version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.61"
+
@node Rhythms
@section Rhythms
-@lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
-{rhythms-headword.ly}
+@lilypondfile[quote]{rhythms-headword.ly}
-This section discusses rhythms, durations, and bars.
+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
@unnumberedsubsubsec Durations
-@cindex duration
-@cindex beams, automatic
+@cindex durations, of notes
+@cindex note durations
+
@funindex \longa
@funindex \breve
@funindex \maxima
-When entering notes, durations are designated by numbers and dots:
-durations are entered as their reciprocal values. For example, a
+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
+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. Note
-durations as short as 64th notes may be specified. Shorter values
+@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.
@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
@end lilypond
@noindent
-and the same durations with automatic beaming turned off
-see @ref{Automatic beams}:
+Here are the same durations with automatic beaming turned off.
@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
c4 c8 c16 c32 c64 c64
@end lilypond
-If the duration is omitted then it is set to the previously
+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, it is set to the previously
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
@funindex .
-To obtain dotted note lengths, simply add a dot (@code{.}) 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,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
-Some durations cannot be entered using only binary durations
-and dots, and can only be represented by tying two or more
-notes together. Tied notes are covered in @ref{Ties}.
+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}.
-@refcommands
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes, see @ref{Vocal music}.
-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:
+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}.
@funindex \dotsUp
-@code{\dotsUp},
@funindex \dotsDown
-@code{\dotsDown},
@funindex \dotsNeutral
-@code{\dotsNeutral}.
-For ways of specifying durations for the syllables of lyrics and
-ways of aligning lyrics to notes see @ref{Vocal music}.
+Dots are normally moved up to avoid staff lines, except in
+polyphonic situations. Predefined commands are available to
+force a particular direction manually, for details
+see @ref{Direction and placement}.
-A note with the duration of a quadruple breve may be entered with
-@code{\maxima}, but this is supported only within ancient music
-notation; see @ref{Ancient notation}.
-Optionally, notes can be spaced proportionately to their duration.
-For details of this and other settings which control proportional
-notation see @ref{Proportional notation}.
+@predefined
+@code{\autoBeamOff},
+@code{\dotsUp},
+@code{\dotsDown},
+@code{\dotsNeutral}.
+@endpredefined
@seealso
+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}.
+
+Snippets:
+@rlsr{Rhythms}.
-Music Glossary: @rglos{breve}, @rglos{longa}.
-
-Notation Reference:@ref{Automatic beams}, @ref{Ties}, @ref{Writing rests}, @ref{Vocal music},
-@ref{Ancient notation}, @ref{Proportional notation}.
-
-Snippets: @lsrdir{rhythms}
-
-Internals Reference: @internalsref{Dots},
-@internalsref{DotColumn}.
+Internals Reference:
+@rinternals{Dots},
+@rinternals{DotColumn}.
-@refbugs
+@knownissues
-@c duplicated in Durations and Rests. -gp
+@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).
+longest and shortest), but the number of glyphs is limited:
+rests from 128th to maxima (8 x whole) may be printed.
@node Tuplets
@cindex triplets
@funindex \times
-Tuplets are made out of a music expression by multiplying all
+Tuplets are made from a music expression by multiplying all the
durations with a fraction:
@example
-\times @var{fraction} @var{musicexpr}
+\times @var{fraction} @{ @var{music} @}
@end example
@noindent
-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 duration of @var{music} 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 duration of 2, so
the notes are 2/3 of their written length.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-g4 \times 2/3 {c4 c c} d4 d4
+@lilypond[quote,verbatim,relative=2]
+a2 \times 2/3 { b4 b b }
+c4 c \times 2/3 { b4 a g }
@end lilypond
-Tuplets may be nested; for example,
-
-@lilypond[fragment,ragged-right,verbatim,relative=2]
-\times 2/3 {
- a4 a
- \times 3/5 { a a a a a }
-}
-@end lilypond
-
-@refcommands
-
@funindex \tupletUp
-@code{\tupletUp},
@funindex \tupletDown
-@code{\tupletDown},
@funindex \tupletNeutral
-@code{\tupletNeutral}.
+The automatic placement of the tuplet bracket above or below the
+notes may be overridden manually with predefined commands, for
+details see @ref{Direction and placement}.
-@commonprop
+Tuplets may be nested:
-@funindex tupletNumberFormatFunction
-@funindex tupletSpannerDuration
-@cindex tuplet formatting
+@lilypond[quote,verbatim,relative=2]
+\autoBeamOff
+c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
+@end lilypond
-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.
+Modifying nested tuplets which begin at the same musical moment
+must be done with @code{\tweak}.
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
-\set tupletSpannerDuration = #(ly:make-moment 1 4)
-\times 2/3 { c8 c c c c c }
-@end lilypond
+To modify the duration of notes without printing a tuplet bracket,
+see @ref{Scaling durations}.
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-@funindex TupletNumber
+@predefined
+@code{\tupletUp},
+@code{\tupletDown},
+@code{\tupletNeutral}.
+@endpredefined
-The format of the number is determined by the property @code{text}
-in @code{TupletNumber}. The default prints only the denominator,
-but if the property is set with @code{\override
-TupletNumber #'text = #tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
-
-To print tuplets without tuplet numbers, use
-@code{\override TupletNumber #'transparent = ##t}:
-
-@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 }
-@end lilypond
-
-To change the appearance of nested tuplets beginning at the same
-music moment individually, the @code{\tweak} function must be used
-(see @ref{Objects connected to the input}). In the following
-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,fragment,relative=2]
-\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
-@cindex bracket, tuplet
-@funindex TupletBracket
-
-@c FIXME: after LM 6 Tweaks includes \tweak info, look at this.-gp
-@c It *should* be explained why \tweak must be used here, and why
-@c \override doesn't work. I've made an attempt, but I'm not sure
-@c if it is factually correct to say that \tweak must be used.
-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} function affects only
-events that begin at the same music moment: the outer tuplet and
-the first of the three inner tuplets. To position the
-@code{TupletBrackets} of the second and third of the inner tuplets
-below the staff, we 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
+@snippets
-Tuplet brackets can be made to run to prefatory matter or the next
-note:
+@cindex tuplet formatting
+@cindex triplet formatting
-@lilypond[ragged-right,verbatim,quote]
-\new RhythmicStaff {
- \set tupletFullLength = ##t
- \set tupletFullLengthNote = ##t
- \time 2/4
- \times 2/3 { c4 c c }
- \set tupletFullLengthNote = ##f
- \time 4/4
- \times 4/5 { c4 c1 }
- \time 3/4
- c4
-}
-@end lilypond
+@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
-@funindex \compressMusic
-@funindex \times
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{entering-several-tuplets-using-only-one--times-command.ly}
-@code{\compressMusic} works similarly to \times, but does not
-create a tuplet bracket; see @ref{Polymetric notation}.
+@funindex TupletNumber
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-tuplet-number.ly}
-@refbugs
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{permitting-line-breaks-within-beamed-tuplets.ly}
-Tuplets which cross bar lines will prevent a line break at that
-point.
@seealso
+Music Glossary:
+@rglos{triplet},
+@rglos{tuplet},
+@rglos{polymetric}.
-Music Glossary: @rglos{tuplet}.
+Learning Manual: @rlearning{Tweaking methods}.
-Notation Reference: @ref{Time administration},
-@ref{Objects connected to the input}, @ref{Polymetric notation}.
+Notation Reference:
+@ref{Time administration},
+@ref{Scaling durations},
+@ref{The tweak command},
+@ref{Polymetric notation}.
-Snippets: @lsrdir{rhythms}.
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
+Internals Reference:
+@rinternals{TupletBracket},
+@rinternals{TupletNumber},
+@rinternals{TimeScaledMusic}.
+@knownissues
+@cindex grace notes within tuplet brackets
+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
@unnumberedsubsubsec Scaling durations
-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}).
+@cindex scaling durations
+@cindex durations, scaling
+
+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{*M*N}.
+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
-a4 a4 a4*2
+% Normal durations
+a4 a4
+% Double the duration of chord
+<a d>4*2
+% Duration of quarter, appears like sixteenth
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.,
+a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
+@cindex compressing music
+@funindex \scaleDurations
+
+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:
+
+@lilypond[quote,relative=2,verbatim]
+\time 2/4
+% Normal durations
+<c a>4 c8 a
+% Scale music by *2/3
+\scaleDurations #'(2 . 3) {
+ <c a f>4. c8 a f
+}
+% Scale music by *2
+\scaleDurations #'(2 . 1) {
+ <c' a>4 c8 b
+}
+@end lilypond
+
+@noindent
+One application of this command is in polymetric
+notation, see @ref{Polymetric notation}.
+
+
@seealso
+Notation Reference:
+@ref{Tuplets},
+@ref{Invisible rests},
+@ref{Polymetric notation}.
-Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
+Snippets:
+@rlsr{Rhythms}.
-Snippets: @lsrdir{rhythms}
@node Ties
@unnumberedsubsubsec Ties
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
-in effect extends the length of a note.
+in effect extends the duration 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
+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'
+@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]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+@lilypond[verbatim,quote]
+\relative c' {
+ 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
+If you need to tie many 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
+@cindex ties and chords
+@cindex chords 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>
+@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
+
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},
+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 {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
+\alternative {
+ % First alternative: following note is tied normally
+ { <c e>2. r4 }
+ % Second alternative: following note has a repeated tie
+ { <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}
+be entered as follows:
-Internals Reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
-
-Example files:
-@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
+@lilypond[quote,verbatim,relative=1]
+<c f g>1\laissezVibrer
@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).
+@cindex ties, placement
+@funindex \tieUp
+@funindex \tieDown
+@funindex \tieNeutral
-@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
+The vertical placement of ties may be controlled, see
+Predefined commands, or for details, see
+@ref{Direction and placement}.
+@cindex ties, appearance
+@funindex \tieDotted
+@funindex \tieDashed
+@funindex \tieSolid
-@refcommands
+Solid, dotted or dashed ties may be specified, see Predefined
+commands.
-@funindex \tieUp
+@predefined
@code{\tieUp},
-@funindex \tieDown
@code{\tieDown},
-@funindex \tieNeutral
@code{\tieNeutral},
-@funindex \tieDotted
@code{\tieDotted},
-@funindex \tieDashed
@code{\tieDashed},
-@funindex \tieSolid
@code{\tieSolid}.
+@endpredefined
-@seealso
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-ties-with-arpeggios.ly}
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{engraving-ties-manually.ly}
+@seealso
+Music Glossary:
+@rglos{tie},
+@rglos{laissez vibrer}.
+
Notation Reference: @ref{Automatic note splitting}.
-Snippets: @lsrdir{rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{Tie}.
+Internals Reference:
+@rinternals{LaissezVibrerTie},
+@rinternals{LaissezVibrerTieColumn},
+@rinternals{TieColumn},
+@rinternals{Tie}.
-@refbugs
+@knownissues
Switching staves when a tie is active will not produce a slanted
tie.
@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
@unnumberedsubsubsec Rests
@cindex rest
+@cindex rest, entering durations
@cindex maxima
@cindex longa
@cindex breve
@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}.
+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
\override Staff.TimeSignature #'stencil = ##f
+ % Print a maxima rest, equal to four breves
r\maxima
- r\longa r\breve r1 r2
- r4 r8 r16 r32 r64
+ % Print a longa rest, equal to two breves
+ r\longa
+ % Print a breve rest
+ r\breve
+ r1 r2 r4 r8 r16 r32 r64 r128
}
@end lilypond
-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}.
+@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
+@snippets
-@seealso
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{rest-styles.ly}
-Notation Reference: @ref{Full measure rests}.
-Snippets: @lsrdir{rhythms}.
+@seealso
+Notation Reference:
+@ref{Full measure rests}.
-Internals Reference: @internalsref{Rest}.
+Snippets:
+@rlsr{Rhythms}.
+Internals Reference:
+@rinternals{Rest}.
-@refbugs
-@c duplicated in Durations and Rests. -gp
+@knownissues
+
+@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
are rests from 128th to maxima (8 x whole).
-@node Skips
-@unnumberedsubsubsec Skips
+
+@node Invisible rests
+@unnumberedsubsubsec Invisible rests
@cindex skip
@cindex invisible rest
-@cindex space note
-@funindex \skip
+@cindex rest, invisible
+@cindex spacer note
@funindex s
+@funindex \skip
-An invisible rest (also called a @q{skip}) can be entered like a
-note with note name @code{s} or with @code{\skip @var{duration}}
+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]
-a4 a4 s4 a4 \skip 1 a4
+@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 @code{\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 skip command is merely an empty musical placeholder. It does
-not produce any output, not even transparent output.
+A spacer rest implicitly causes @code{Staff} and @code{Voice}
+contexts to be created if none exist, just like notes and rests
+do:
-The @code{s} skip command does create @internalsref{Staff} and
-@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
+@lilypond[quote,verbatim,fragment]
+s1 s s
+@end lilypond
-@lilypond[quote,verbatim]
-{ s4 }
+@code{\skip} simply skips musical time; it creates no output of
+any kind.
+
+@lilypond[quote,verbatim,fragment]
+% This is valid input, but does nothing
+\skip 1 \skip1 \skip 1
@end lilypond
-@c with ragged-right, the staff lines are cut BEFORE the time
-@c signature, which makes for a VERY empty staff
-@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
+Snippets:
+@rlsr{Rhythms}.
-Snippets: @lsrdir{rhythms}
-
-Internals Reference: @internalsref{SkipMusic}.
+Internals Reference: @rinternals{SkipMusic}
@node Full measure rests
@unnumberedsubsubsec Full measure rests
-@cindex multi measure rests
-@cindex full measure rests
-@cindex rest, multi measure
-@cindex rest, full measure
+@cindex multi-measure rests
+@cindex full-measure rests
+@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 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:
+Rests for one or more full measures are entered like notes with
+the note name uppercase @code{R}:
-@lilypond[quote,fragment,verbatim,relative=2]
-\set Score.skipBars = ##t
+@lilypond[quote,verbatim,relative=2]
+% Rest measures contracted to single measure
+\compressFullBarRests
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 measures explicitly, or, as above, it can be
-condensed to a single measure
-containing a multi-measure rest symbol, with the number of
-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 be condensed to a single measure.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 4/4 r1 | R1 | R1*2 |
-\time 2/4 R2 |
-\time 4/4
-\set Score.skipBars = ##t
-R1*17 | R1*4 |
-@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:
+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,ragged-right,fragment,verbatim]
-\set Score.skipBars = ##t
+@lilypond[quote,fragment,verbatim]
+\compressFullBarRests
+\time 2/4
+R1 | R2 |
\time 3/4
-R2. | R2.*2
+R2. | R2.*2 |
\time 13/8
R1*13/8 | R1*13/8*12 |
-\time 10/8
+\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
+A full-measure rest is printed as either a whole
+or breve rest, centered in the measure, depending on the time
signature.
-@cindex church rest
-@cindex rest, church
-@cindex kirchenpausen
-
-If there are 10 or fewer measures of rest, LilyPond prints
-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}.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\set Score.skipBars = ##t
-R1*2 | R1*5 | R1*9
-\override MultiMeasureRest #'expand-limit = 3
-R1*2 | R1*5 | R1*9
+@lilypond[quote,verbatim,fragment]
+\time 4/4
+R1 |
+\time 6/4
+R1*3/2 |
+\time 8/4
+R1*2 |
+@end lilypond
+@funindex \expandFullBarRests
+@funindex \compressFullBarRests
+@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.
+Alternatively, a mult-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,fragment,verbatim]
+% Default behavior
+\time 3/4 r2. | R2.*2 |
+\time 2/4 R2 |
+\time 4/4
+% Rest measures contracted to single measure
+\compressFullBarRests
+r1 | R1*17 | R1*4 |
+% Rest measures expanded
+\expandFullBarRests
+\time 3/4
+R2.*2 |
@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 multi-measure rest, attaching text
@cindex script on multi-measure rest
+@cindex multi-measure rest, script
@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{Text markup}.
-The variable @code{\fermataMarkup} is provided for adding
-fermatas.
+Markups can be added to multi-measure rests.
+The predefined command @code{\fermataMarkup}
+is provided for adding fermatas.
-@lilypond[quote,ragged-right,verbatim,fragment]
-\set Score.skipBars = ##t
+@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^"low"
+R1^"wrong"
+% This is correct and works
\override MultiMeasureRestText #'padding = #5
-R1^"high"
+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.
-Long text is better attached to a zero-length skip note preceding
-the rest, preceded by @code{\fatText} (turn off again with
-@code{\emptyText}), since this will cause the measure to expand to
-accommodate the length of the text:
+When a multi-measure rest immediately follows a @code{\partial}
+setting, resulting bar-check warnings may not be displayed.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\set Score.skipBars = ##t
-\fatText
-s1*0^\markup {[MAJOR GENERAL]}
-R1*19
-s1*0^\markup {[MABEL] }
-s1*0_\markup {\italic {Cue: ... it is yours}}
-R1*30
-\emptyText
-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.
+@predefined
+@code{\textLengthOn},
+@code{\textLengthOff},
+@code{\fermataMarkup},
+@code{\compressFullBarRests},
+@code{\expandFullBarRests}.
+@endpredefined
-@seealso
-Notation Reference: @ref{Durations}, @ref{Text},
-@ref{Text markup}, @ref{Text scripts}.
+@snippets
+
+@cindex church rest
+@cindex rest, church
+@cindex kirchenpausen
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-form-of-multi--measure-rests.ly}
+
+@cindex multi-measure rests, positioning
+@cindex positioning multi-measure rests
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{positioning-multi--measure-rests.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{multi--measure-rest-markup.ly}
-Snippets: @lsrdir{rhythms}
-Internals Reference: @internalsref{MultiMeasureRest}.
+@seealso
+Music Glossary:
+@rglos{multi-measure rest}.
+
+Notation Reference:
+@ref{Durations},
+@ref{Text},
+@ref{Formatting text},
+@ref{Text scripts}.
-The layout object @internalsref{MultiMeasureRestNumber} is for the
-default number, and @internalsref{MultiMeasureRestText} for user
-specified texts.
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{MultiMeasureRest},
+@rinternals{MultiMeasureRestNumber},
+@rinternals{MultiMeasureRestText}.
-@refbugs
+@knownissues
-If an attempt is made to use fingerings (e.g.,
+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).
+fingering numeral (4) may collide with the bar counter
+numeral (10).
@cindex condensing rests
+@cindex rest, condensing ordinary
-There is no way to automatically condense multiple rests into a
-single multi-measure rest. Multi-measure rests do not take part
-in rest collisions.
+There is no way to automatically condense multiple ordinary rests
+into a single multi-measure rest.
-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
+@cindex rest, collisions of
+Multi-measure rests do not take part in rest collisions.
@node Displaying rhythms
@subsection Displaying rhythms
@menu
-* Time signature::
-* Upbeats::
-* Unmetered music::
-* Polymetric notation::
-* Automatic note splitting::
+* Time signature::
+* Upbeats::
+* Unmetered music::
+* Polymetric notation::
+* Automatic note splitting::
+* Showing melody rhythms::
@end menu
@node Time signature
@cindex meter
@funindex \time
-The time signature is set with the @code{\time} command:
+The time signature is set as follows:
+
+@lilypond[quote,verbatim,relative=2]
+\time 2/4 c2
+\time 3/4 c2.
+@end lilypond
+
+@cindex Time signature, visibility of
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\time 2/4 c2 \time 3/4 c2.
+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{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
-@commonprop
+@funindex \numericTimeSignature
+@funindex \defaultTimeSignature
+@cindex time signature style
-The symbol that is printed can be customized with the @code{style}
-property. Setting it to @code{#'()} uses fraction style for 4/4
-and 2/2 time,
+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
-\override Staff.TimeSignature #'style = #'()
+% Change to numeric style
+\numericTimeSignature
\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)
+% Revert to default style
+\defaultTimeSignature
\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 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.
+Mensural time signatures are covered in
+@ref{Mensural time signatures}.
-@cindex measure groupings
-
-More options 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 @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)}:
-
-@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
+@predefined
+@code{\numericTimeSignature},
+@code{\defaultTimeSignature}.
+@endpredefined
-@seealso
-Snippets: @lsrdir{rhythms}
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-time-signature-without-affecting-the-beaming.ly}
+
+@cindex compound time signatures
+@cindex time signature, compound
-Internals Reference: @internalsref{TimeSignature}, and
-@internalsref{Timing_translator}.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
-Examples: @lsr{contemporary,compound-time-signature.ly}.
+@seealso
+Music Glossary:
+@rglos{time signature}
+
+Notation Reference:
+@ref{Mensural time signatures},
+@ref{Time administration}.
-@refbugs
+Snippets:
+@rlsr{Rhythms}.
-Automatic beaming does not use the measure grouping specified with
-@code{set-time-signature}.
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing_translator}.
@node Upbeats
@cindex partial measure
@cindex measure, partial
@cindex pickup measure
-@cindex shorten measures
+@cindex measure, change length
+@cindex measurePosition
@funindex \partial
-Partial or pickup measures, such as an anacrusis or upbeat, are
+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}
@end example
-where @code{duration} is the rhythmic length to be added before
-the next measure:
+where @code{duration} is the rhythmic length of the interval
+before the start of the first complete measure:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+@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,verbatim,relative=2]
+\partial 8*3 c8 d e |
+a2. c,4 |
@end lilypond
Internally, this is translated into
@example
-\set Timing.measurePosition = -@var{length of duration}
+\set Timing.measurePosition = -@var{duration}
@end example
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point. Note
-that this is a negative number; @code{\partial 4} is internally
-translated to mean @qq{there is a quarter note left in the bar.}
+that this is set to a negative number by the @code{\partial}
+command: i.e., @code{\partial 4} is internally translated to
+@code{-4}, meaning @qq{there is a quarter note left in the measure.}
-@refbugs
+@seealso
+Music Glossary:
+@rglos{anacrusis}.
-This command does not take into account grace notes at the start
-of the music. When a piece starts with grace notes in the
-pickup, then the @code{\partial} should follow the grace notes:
+Notation Reference:
+@ref{Grace notes}.
-@lilypond[verbatim,quote,ragged-right,relative,fragment]
-\grace f16
-\partial 4
-g4
-a2 g2
-@end lilypond
+Snippets:
+@rlsr{Rhythms}.
-@code{\partial} is only intended to be used at the beginning of a
-piece. If you use it after the beginning, some odd warnings may
-occur.
+Internal Reference:
+@rinternals{Timing_translator}.
-@seealso
-Snippets: @lsrdir{rhythms}
+@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
@unnumberedsubsubsec Unmetered music
-@cindex cadenza
@funindex \cadenzaOn
@funindex \cadenzaOff
+@cindex bar lines, turning off
+@cindex bar numbering, turning off
+@cindex cadenza
+@cindex unmetered music
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 commands
-@code{\cadenzaOn} and @code{\cadenzaOff}.
+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.
d4 e d c
@end lilypond
+Bar numbering is resumed at the end of the cadenza as if the
+cadenza were not there:
-@refbugs
+@lilypond[verbatim,relative=2,fragment]
+% Show all bar numbers
+\override Score.BarNumber #'break-visibility = #all-visible
+c4 d e d
+\cadenzaOn
+c4 c d8 d d f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
+
+
+@predefined
+@code{\cadenzaOn},
+@code{\cadenzaOff}.
+@endpredefined
+
+
+@seealso
+Music Glossary:
+@rglos{cadenza}.
-LilyPond will only insert line breaks and page breaks at a
+Notation Reference:
+@c ref{Controlling visibility of objects}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+
+@knownissues
+
+LilyPond will insert line breaks and page breaks only at a
bar line. Unless the unmetered music ends before the end of the
staff line, you will need to insert invisible bar lines with
@noindent
to indicate where breaks can occur.
-@seealso
-
-Snippets: @lsrdir{rhythms}
-
@node Polymetric notation
@unnumberedsubsubsec Polymetric notation
+@c This section necessarily uses \set
+@c This is acceptable -td
+
@cindex double time signatures
@cindex signatures, polymetric
@cindex polymetric signatures
@cindex meter, polymetric
-@c TODO: add glossary entries for {signature, polymetric},
-@c {meter, polymetric}, {polymetric} (time signature, double}. rp
-
-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}.
-
-@lilypond[verbatim,ragged-right]
-% create 2/4 + 5/8
-tsMarkup = \markup {
- \override #'(baseline-skip . 2) \number {
- \column { "2" "4" }
- \vcenter "+"
- \bracket \column { "5" "8" }
- }
-}
+Polymetric notation is supported, either explicitly or by modifying
+the visible time signature symbol and scaling the note durations.
-{
- \override Staff.TimeSignature #'stencil =
- #ly:text-interface::print
- \override Staff.TimeSignature #'text = #tsMarkup
- \time 3/2
- c'2 \bar ":" c'4 c'4.
-}
+@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; 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}.
+
+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,verbatim,fragment]
+\relative c' <<
+ \new Staff {
+ \time 3/4
+ c4 c c |
+ c c c |
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(9 . 8)
+ \scaleDurations #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(10 . 8)
+ \scaleDurations #'(3 . 5) {
+ \repeat unfold 2 { c8[ c c] }
+ \repeat unfold 2 { c8[ c] } |
+ c4. c4. \times 2/3 { c8[ c c] } c4
+ }
+ }
+>>
@end lilypond
-Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_translator} to the
-@internalsref{Staff} context.
+@strong{@i{Staves with different time signatures, unequal bar lengths}}
-@lilypond[quote,verbatim,ragged-right]
+Each staff can be given its own independent time signature by
+moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} to the @code{Staff} context.
+
+@lilypond[quote,verbatim]
\layout {
\context {
\Score
\consists "Default_bar_line_engraver"
}
}
-%Now, each staff has its own time signature.
+
+% Now each staff has its own time signature.
\relative c' <<
\new Staff {
\time 3/4
- c4 c c | c c c |
+ c4 c c |
+ c c c |
}
\new Staff {
\time 2/4
- c4 c | c c | c c
+ c4 c |
+ c c |
+ c c |
}
\new Staff {
\time 3/8
- c4. c8 c c c4. c8 c c
+ c4. |
+ c8 c c |
+ c4. |
+ c8 c c |
}
>>
@end lilypond
+@snippets
-A different form of polymetric notation is where note lengths have
-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 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
-
-
-
-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, so that 2/3 * 9/8 = 3/4, and in the third
-staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
-3/4.
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' { <<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(9 . 8)
- \compressMusic #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(10 . 8)
- \compressMusic #'(3 . 5) {
- \repeat unfold 2 { c8[ c c] }
- \repeat unfold 2 { c8[ c] }
- | c4. c4. \times 2/3 { c8 c c } c4
- }
- }
->> }
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
-@refbugs
+@seealso
+Music Glossary:
+@rglos{polymetric},
+@rglos{polymetric time signature},
+@rglos{meter}.
-When using different time signatures in parallel, the spacing is
-aligned vertically, but bar lines distort the regular spacing.
+Notation Reference:
+@ref{Time signature},
+@ref{Scaling durations}.
-@seealso
+Snippets:
+@rlsr{Rhythms}.
-@ignore
-TODO: add @rglos{polymetric time signature}, {polymetric}, {double time
-signature}, and {polymetric meter}. when glossary entries
-exist.
-@end ignore
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing_translator},
+@rinternals{Default_bar_line_engraver},
+@rinternals{Staff}.
-Snippets: @lsrdir{rhythms}, @lsr{contemporary,compound-time-signature}.
-Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
+@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
@unnumberedsubsubsec Automatic note splitting
+@cindex notes, splitting
+@cindex splitting notes
+
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.
+@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,line-width=12\cm]
+@lilypond[quote,verbatim,relative=1]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
}
+
+{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
@end lilypond
This engraver splits all running notes at the bar line, and
inserts ties. One of its uses is to debug complex scores: if the
-measures are not entirely filled, then the ties exactly show how
+measures are not entirely filled, then the ties show exactly how
much each measure is off.
-If you want to allow line breaking on the bar lines where
-@internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_break_engraver}.
+@seealso
+Music Glossary: @rglos{tie}
-@refbugs
+Learning Manual:
+@rlearning{Engravers explained},
+@rlearning{Adding and removing engravers}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Note_heads_engraver},
+@rinternals{Completion_heads_engraver},
+@rinternals{Forbid_line_break_engraver}.
+
+
+@knownissues
Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
+represented exactly with normal notes and dots, but the
+@code{Completion_heads_engraver} will not insert tuplets.
-@code{Completion_heads_engraver} only affects notes; it does not
+The @code{Completion_heads_engraver} only affects notes; it does not
split rests.
-@seealso
+@node Showing melody rhythms
+@unnumberedsubsubsec Showing melody rhythms
+
+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
+
+@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
+
+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
-Snippets: @lsrdir{rhythms}
-Internals Reference: @internalsref{Note_heads_engraver},
-@internalsref{Completion_heads_engraver},
-@internalsref{Forbid_line_break_engraver}.
+@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::
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+* Feathered beams::
@end menu
@node Automatic beams
@cindex beams, manual
@cindex manual beams
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@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}.
+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}.
@cindex autoBeamOn
@cindex autoBeamOff
+@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.}
+
+
@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
-@commonprop
-
-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
-
-@c [TODO I think this could be worded more clearly, but I'm not sure how.] rp
-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} (defaults to a quarter note), by
-drawing only one beam over the connection between beats.
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
+@endpredefined
-@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 Score.beatLength = #(ly:make-moment 1 8)
-c32[ c c c c c c c]
-\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}.
+@snippets
@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
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beams-across-line-breaks.ly}
-@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
+@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: @lsrdir{rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{Beam}.
+Internals Reference: @rinternals{Beam}.
-@refbugs
+@knownissues
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
@node Setting automatic beam behavior
@unnumberedsubsubsec Setting automatic beam behavior
+@funindex autoBeaming
@funindex autoBeamSettings
@funindex (end * * * *)
@funindex (begin * * * *)
+
@cindex automatic beams, tuning
@cindex tuning automatic beaming
+@cindex automatic beam generation
+@cindex autobeam
+@cindex lyrics and beaming
-@c [TODO: use \applyContext]
-In normal time signatures, automatic beams can start on any note
-but can only end in 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}.
+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.
+
+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}}
+
+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}.
+
+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
-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.
+@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
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
+The rule in a @code{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]
+@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 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
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{reverting-default-beam-endings.ly}
-@cindex automatic beam generation
-@cindex autobeam
-@funindex autoBeaming
-@cindex lyrics
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-endings-in-score-context.ly}
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
-
-
-@refcommands
+@predefined
@funindex \autoBeamOff
@code{\autoBeamOff},
@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
-@refbugs
+@knownissues
If a score ends while an automatic beam has not been ended and is
still accepting notes, this last beam will not be typeset at all.
@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
-@seealso
-Snippets: @lsrdir{rhythms}
+@seealso
+Snippets:
+@rlsr{Rhythms}.
@node Manual beams
@unnumberedsubsubsec Manual beams
@cindex beams, manual
+@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
}
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
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
+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
-@commonprop
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{flat-flags-and-beam-nibs.ly}
+
+@node Feathered beams
+@unnumberedsubsubsec Feathered beams
@cindex beams, feathered
-@funindex \featherDurations
+@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
+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}.
+@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
is to reflect the ritardando or accelerando indicated by the
The square brackets
show the extent of the beam and the braces show
-which notes are to have their durations modified. Normally
+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.
+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.
-@refbugs
+@knownissues
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
-@seealso
-
-Snippets: @lsrdir{rhythms}
+@seealso
+Snippets:
+@rlsr{Rhythms}.
@node 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
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 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
+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 bars, i.e. where
-the end of a note coincides with the end of a bar.
+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 bars. 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}.
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 bar line which would have been inserted there
+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 bar the specified bar line is inserted at that
+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 calculation and placement of subsequent automatic bar lines.
-The simple bar line and four types of double bar line are available
+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
Although the bar line types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
+manually they do not in themselves cause LilyPond to recognize
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
-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 {
@end lilypond
-@commonprop
+@snippets
@funindex whichBar
@funindex defaultBarType
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},
-@ref{System start delimiters}.
+@seealso
+Notation Reference:
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
-Snippets: @lsrdir{rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+Internals Reference: @rinternals{BarLine} (created at
+@rinternals{Staff} level), @rinternals{SpanBar} (across
+staves), @rinternals{Timing_translator} (for Timing
properties).
@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
@end lilypond
-@commonprop
+@snippets
@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
+the beginning of every line. To do this the default behavior
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
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
@c and moved into the Snippets. -gp
@noindent
-and here the bar numbers are printed every two bars
+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 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c c c c
\break
@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 bar. The numbers may also
-be positioned directly on the bar line or right-aligned to the
+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
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 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c1
-% Centre-align bar numbers
+% Center-align bar numbers
\override Score.BarNumber #'self-alignment-X = #0
c1 c1
% Right-align bar numbers
c1 c1
@end lilypond
-Bar numbers can be removed entirely by removing the Bar number
-engraver from the score context.
+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}.
-Snippets: @lsrdir{rhythms}
-
-Internals Reference: @internalsref{BarNumber}.
+Internals Reference: @rinternals{BarNumber}.
-Examples: @lsrdir{bar number}
-
-@refbugs
+@knownissues
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
+@rinternals{StaffGroup} bracket, if there is one. To solve
+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
inserted there, and a value other than @code{1} must be placed
in @code{currentBarNumber}:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\set Score.currentBarNumber = #50
\bar ""
c1 c c c
@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 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
+showing the line numbers and lines
in which the bar checks failed. In the next
example, the second bar check will signal an error.
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
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-@seealso
-Snippets: @lsrdir{rhythms}
+@seealso
+Snippets:
+@rlsr{Rhythms}.
@node Rehearsal marks
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
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
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" }
printed with @code{\musicglyph}.
For common tweaks to the positioning of rehearsal marks, see
-@ref{Text marks}.
+@ref{Formatting text}.
-@seealso
-Snippets: @lsrdir{rhythms}
-
-This manual: @ref{The Feta font}, @ref{Text marks}.
-
-Internals Reference: @internalsref{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: @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
@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.
+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
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[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}, ie.
+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.
-@example
-#(define afterGraceFraction (cons 7 8))
-@end example
-
-@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"}.
-
-
-@commonprop
-
-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}.
-Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
-@c [TODO add appoggiatura]
+Installed Files: @file{ly/@/grace@/-init@/.ly}.
-Snippets: @lsrdir{rhythms}
+Snippets: @rlsr{Rhythms}.
-Internals Reference: @internalsref{GraceMusic}.
+Internals Reference: @rinternals{GraceMusic}.
-@refbugs
+@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}.
-@c TODO Add link to LSR snippet to add slash when available
+@i{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
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
@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-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: @lsrdir{rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Time administration
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: @lsrdir{rhythms}
-
-Internals Reference: @internalsref{Timing_translator},
-@internalsref{Score}
-
-
+Snippets:
+@rlsr{Rhythms}.
+Internals Reference: @rinternals{Timing_translator},
+@rinternals{Score}
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