypond
-
-An @code{R} spanning a single measure is printed as either a whole
-or breve rest, centered in the measure, regardless of the time
-signature.
-
@cindex text on multi-measure rest
@cindex multi-measure rest, attaching text
@cindex fermata on multi-measure rest
@cindex multi-measure rest, attaching fermata
-Text can be added to multi-measure rests by using the
-@var{note} - @code{\markup} syntax described in
-@ref{Formatting text}. The predefined command @code{\fermataMarkup}
+@funindex \fermataMarkup
+@funindex fermataMarkup
+
+Markups can be added to multi-measure rests.
+The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\compressFullBarRests
\time 3/4
R2.*10^\markup { \italic "ad lib." }
R2.^\fermataMarkup
@end lilypond
-@warning{Text attached to a multi-measure rest is created
-by @code{MultiMeasureRestText}, not
+@warning{
+Markups attached to a multi-measure rest are
+objects of type @code{MultiMeasureRestText}, not
@code{TextScript}. Overrides must be directed to the correct
-object, or they will be ignored. See the following example.}
+object, or they will be ignored. See the following example.
+}
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript #'padding = #5
R1^"wrong"
R1^"right"
@end lilypond
-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.
-This behavior may be changed with the predefined command
-@code{\textLengthOn}, which will cause following bars to expand
-as necessary to accommodate text. @code{\textLengthOff} returns
-to the default behavior. To left-align text within a bar attach
-it to a zero-length skip note preceding the rest.
-
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\compressFullBarRests
-\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
+When a multi-measure rest immediately follows a @code{\partial}
+setting, resulting bar-check warnings may not be displayed.
-@noindent
-Text attached to a skip note in this way is left-aligned to the
-position where the note would be placed in the measure, and placed
-above the measure count numeral, but if the measure 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 measure the measure length is determined by
-the longer text, and the shorter text is then clearly
-left-aligned, as shown in the second measure above. If the shorter
-text of two marks is short enough to fit it will be placed
-alongside and to the left of the measure count numeral.
@predefined
@code{\textLengthOn},
@code{\fermataMarkup},
@code{\compressFullBarRests},
@code{\expandFullBarRests}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{positioning-multi--measure-rests.ly}
-@seealso
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{multi--measure-rest-markup.ly}
+
+@seealso
Music Glossary:
-@rglos{multi-measure rest},
-@rglos{church rests}.
+@rglos{multi-measure rest}.
Notation Reference:
@ref{Durations},
@rinternals{MultiMeasureRestText}.
+@cindex fingerings and multi-measure rests
+@cindex multi-measure rests and fingerings
+
@knownissues
If an attempt is made to use fingerings (e.g.,
numeral (10).
@cindex condensing rests
-@cindex rests, condensing ordinary
+@cindex rest, condensing ordinary
There is no way to automatically condense multiple ordinary rests
into a single multi-measure rest.
-@cindex rests, collisions of
+@cindex rest, collisions of
Multi-measure rests do not take part in rest collisions.
-Be careful when entering multi-measure rests followed by whole
-notes. The following will enter two notes lasting four measures
-each:
-
-@example
-R1*4 cis cis
-@end example
-
-
@node Displaying rhythms
@subsection Displaying rhythms
@menu
-* Time signature::
-* Upbeats::
-* Unmetered music::
-* Polymetric notation::
-* Automatic note splitting::
-* Showing melody rhythms::
+* Time signature::
+* Upbeats::
+* Unmetered music::
+* Polymetric notation::
+* Automatic note splitting::
+* Showing melody rhythms::
@end menu
@node Time signature
-@subsubsection Time signature
+@unnumberedsubsubsec Time signature
@cindex time signature
@cindex meter
+
@funindex \time
+@funindex time
The time signature is set as follows:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c2
\time 3/4 c2.
@end lilypond
-@cindex Time signature, visibility of
+@cindex time signature, visibility of
-Time signatures by default are printed at the start of every line
+Time signatures are printed at the beginning of a piece
and whenever the time signature changes. If a change takes place
-at the end of a line a warning time signature sign is printed
-there. This default behavior may be changed, see
-@ref{Controlling visibility of objects}.
+at the end of a line a warning time signature sign is printed
+there. This default behavior may be changed, see
+@ref{Visibility of objects}.
+
+@lilypond[quote,verbatim,relative=2]
+\time 2/4
+c2 c
+\break
+c c
+\break
+\time 4/4
+c c c c
+@end lilypond
+
+@cindex time signature style
+@cindex meter style
@funindex \numericTimeSignature
+@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@cindex time signature style
+@funindex defaultTimeSignature
-The symbol that is printed in 2/2 and 4/4 time can be customized
-to use a numeric style:
+The time signature symbol that is used in 2/2 and 4/4 time can be
+changed to a numeric style:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Default style
\time 4/4 c1
\time 2/2 c1
@end lilypond
-Ancient time signatures are covered in
-@ref{Ancient time signatures}.
+Mensural time signatures are covered in
+@ref{Mensural time signatures}.
-@predefined
+@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
+@endpredefined
-@snippets
-
-@c TODO Send as snippet called "setting measure and beat lengths"
-@c when example is added
-@code{\time} sets the properties @code{timeSignatureFraction},
-@code{beatLength}, and @code{measureLength} in the @code{Timing}
-context, which is normally aliased to @code{Score}. Changing the
-value of @code{timeSignatureFraction} causes the new time
-signature symbol to be printed without changing the other
-properties. The property @code{measureLength} determines where
-bar lines should be inserted and, with @code{beatLength}, how
-automatic beams should be generated.
-TODO Add example of using beatLength.
-@c beatLength is broken - see bug 511
-
-@c End of snippet
-
-@cindex measure groupings
-@cindex beats, grouping
-@cindex grouping beats
-@cindex measure sub-grouping
+@snippets
-@c TODO Sent as snippet called "grouping beats" 25 Mar 08
-Options to group beats within a bar are available through the
-Scheme function @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
-@rinternals{Measure_grouping_engraver} is included, the function
-will also create @rinternals{MeasureGrouping} signs. Such signs
-ease reading rhythmically complex modern music. In the 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)}:
-
-@lilypond[quote,ragged-right,verbatim]
-\score {
- \relative c'' {
- #(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
- #(set-time-signature 5 8 '(3 2))
- a4. g4
- }
- \layout {
- \context {
- \Staff
- \consists "Measure_grouping_engraver"
- }
- }
-}
-@end lilypond
-@c TODO End of snippet called "grouping beats"
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-time-signature-without-affecting-the-beaming.ly}
@cindex compound time signatures
@cindex time signature, compound
@seealso
-
Music Glossary:
@rglos{time signature}
Notation Reference:
-@ref{Ancient time signatures},
+@ref{Mensural time signatures},
@ref{Time administration}.
Snippets:
@rinternals{Timing_translator}.
-@knownissues
-
-Automatic beaming does not use the measure grouping specified with
-@code{set-time-signature}.
-
-
@node Upbeats
-@subsubsection Upbeats
+@unnumberedsubsubsec Upbeats
@cindex anacrusis
@cindex upbeat
@cindex pickup measure
@cindex measure, change length
@cindex measurePosition
+
@funindex \partial
+@funindex partial
Partial or pick-up measures, such as an anacrusis or upbeat, are
entered using the @code{\partial} command, with the syntax
@example
-\partial @var{duration} @emph{notes}
+\partial @var{duration}
@end example
-where @code{duration} is the rhythmic length of the @emph{notes}
-which are to be placed before the first complete measure:
+where @code{duration} is the rhythmic length of the interval
+before the start of the first complete measure:
+
+@lilypond[quote,verbatim,relative=2]
+\partial 4 e4 |
+a2. c,4 |
+@end lilypond
+
+The partial measure can be any duration less than a full measure:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e |
+@lilypond[quote,verbatim,relative=2]
+\partial 8*3 c8 d e |
a2. c,4 |
-b2
@end lilypond
Internally, this is translated into
@seealso
+Music Glossary:
+@rglos{anacrusis}.
-Music Glossary: @rglos{anacrusis}
-
-Notation Reference: @ref{Grace notes}
+Notation Reference:
+@ref{Grace notes}.
Snippets:
@rlsr{Rhythms}.
-Internal Reference: @rinternals{Timing_translator}
-
-@knownissues
-
-@cindex grace notes, in anacruses
+Internal Reference:
+@rinternals{Timing_translator}.
-This command does not take into account grace notes at the start
-of the music. If the pick-up starts with one or more grace
-notes, then the @code{\partial} should follow the grace note(s):
-@lilypond[verbatim,quote,ragged-right,relative,fragment]
-\grace f16
-\partial 4
-g4
-a2 g2
-@end lilypond
+@knownissues
The @code{\partial} command is intended to be used only at the
beginning of a piece. If you use it after the beginning, some
odd warnings may occur.
@node Unmetered music
-@subsubsection Unmetered music
+@unnumberedsubsubsec Unmetered music
-@funindex \cadenzaOn
-@funindex \cadenzaOff
@cindex bar lines, turning off
@cindex bar numbering, turning off
@cindex cadenza
@cindex unmetered music
+@funindex \cadenzaOn
+@funindex cadenzaOn
+@funindex \cadenzaOff
+@funindex cadenzaOff
+
Bar lines and bar numbers are calculated automatically. For
-unmetered music (cadenzas, for example), this is not desirable.
-To turn off automatic bar lines and bar numbers, use the command
-@code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
-again.
+unmetered music (some cadenzas, for example), this is not desirable.
+To turn off automatic calculation of bar lines and bar numbers,
+use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
+to turn them on again.
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
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]
+@lilypond[verbatim,relative=2,fragment]
% Show all bar numbers
\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
d4 e d c
@end lilypond
-@predefined
+@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
+@endpredefined
-@seealso
-Music Glossary: @rglos{cadenza}
+@seealso
+Music Glossary:
+@rglos{cadenza}.
-Notation Reference: @ref{Controlling visibility of objects}
+Notation Reference:
+@c ref{Controlling visibility of objects}.
Snippets:
@rlsr{Rhythms}.
+
@knownissues
LilyPond will insert line breaks and page breaks only at a
@node Polymetric notation
-@subsubsection Polymetric notation
+@unnumberedsubsubsec Polymetric notation
+
+@c This section necessarily uses \set
+@c This is acceptable -td
@cindex double time signatures
@cindex signatures, polymetric
+@cindex time signatures, polymetric
+@cindex time signatures, double
@cindex polymetric signatures
@cindex meter, polymetric
-@strong{Alternating time signatures}
-
-Regularly alternating double time signatures are not supported
-explicitly, but they can be faked. In the next example, the
-double time signature is created with markup text, while the
-real time signature is set in the usual way with @code{\time}.
-
-@lilypond[verbatim,ragged-right]
-% Create 9/8 split into 2/4 + 5/8
-tsMarkup = \markup {
- \override #'(baseline-skip . 2) \number {
- \column { "2" "4" }
- \vcenter "+"
- \bracket \column { "5" "8" }
- }
-}
+@funindex timeSignatureFraction
+@funindex \scaleDurations
+@funindex scaleDurations
+@funindex \times
+@funindex times
-{
- \override Staff.TimeSignature #'stencil =
- #ly:text-interface::print
- \override Staff.TimeSignature #'text = #tsMarkup
- \time 9/8
- c'2 \bar ":" c'4 c'4.
- c'2 \bar ":" c'4 c'4.
-}
-@end lilypond
+Polymetric notation is supported, either explicitly or by modifying
+the visible time signature symbol and scaling the note durations.
-@strong{Staves with different time signatures, equal measure lengths}
+@strong{@i{Staves with different time signatures, equal measure lengths}}
This notation can be created by setting a common time signature
for each staff but replacing the symbol manually by setting
@code{timeSignatureFraction} to the desired fraction and scaling
the printed durations in each staff to the common time
-signature. This done with @code{\compressMusic}, which
-is used in a similar way to @code{\times}, but does not create
-a tuplet bracket, see @ref{Scaling durations}.
+signature; see @ref{Time signature}. The scaling is done with
+@code{\scaleDurations}, which is used in a similar way to
+@code{\times}, but does not create a tuplet bracket; see
+@ref{Scaling durations}.
+
+@cindex beaming in polymetric music
+@cindex beaming in polymetric meter
In this example, music with the time signatures of 3/4, 9/8, and
10/8 are used in parallel. In the second staff, shown durations
are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
+It will often be necessary to insert beams manually, as the
+duration scaling affects the autobeaming rules.
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' { <<
+@lilypond[quote,verbatim,fragment]
+\relative c' <<
\new Staff {
\time 3/4
c4 c c |
\new Staff {
\time 3/4
\set Staff.timeSignatureFraction = #'(9 . 8)
- \compressMusic #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
+ \scaleDurations #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
}
\new Staff {
\time 3/4
\set Staff.timeSignatureFraction = #'(10 . 8)
- \compressMusic #'(3 . 5) {
+ \scaleDurations #'(3 . 5) {
\repeat unfold 2 { c8[ c c] }
\repeat unfold 2 { c8[ c] } |
- c4. c4. \times 2/3 { c8 c c } c4
+ c4. c4. \times 2/3 { c8[ c c] } c4
}
}
->> }
+>>
@end lilypond
-@strong{Staves with different time signatures, unequal bar lengths}
+@strong{@i{Staves with different time signatures, unequal bar lengths}}
Each staff can be given its own independent time signature by
-moving the @code{Timing_translator} to the @code{Staff} context.
+moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} to the @code{Staff} context.
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,verbatim]
\layout {
\context {
\Score
>>
@end lilypond
+@snippets
-@seealso
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
+
+@seealso
Music Glossary:
@rglos{polymetric},
@rglos{polymetric time signature},
@rglos{meter}.
-Notation Reference: @ref{Scaling durations}
+Notation Reference:
+@ref{Time signature},
+@ref{Scaling durations}.
Snippets:
@rlsr{Rhythms}.
-@c Is this still permitted?
-@c @lsr{contemporary,compound-time-signature}
Internals Reference:
@rinternals{TimeSignature},
-@rinternals{Timing-translator},
+@rinternals{Timing_translator},
+@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
-@knownissues
-When using different time signatures in parallel, the spacing is
-aligned vertically, but bar lines distort the regular spacing.
+@knownissues
+When using different time signatures in parallel, notes
+at the same moment will be be placed at the same horizontal
+location. However, the bar lines in the different staves
+will cause the note spacing to be less regular in each of the
+individual staves than would be normal without the different
+time signatures.
@node Automatic note splitting
-@subsubsection Automatic note splitting
+@unnumberedsubsubsec Automatic note splitting
@cindex notes, splitting
@cindex splitting notes
+@funindex Note_heads_engraver
+@funindex Completion_heads_engraver
+
Long notes which overrun bar lines can be converted automatically
to tied notes. This is done by replacing the
-@code{Note_heads_engraver} by the
+@code{Note_heads_engraver} with the
@code{Completion_heads_engraver}. In the following
example, notes crossing the bar lines are split and tied.
-@lilypond[quote,fragment,verbatim,relative=1,ragged-right]
+@lilypond[quote,verbatim,relative=1]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
measures are not entirely filled, then the ties show exactly how
much each measure is off.
-To allow line breaking on the bar lines where the
-@code{Completion_heads_engraver} has inserted a split note, remove
-the @code{Forbid_line_break_engraver} too.
-
@seealso
-
Music Glossary: @rglos{tie}
Learning Manual:
@knownissues
Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
+represented exactly with normal notes and dots, but the
+@code{Completion_heads_engraver} will not insert tuplets.
The @code{Completion_heads_engraver} only affects notes; it does not
split rests.
@node Showing melody rhythms
-@subsubsection Showing melody rhythms
+@unnumberedsubsubsec Showing melody rhythms
+
+@cindex melody rhythms, showing
+@cindex rhythms, showing melody
Sometimes you might want to show only the rhythm of a melody. This
can be done with the rhythmic staff. All pitches of notes on such a
staff are squashed, and the staff itself has a single line
-@c TODO Devise a more realistic example, perhaps with lyrics -td
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-\new RhythmicStaff {
- \time 4/4
- c4 e8 f g2 | r4 g r2 | g1 | r1 |
-}
+@lilypond[quote,relative=1,verbatim]
+<<
+ \new RhythmicStaff {
+ \new Voice = "myRhythm" {
+ \time 4/4
+ c4 e8 f g2
+ r4 g g f
+ g1
+ }
+ }
+ \new Lyrics {
+ \lyricsto "myRhythm" {
+ This is my song
+ I like to sing
+ }
+ }
+>>
+@end lilypond
+
+@cindex guitar chord charts
+@cindex strumming rhythms, showing
+@cindex guitar strumming rhythms, showing
+
+@funindex Pitch_squash_engraver
+@funindex \improvisationOn
+@funindex improvisationOn
+@funindex \improvisationOff
+@funindex improvisationOff
+
+Guitar chord charts often show the strumming rhythms. This can
+be done with the @code{Pitch_squash_engraver} and
+@code{\improvisationOn}.
+
+
+@lilypond[quote,verbatim]
+<<
+ \new ChordNames {
+ \chordmode {
+ c1 f g c
+ }
+ }
+
+ \new Voice \with {
+ \consists Pitch_squash_engraver
+ } \relative c'' {
+ \improvisationOn
+ c4 c8 c c4 c8 c
+ f4 f8 f f4 f8 f
+ g4 g8 g g4 g8 g
+ c4 c8 c c4 c8 c
+ }
+>>
@end lilypond
+@predefined
+@code{\improvisationOn},
+@code{\improvisationOff}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{guitar-strum-rhythms.ly}
+
+
+@seealso
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{RhythmicStaff},
+@rinternals{Pitch_squash_engraver}.
+
+
@node Beams
@subsection Beams
@menu
-* Automatic beams::
-* Setting automatic beam behavior::
-* Manual beams::
-* Feathered beams::
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+* Feathered beams::
@end menu
@node Automatic beams
-@subsubsection Automatic beams
+@unnumberedsubsubsec Automatic beams
By default, beams are inserted automatically:
@cindex beams, manual
@cindex manual beams
+@cindex beams, setting rules for
+@cindex beams, custom rules for
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@funindex measureLength
+@funindex beatLength
+@funindex beatGrouping
+@funindex \autoBeamOn
+@funindex autoBeamOn
+@funindex \autoBeamOff
+@funindex autoBeamOff
+
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c c c
\time 6/8 c c c c8. c16 c8
@end lilypond
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}.
+entered explicitly; see @ref{Manual beams}. Beams must also be
+entered manually in the same way if beams are to be extended over
+rests.
+
+It is possible
+to define beaming patterns that differ from the defaults. The
+default beaming rules for most common time signatures are defined
+in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
+defined for a particular beam's duration in the time signature being
+used, its beaming is controlled by the values of three context
+properties, @code{measureLength}, @code{beatLength} and
+@code{beatGrouping}. Both the beaming rules and the context
+properties can be overridden, see @ref{Setting automatic beam behavior}.
+
+
+@warning{If beams are used to indicate melismata in songs, then automatic
+beaming should be switched off with @code{\autoBeamOff} and the beams
+indicated manually.}
-@cindex autoBeamOn
-@cindex autoBeamOff
@noindent
Automatic beaming may be turned off and on with
@code{\autoBeamOff} and @code{\autoBeamOn} commands:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
c4 c8 c8. c16 c8. c16 c8
\autoBeamOff
c4 c8 c8. c16 c8.
@end lilypond
-@snippets
-
-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 behavior 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
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
+@endpredefined
-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
+@snippets
+@cindex line breaks and beams
@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.
+@funindex breakable
-@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
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beams-across-line-breaks.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-beam-knee-gap.ly}
@seealso
+Notation Reference:
+@ref{Manual beams},
+@ref{Setting automatic beam behavior}.
-Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+Installed Files:
+@file{scm/@/auto@/-beam@/.scm}.
Snippets:
@rlsr{Rhythms}.
@node Setting automatic beam behavior
-@subsubsection Setting automatic beam behavior
+@unnumberedsubsubsec Setting automatic beam behavior
+
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
+@cindex automatic beam generation
+@cindex autobeam
+@cindex lyrics and beaming
+
+@funindex autoBeaming
@funindex autoBeamSettings
@funindex (end * * * *)
@funindex (begin * * * *)
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
+@funindex measureLength
+@funindex beatLength
+@funindex beatGrouping
+@funindex \time
+@funindex time
+@funindex \set
+@funindex set
+
+The placement of automatic beams is determined by the rules
+described in @ref{Automatic beams}. There are two mutually
+exclusive ways in which these rules may be modified. The
+first, modifying the grouping of beats, applies to uncommon time
+signatures, i.e. those for which there are no predefined rules
+defining the beam end points. The second method, modifying the
+specification of the beam end points, can be used for any time
+signature. This second method @strong{must} be used for those time
+signatures and beam durations combinations for which beam ending
+rules are pre-defined, unless these have all been reverted. There
+are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
+4/8, 4/16, 6/8, 9/8 and 12/8.
+
+@i{@strong{Modifying the grouping of beats}}
+
+If there are no beam-ending rules defined for the beam duration of a
+particular beam in the time signature in use, its beaming is
+controlled by three context properties:
+@code{measureLength}, @code{beatLength} and @code{beatGrouping}.
+These properties may be set in the @code{Score}, @code{Staff} or
+@code{Voice} contexts to delimit their scope. The default values
+are set while processing @code{\time} commands, so the @code{\set}
+commands must be placed after all @code{\time} commands.
+
+These determine the beaming as follows:
+
+Beams may begin anywhere (unless a beam is already active). Beams
+end at a time determined by the values of @code{beatGrouping} and
+@code{beatLength}, as follows:
+
+@itemize
+
+@item If @code{beatGrouping} and @code{beatLength} are consistent
+with @code{measureLength}, @code{beatGrouping} is used to determine
+the end points of beams.
+
+@item If @code{beatGrouping} and @code{beatLength} are inconsistent
+with @code{measureLength}, @code{beatLength} is used to determine
+the end points of beams.
+
+@end itemize
+
+@warning{These three properties become effective for a particular
+beam @strong{only} if there are no beam-ending rules predefined for
+that beam's duration in the time signature in use, or if these
+beam-ending rules have all been reverted.}
+
+By default the @code{measureLength} and @code{beatLength} are
+derived from the time signature set by the @code{\time} command.
+The @code{measureLength} is set to be exactly the same length as
+the measure length given by the time signature, and the
+@code{beatLength} is set to be the same as one over the denominator
+of the time signature.
+
+The default value of @code{beatGrouping} is taken from a table in
+@file{scm/@/music@/-functions@/.scm}. To find this, see
+@rlearning{Other sources of information}. It defines the beat
+grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
+
+Both @code{measureLength} and @code{beatLength} are @i{moments},
+units of musical duration. A quantity of type @i{moment} is
+created by the scheme function @code{ly:make-moment}. For more
+information about this function, see @ref{Time administration}.
+
+@code{beatGrouping} is a list of integers giving the number of
+beats in each group.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{grouping-beats.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{specifying-context-with-beatgrouping.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-beatlength-and-beatgrouping.ly}
+
+@funindex subdivideBeams
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{sub-dividing-beams.ly}
+
+@cindex measure groupings
+@cindex beats, grouping
+@cindex grouping beats
+@cindex measure sub-grouping
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{conducting-signs,-measure-grouping-signs.ly}
+
+
+@strong{@i{Modifying the beam end points}}
-@c [TODO: use \applyContext]
+In common time signatures, automatic beams can start on any note
+but can end at only a few positions within the measure, namely at
+durations specified by the properties in @code{autoBeamSettings}.
+These properties consist of a list of rules defining where beams can
+end. The default @code{autoBeamSettings} rules are defined in
+@file{scm/@/auto@/-beam@/.scm}. To find this, see
+@rlearning{Other sources of information}.
-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}.
+This method @strong{must} be used for the time signatures for which
+beam-ending rules are defined by default, unless these have all
+been reverted. It is also particularly suitable for many other time
+signatures if the time signature of the measures changes frequently,
+or if the beaming should be different for different beam durations.
In order to add a rule to the list, use
+
@example
-#(override-auto-beam-setting '(be p q n m) a b [context])
+#(override-auto-beam-setting
+ '(beam-limit
+ beam-numerator beam-denominator
+ time-signature-numerator time-signature-denominator)
+ moment-numerator moment-denominator [context])
@end example
+@noindent
+where
+
@itemize
-@item @code{be} is either @code{begin} or @code{end}.
+@item @code{beam-limit} is the type of automatic beam limit
+defined. This can be either @code{begin} or @code{end} but
+only @code{end} is effective.
-@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{beam-numerator/beam-denominator} is the beam duration
+to which the rule is to apply. A beam is considered to have
+the duration of its shortest note. Set @code{beam-numerator}
+and @code{beam-denominator} to @code{'*'} to have this rule apply
+to beams of any duration.
-@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{time-signature-numerator/time-signature-denominator}
+specifies the time signature to which this rule should apply.
+If @code{time-signature-numerator} and
+@code{time-signature-denominator} are set to @code{'*'} this rule
+will apply in any time signature.
-@item @code{a/b} is the position in the bar at which the beam should
-begin/end.
+@item @code{monent-numerator/moment-denominator} is the position
+in the bar at which the beam should end.
@item @code{context} is optional, and it specifies the context at which
the change should be made. The default is @code{'Voice}.
@end itemize
For example, if automatic beams should always end on the first quarter
-note, use
+note, whatever the time signature or beam duration, use
-@example
+@lilypond[quote,verbatim,relative=2]
+a8 a a a a a a a
#(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
+a8 a a a a a a a
+@end lilypond
-You can force the beam settings to only take effect on beams whose shortest
+You can force the beam settings to take effect only on beams whose shortest
note is a certain duration
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
+% end 1/16 beams for all time signatures at the 1/16 moment
#(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 |
+% end 1/32 beams for all time signatures at the 1/16 moment
#(override-auto-beam-setting '(end 1 32 * *) 1 16)
a32 a a a a16 a a a a a |
@end lilypond
-You can force the beam settings to only take effect in certain time
+You can force the beam settings to take effect only in certain time
signatures
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 5/8
+% end beams of all durations in 5/8 time signature at the 2/8 moment
#(override-auto-beam-setting '(end * * 5 8) 2 8)
c8 c d d d
\time 4/4
c8 c d d d
@end lilypond
-You can also remove a previously set beam-ending rule by using
+When multiple voices are used the @code{Staff} context must be
+specified if the beaming is to be applied to all voices in the
+staff:
+
+@lilypond[quote,verbatim,relative=2]
+\time 7/8
+% rhythm 3-1-1-2
+% Context not specified - does not work correctly
+#(override-auto-beam-setting '(end * * 7 8) 3 8)
+#(override-auto-beam-setting '(end * * 7 8) 4 8)
+#(override-auto-beam-setting '(end * * 7 8) 5 8)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+
+% Works correctly with context specified
+#(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
+#(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
+#(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+@end lilypond
+
+@warning{If any unexpected beam behavior 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 in addition to your own.}
+
+Any unwanted or conflicting default endings must be reverted for
+your time signature(s). Existing auto-beam rules are removed by
+using
@example
-#(revert-auto-beam-setting '(be p q n m) a b [context])
+#(revert-auto-beam-setting
+ '(beam-limit
+ beam-numerator beam-denominator
+ time-signature-numerator time-signature-denominator)
+ moment-numerator moment-denominator [context])
@end example
@noindent
-@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
-@code{b} and @code{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.
+@code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
+@code{time-signature-numerator}, @code{time-signature-denominator},
+@code{moment-numerator}, @code{moment-denominator} and @code{context}
+are the same as above.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 4/4
a16 a a a a a a a a a a a a a a a
+% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
#(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
match the original rule. That is, no wildcard expansion is taken into
account.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 1/4
#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
a16 a a a
a a a a
@end lilypond
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-grouping-in-7-8-time.ly}
-@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 behavior 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
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{reverting-default-beam-endings.ly}
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-endings-in-score-context.ly}
+@funindex \autoBeamOff
+@funindex autoBeamOff
+@funindex \autoBeamOn
+@funindex autoBeamOn
@predefined
-
-@funindex \autoBeamOff
@code{\autoBeamOff},
-@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
+
+@cindex beam, last in score
+@cindex beam, last in polyphonic voice
@knownissues
@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@node Manual beams
-@subsubsection Manual beams
+@unnumberedsubsubsec Manual beams
@cindex beams, manual
+@cindex manual beams
+
+@funindex ]
+@funindex [
In some cases it may be necessary to override the automatic
beaming algorithm. For example, the autobeamer will not put beams
notes. Such beams can be specified manually by
marking the begin and end point with @code{[} and @code{]}
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
+@funindex \noBeam
+@funindex noBeam
+
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
-@funindex ]
-@funindex [
-
@funindex stemLeftBeamCount
@funindex stemRightBeamCount
with only one beam on the left side, i.e., the eighth-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]
-}
+@lilypond[quote,relative=2,verbatim]
+a8[ r16 f g a]
+a8[ r16
+\set stemLeftBeamCount = #2
+\set stemRightBeamCount = #1
+f
+\set stemLeftBeamCount = #1
+g a]
@end lilypond
@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{flat-flags-and-beam-nibs.ly}
+
@node Feathered beams
-@subsubsection Feathered beams
+@unnumberedsubsubsec Feathered beams
@cindex beams, feathered
-@funindex \featherDurations
+
+@funindex \featherDurations
+@funindex featherDurations
+@funindex grow-direction
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
+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
+@code{]}, and the beam feathering is turned on by specifying a
direction to the @code{Beam} property @code{grow-direction}.
If the placement of the notes and the sound in the MIDI output
@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.
+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
lengthening. The first four 32nd notes gradually speed up, while
the last four 32nd notes are at a constant tempo.
-@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
+@lilypond[relative=1,verbatim,quote]
\override Beam #'grow-direction = #LEFT
\featherDurations #(ly:make-moment 2 1)
{ c16[ c c c c c c c] }
@end lilypond
@noindent
-The spacing in the printed output represents the
-note durations only approximately, but the midi output is exact.
+The spacing in the printed output represents the
+note durations only approximately, but the MIDI output is exact.
@knownissues
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
-
@node Bars
@subsection Bars
@menu
-* Bar lines::
-* Bar numbers::
-* Bar and bar number checks::
-* Rehearsal marks::
+* Bar lines::
+* Bar numbers::
+* Bar and bar number checks::
+* Rehearsal marks::
@end menu
@node Bar lines
-@subsubsection Bar lines
+@unnumberedsubsubsec Bar lines
@cindex bar lines
-@funindex \bar
@cindex measure lines
@cindex repeat bars
+@funindex \bar
+@funindex bar
+
Bar lines delimit measures, and are also used to indicate
repeats. Normally, simple bar lines are automatically inserted
-into the printed output at places based on the current time
-signature.
+into the printed output at places based on the current time
+signature.
-The simple bar lines 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 bar line is usually placed at the end of a piece:
-@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,verbatim]
e4 d c2 \bar "|."
@end lilypond
-@warning{An incorrect duration can lead to poorly formatted
-music.}
-
-It is not invalid if the final note in a measure does not
-end on the automatically entered bar line: the note is assumed
+It is not invalid if the final note in a measure does not
+end on the automatically entered bar line: the note is assumed
to carry over into the next measure. But if a long sequence
of such carry-over measures 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 measures, i.e., where
-the end of a note coincides with the end of a measure.
+breaks happen only at the end of complete measures, i.e., where
+all notes end before the end of a measure.
+
+@warning{An incorrect duration can cause line breaks to be
+inhibited, leading to a line of highly compressed music or
+music which flows off the page.}
@cindex line breaks
@cindex bar lines, invisible
@cindex measure lines, invisible
Line breaks are also permitted at manually inserted bar lines
-even within incomplete measures. To allow a line break without
+even within incomplete measures. To allow a line break without
printing a bar line, use
@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
+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}.
+@cindex manual bar lines
+@cindex manual measure lines
+@cindex bar lines, manual
+@cindex measure lines, manual
+
This and other special bar lines may be inserted manually at any
-point. When they coincide with the end of a measure they replace
-the simple bar line which would have been inserted there
-automatically. When they do not coincide
-with the end of a measure 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 bar lines.
-
-The simple bar line and four types of double bar line are available
+point. When they coincide with the end of a measure they replace the
+simple bar line which would have been inserted there automatically.
+When they do not coincide with the end of a measure 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
+bar lines.
+
+The simple bar line and five types of double bar line are available
for manual insertion:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
@end lilypond
@noindent
together with dotted and dashed bar lines:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar ":" g \bar "dashed" a
@end lilypond
@noindent
-and three types of repeat bar line:
+and five types of repeat bar line:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|:" g \bar ":|:" a \bar ":|" b
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
@end lilypond
@cindex repeats
In addition, you can specify @code{"||:"}, which is equivalent to
@code{"|:"} except at line breaks, where it gives a double bar
line at the end of the line and a start repeat at the beginning of
-the next line.
+the next line.
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
-\bar "||:"
+\bar "||:"
c c c c \break
-\bar "||:"
+\bar "||:"
c c c c
@end lilypond
connected between different staves of a @code{StaffGroup},
@code{PianoStaff}, or @code{GrandStaff}.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\new StaffGroup <<
\new Staff {
@funindex whichBar
@funindex defaultBarType
+@funindex \bar
+@funindex bar
+@funindex bartype
The command @code{\bar }@var{bartype} is a shortcut for
-@code{\set Timing.whichBar = }@var{bartype}. A bar line is
+@code{\set Timing.whichBar = }@var{bartype}. A bar line is
created whenever the @code{whichBar} property is
-set.
+set.
The default bar type used for automatically inserted bar lines is
@code{"|"}. This may be changed at any time
-with @code{\set Timing.defaultBarType = }@var{bartype}.
+with @code{\set Timing.defaultBarType = }@var{bartype}.
-@seealso
-Notation Reference: @ref{Line breaking}, @ref{Repeats},
-@c FIXME: node name changed, but is subject to further changes.
-@c @ref{System start delimiters}.
+@seealso
+Notation Reference:
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
Snippets:
@rlsr{Rhythms}.
@node Bar numbers
-@subsubsection Bar numbers
+@unnumberedsubsubsec Bar numbers
@cindex bar numbers
@cindex measure numbers
+@cindex numbers, bar
+@cindex numbers, measure
+
@funindex currentBarNumber
Bar numbers are typeset by default at the start of every line except
@code{currentBarNumber} property, which is normally updated
automatically for every measure. It may also be set manually:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,fragment,relative=1]
c1 c c c
\break
\set Score.currentBarNumber = #50
@snippets
-@funindex barNumberVisibility
@cindex bar numbers, regular spacing
+@funindex barNumberVisibility
+
+@c Uncomment this after next LSR update.
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c {printing-the-bar-number-for-the-first-measure.ly}
+
Bar numbers can be typeset at regular intervals instead of just at
the beginning of every line. To do this the default behavior
must be overridden to permit bar numbers to be printed at places
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]
-\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+@lilypond[verbatim,quote,relative=1]
+\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
c1 c c c
and here the bar numbers are printed every two measures
except at the end of the line:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\override Score.BarNumber #'break-visibility = ##(#f #t #t)
+@lilypond[verbatim,quote,relative=1]
+\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 second measure
@cindex bar number, format
The size of the bar number may be changed. This is illustrated
-in the following example, which also shows how to enclose bar
+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]
+@lilypond[verbatim,quote,relative=1]
% 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
+% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
\repeat unfold 3 { c1 } \bar "|"
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 measure. The numbers may also
-be positioned directly on the bar line or right-aligned to the
+be positioned directly on the bar line or right-aligned to the
bar line:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\set Score.currentBarNumber = #111
-\override Score.BarNumber #'break-visibility = ##(#t #t #t)
+\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 second measure
Bar numbers can be removed entirely by removing the
@code{Bar_number_engraver} from the @code{Score} context.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
\layout {
\context {
\Score
@seealso
-
Snippets:
@rlsr{Rhythms}.
Internals Reference: @rinternals{BarNumber}.
+@cindex bar number collision
+@cindex collision, bar number
+
@knownissues
Bar numbers may collide with the top of the
this, the @code{padding} property of @rinternals{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
-@subsubsection Bar and bar number checks
+@unnumberedsubsubsec Bar and bar number checks
@cindex bar check
+@cindex bar number check
+@cindex measure check
+@cindex measure number check
+
@funindex barCheckSynchronize
@funindex |
-Bar checks help detect errors in the entered durations.
-A bar check may be entered using the bar symbol, @code{|},
-at any place where a bar line is expected to fall.
-If bar check lines are encountered at other places,
-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.
+Bar checks help detect errors in the entered durations. A bar check
+may be entered using the bar symbol, @code{|}, at any place where a
+bar line is expected to fall. If bar check lines are encountered at
+other places, 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
\time 3/4 c2 e4 | g2 |
correcting input is by scanning for failed bar checks and
incorrect durations.
+If successive bar checks are off by the same musical interval,
+only the first warning message is displayed. This allows the
+warning to focus on the source of the timing error.
+
+
@funindex |
@funindex 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
+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]
+@lilypond[quote,verbatim]
pipeSymbol = \bar "||"
-{
+{
c'2 c'2 |
c'2 c'2
c'2 | c'2
}
@end lilypond
+@funindex \barNumberCheck
+@funindex barNumberCheck
+
When copying large pieces of music, it can be helpful to check
that the LilyPond bar number corresponds to the original that you
are entering from. This can be checked with
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@node Rehearsal marks
-@subsubsection Rehearsal marks
+@unnumberedsubsubsec Rehearsal marks
@cindex rehearsal marks
@cindex mark, rehearsal
+
@funindex \mark
+@funindex mark
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
c1 \mark #8
@cindex format, rehearsal mark
@cindex mark, rehearsal, style
@cindex mark, rehearsal, format
+@cindex rehearsal mark, manual
+@cindex mark, rehearsal, manual
+@cindex custom rehearsal mark
The style is defined by the property @code{markFormatter}. It is
a function taking the current mark (an integer) and the current
procedure. After a few measures, it is set to a procedure that
produces a boxed number.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
\set Score.markFormatter = #format-mark-box-numbers
c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-numbers
c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-letters
c1
@end lilypond
@cindex segno
@cindex coda
@cindex D.S al Fine
+@cindex fermata
+@cindex music glyphs
+@cindex glyphs, music
+
+@funindex \musicglyph
+@funindex musicglyph
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
+@lilypond[quote,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts.segno" }
c1 \mark \markup { \musicglyph #"scripts.coda" }
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
For common tweaks to the positioning of rehearsal marks, see
@ref{Formatting text}.
-@seealso
-
-Snippets:
-@rlsr{Rhythms}.
-
-This manual: @ref{The Feta font}, @ref{Formatting text}.
-Internals Reference: @rinternals{RehearsalMark}.
+@seealso
+Notation Reference:
+@ref{The Feta font},
+@ref{Formatting text}.
-Init files: @file{scm/@/translation@/-functions@/.scm} contains
+Installed 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: @c @lsr{parts,rehearsal-mark-numbers.ly}
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference: @rinternals{RehearsalMark}.
@node Special rhythmic concerns
@menu
-* Grace notes::
-* Aligning to cadenzas::
-* Time administration::
+* Grace notes::
+* Aligning to cadenzas::
+* Time administration::
@end menu
@node Grace notes
-@subsubsection Grace notes
+@unnumberedsubsubsec Grace notes
-@funindex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
@cindex acciaccatura
-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.
+@funindex \grace
+@funindex grace
+
+Grace notes are ornaments that are written out. Grace notes
+are printed in a smaller font and take up no logical time
+in a measure.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
+\grace { c16[ d16] } c2
@end lilypond
-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 also supports two special types of grace notes, the
+@emph{acciaccatura}--an unmeasured grace note indicated by a slurred
+small note with a slashed stem--and the @emph{appoggiatura}, which
+takes a fixed fraction of the main note and appears in small print
+without a slash.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4
+@lilypond[quote,relative=2,verbatim]
+\grace c8 b4
+\acciaccatura d8 c4
\appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
-@noindent
-@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
notes for every eighth grace note
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \grace { c16[ d e f] } e4 }
- \new Staff { c4 \grace { g8[ b] } c4 } >>
+@lilypond[quote,relative=2,verbatim]
+<< \new Staff { e2 \grace { c16[ d e f] } e2 }
+ \new Staff { c2 \grace { g8[ b] } c2 } >>
@end lilypond
-@funindex \afterGrace
-
@cindex grace notes, following
+@funindex \afterGrace
+@funindex afterGrace
+
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.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-c1 \afterGrace d1 { c16[ d] } c4
+@lilypond[quote,verbatim,relative=2]
+c1 \afterGrace d1 { c16[ d] } c1
@end lilypond
-This will put the grace notes after a @q{space} lasting 3/4 of the
-length of the main note. The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, i.e.,
-
-@example
-#(define afterGraceFraction (cons 7 8))
-@end example
+This will put the grace notes after a space lasting 3/4 of the
+length of the main note. The default fraction 3/4 can be changed by
+setting @code{afterGraceFraction}. The following example shows
+the results from setting the space at the default, at 15/16, and
+finally at 1/2 of the main note.
-@noindent
-will put the grace note at 7/8 of the main note.
+@lilypond[quote,verbatim,relative=2]
+<<
+ \new Staff {
+ c1 \afterGrace d1 { c16[ d] } c1
+ }
+ \new Staff {
+ #(define afterGraceFraction (cons 15 16))
+ c1 \afterGrace d1 { c16[ d] } c1
+ }
+ \new Staff {
+ #(define afterGraceFraction (cons 1 2))
+ c1 \afterGrace d1 { c16[ d] } c1
+ }
+>>
+@end lilypond
-The same effect can be achieved manually by doing
+The space between the main note and the grace note may also be
+specified using spacers. The following example places the grace
+note after a space lasting 7/8 of the main note.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
<< { d1^\trill_( }
- { s2 \grace { c16[ d] } } >>
- c4)
+ { s2 s4. \grace { c16[ d] } } >>
+ c1)
}
@end lilypond
-@noindent
-By adjusting the duration of the skip note (here it is a
-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
-set directions. Hence, when introducing layout tweaks, they
-should be inside the grace expression, for example,
+set directions. Hence, when introducing layout tweaks to
+override the special settings, they should be placed inside
+the grace expression. The overrides should also be reverted
+inside the grace expression. Here, the grace note's default stem
+direction is overriden and then reverted.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
f16->
\stemNeutral
}
- g4
+ g4 e c2
}
@end lilypond
-@noindent
-The overrides should also be reverted inside the grace expression.
+
+@cindex stem, with slash
+
+
+@snippets
+
+The slash through the stem found in @emph{acciaccatura}s can be applied
+in other situations:
+
+@lilypond[quote,verbatim,relative=2]
+\relative c'' {
+ \override Stem #'stroke-style = #"grace"
+ c8( d2) e8( f4)
+}
+@end lilypond
The layout of grace expressions can be changed throughout the
music using the function @code{add-grace-property}. The following
example undefines the @code{Stem} direction for this grace, so
that stems do not always point up.
-@example
-\new Staff @{
- #(add-grace-property 'Voice 'Stem 'direction '())
- @dots{}
-@}
-@end example
+@lilypond[quote,verbatim,relative=2]
+\relative c'' {
+ \new Staff {
+ #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
+ #(remove-grace-property 'Voice 'Stem 'direction)
+ \new Voice {
+ \acciaccatura { f16 } g4
+ \grace { d16[ e] } f4
+ \appoggiatura { a,32[ b c d] } e2
+ }
+ }
+}
+@end lilypond
-@noindent
Another option is to change the variables @code{startGraceMusic},
@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
@code{stopAppoggiaturaMusic}. The default values of these can be
-seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
+seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
them other effects may be obtained.
-@cindex stem, with slash
-
-@noindent
-The slash through the stem in @emph{acciaccatura}s can be obtained in
-other situations by @code{\override Stem #'stroke-style =
-#"grace"}.
-
-
-@snippets
-
-Grace notes may be forced to use align with regular notes
-in other staves by setting @code{strict-grace-spacing} to
-##t:
+Grace notes may be forced to align with regular notes
+in other staves:
-@lilypond[relative=2,ragged-right]
-<<
- \override Score.SpacingSpanner #'strict-grace-spacing = ##t
- \new Staff {
- c'4
- \afterGrace
- c'4
- { c'16[ c'8 c'16] }
- c'4
- }
- \new Staff {
- c'16[ c'16 c'16 c'16]
- c'16[ c'16 c'16 c'16]
- c'4
- }
->>
+@lilypond[verbatim,quote]
+\relative c'' {
+ <<
+ \override Score.SpacingSpanner #'strict-grace-spacing = ##t
+ \new Staff {
+ c4
+ \afterGrace c4 { c16[ c8 c16] }
+ c4 r
+ }
+ \new Staff {
+ c16 c c c c c c c c4 r
+ }
+ >>
+}
@end lilypond
@seealso
-
Music Glossary:
@rglos{grace notes},
@rglos{acciaccatura},
-@rglos{appoggiatura}
+@rglos{appoggiatura}.
-Snippets:
-@rlsr{Rhythms}.
+Installed Files: @file{ly/@/grace@/-init@/.ly}.
+
+Snippets: @rlsr{Rhythms}.
Internals Reference: @rinternals{GraceMusic}.
@knownissues
-A multi-note beamed @emph{acciaccatura} is printed without a slash,
+A multi-note beamed @i{acciaccatura} is printed without a slash,
and looks exactly the same as a multi-note beamed
-@emph{appoggiatura}.
+@i{appoggiatura}.
+
@c TODO Add link to LSR snippet to add slash when available
Grace note synchronization can also lead to surprises. Staff
synchronized. Take care when you mix staves with grace notes and
staves without, for example,
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" d4 } >>
+@lilypond[quote,relative=2,verbatim]
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" d2. } >>
@end lilypond
@noindent
This can be remedied by inserting grace skips of the corresponding
durations in the other staves. For the above example
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d4 }
- \new Staff { c4 \bar "|:" \grace s16 d4 } >>
+@lilypond[quote,relative=2,verbatim]
+<< \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" \grace s16 d2. } >>
@end lilypond
Grace sections should only be used within sequential music
supported, and might produce crashes or other errors.
@node Aligning to cadenzas
-@subsubsection Aligning to cadenzas
+@unnumberedsubsubsec 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.
+constructing a score that includes a measured cadenza or other solo
+passage, 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 is to use the functions
+One 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 multi-measure
-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' {
- c4 d8 << { e f g } \\ { d4. } >>
- g4 f2 g4 g
+functions take a defined piece of music as an argument and generate a
+multi-measure rest or @code{\skip} exactly as long as the piece.
+
+@lilypond[verbatim,quote]
+MyCadenza = \relative c' {
+ c4 d8 e f g g4
+ f2 g4 g
}
\new GrandStaff <<
- \new Staff { \cadenza c'4 }
\new Staff {
- #(ly:export (mmrest-of-length cadenza))
- c'4
+ \MyCadenza c'1
+ \MyCadenza c'1
+ }
+ \new Staff {
+ #(ly:export (mmrest-of-length MyCadenza))
+ c'1
+ #(ly:export (skip-of-length MyCadenza))
+ c'1
}
>>
@end lilypond
+
@seealso
+Music Glossary:
+@rglos{cadenza}.
Snippets:
@rlsr{Rhythms}.
@node Time administration
-@subsubsection Time administration
+@unnumberedsubsubsec Time administration
@cindex time administration
@cindex timing (within the score)
The following properties of @code{Timing} are used
to keep track of timing within the score.
-
+
@cindex bar number
@cindex measure number
@item measurePosition
The point within the measure where we currently are. This
quantity is reset by subtracting @code{measureLength} whenever
-@code{measureLength} is reached or exceeded. When that happens,
+@code{measureLength} is reached or exceeded. When that happens,
@code{currentBarNumber} is incremented.
@item timing
@end table
Timing can be changed by setting any of these variables
-explicitly. In the next example, the default 4/4 time
+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]
+@lilypond[quote,verbatim,relative=1]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
@seealso
-
This manual: @ref{Bar numbers}, @ref{Unmetered music}
Snippets:
projects / lilypond.git / blobdiff