* Durations::
* Tuplets::
* Scaling durations::
-* Ties::
+* Ties::
@end menu
@node Durations
@unnumberedsubsubsec Durations
@cindex duration
+@cindex beams, automatic
@funindex \longa
@funindex \breve
@funindex \maxima
while a half note is entered using a @code{2} (since it is a 1/2
note). For notes longer than a whole you must use the
@code{\longa} (a double breve) and @code{\breve} commands. Note
-durations as short as 64th notes may be specified.
+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]
and the same durations with automatic beaming turned off
see @ref{Automatic beams}:
+@c not strictly "writing rhythms"; more of a "displaying" thing,
+@c but it's ok here. -gp
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\time 8/1
\autoBeamOff
@funindex .
-To obtain dotted note lengths, simply add a dot (@samp{.}) to the
+To obtain dotted note lengths, simply add a dot (@code{.}) to the
number. Double-dotted notes are produced in a similar way.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. The following commands may be used to
-force a particular direction manually
+force a particular direction manually:
@funindex \dotsUp
@code{\dotsUp},
@funindex \dotsNeutral
@code{\dotsNeutral}.
-@c TODO: after deciding the link question, fix these. -gp
-Durations are entered in the same way in @code{drummode},
-@code{chordmode}, @code{figuremode} and (optionally)
-in @code{lyricmode}.
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes see @ref{Vocal music}.
-@seealso
+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}.
-For ways of specifying durations for the syllables of lyrics
-and ways of aligning lyrics to notes see @ref{Vocal music}
-For a description of how to enter rests see @ref{Writing rests}
+@seealso
-A note with the duration of a quadruple breve may be
-entered with \maxima, but this is supported only within
-ancient music notation. See @ref{Ancient notation}
+Music Glossary: @rglos{breve}, @rglos{longa}.
-Optionally, notes can be spaced proportionately to their duration.
-For details of this and other settings which control
-proportional notation see @ref{Proportional notation}.
+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}, and
+Internals Reference: @internalsref{Dots},
@internalsref{DotColumn}.
@refbugs
@c duplicated in Durations and Rests. -gp
-There is no fundamental limit to note durations (both in terms of
+There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
-are flags up 64th and rests up to 128th. At the other extreme,
-there are note heads up to longa (4x whole note) and rests up to
-maxima (8 x whole). Since beams can be extended arbitrarily,
-beamed notes can be arbitrarily short.
-
+are rests from 128th to maxima (8 x whole).
@node Tuplets
@cindex triplets
@funindex \times
-@c TODO Add Tuplet to glossary
-
Tuplets are made out of a music expression by multiplying all
-durations with a fraction
+durations with a fraction:
@example
\times @var{fraction} @var{musicexpr}
g4 \times 2/3 {c4 c c} d4 d4
@end lilypond
-Tuplets may be nested, for example,
+Tuplets may be nested; for example,
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
-\times 4/6 {
+\times 2/3 {
a4 a
\times 3/5 { a a a a a }
}
@commonprop
@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
@cindex tuplet formatting
The property @code{tupletSpannerDuration} specifies how long each
bracket should last. With this, you can make lots of tuplets
while typing @code{\times} only once, thus saving lots of typing.
In the next example, there are two triplets shown, while
-@code{\times} was only used once
+@code{\times} was only used once.
@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
\set tupletSpannerDuration = #(ly:make-moment 1 4)
For more information about @code{make-moment}, see
@ref{Time administration}.
+@funindex TupletNumber
+
The format of the number is determined by the property @code{text}
in @code{TupletNumber}. The default prints only the denominator,
-but if it is set to the function
-@code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will
-be printed instead.
+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 avoid printing tuplet numbers, use
+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 } \times 2/3 { c8 c c }
+\times 2/3 { c8 c c }
@end lilypond
-Use the @code{\tweak} function to override nested tuplets
-beginning at the same music moment. In this example,
-@code{\tweak} specifies fraction text for the outer
+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.
}
@end lilypond
-Here @code{\tweak} and @code{\override} work together to specify
-@code{TupletBracket} direction. The first @code{\tweak} positions
-the @code{TupletBracket} of the outer tuplet above the staff. The
-second @code{\tweak} positions the @code{TupletBracket} of the
-first of the three inner tuplets below the staff. Note that this
-pair of @code{\tweak} functions affects only the outer tuplet and
-the first of the three inner tuplets because only those two
-tuplets begin at the same music moment. We use @code{\override}
-in the usual way to position the @code{TupletBrackets} of the
-second and third of the inner tuplets below the staff.
+@cindex bracket, tuplet
+@funindex TupletBracket
+
+@c TODO: 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
@end lilypond
Tuplet brackets can be made to run to prefatory matter or the next
-note
+note:
-@lilypond[ragged-right]
+@lilypond[ragged-right,verbatim,quote]
\new RhythmicStaff {
\set tupletFullLength = ##t
- \time 4/4
- \times 4/5 {
- c4 c1
- }
\set tupletFullLengthNote = ##t
\time 2/4
- \times 2/3 {
- c4 c c
- }
+ \times 2/3 { c4 c c }
+ \set tupletFullLengthNote = ##f
+ \time 4/4
+ \times 4/5 { c4 c1 }
\time 3/4
c4
}
@end lilypond
-Tuplets which cross barlines will prevent a line break at that
+@funindex \compressMusic
+@funindex \times
+
+@code{\compressMusic} works similarly to \times, but does not
+create a tuplet bracket; see @ref{Polymetric notation}.
+
+
+@refbugs
+
+Tuplets which cross bar lines will prevent a line break at that
point.
@seealso
-FIXME: totally irrelevant link to real-music for
-discussion/demonstration purposes.
+Music Glossary: @rglos{tuplet}.
-Snippets: @lsrdir{rhythms},
-@lsr{real-music,creating-music-with-scheme.ly}.
+Notation Reference: @ref{Time administration},
+@ref{Objects connected to the input}, @ref{Polymetric notation}.
+
+Snippets: @lsrdir{rhythms}.
Internals Reference: @internalsref{TupletBracket},
@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
@unnumberedsubsubsec Scaling durations
You can alter the length of a duration by a fraction @var{N/M}
-by appending @samp{*@var{N/M}} (or @samp{*@var{N}} if @var{M=1}).
+by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
This will not affect the appearance of the notes or rests
produced, but the altered duration will be used in calculating the
-position within the bar and setting the duration in the MIDI
+position within the measure and setting the duration in the MIDI
output. Multiplying factors may be combined
-such as @samp{*M*N}.
+such as @code{*M*N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
@end lilypond
The duration of skip or spacing notes may also be modified by
-a multiplier. This is useful for skipping many bars, e.g.,
-@samp{s1*23}.
+a multiplier. This is useful for skipping many measures, e.g.,
+@code{s1*23}.
@seealso
-This manual: @ref{Tuplets}, @ref{Skips}.
+Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
Snippets: @lsrdir{rhythms}
}
@end lilypond
-If you need to tie a lot of notes over bars, 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.
+If you need to tie a lot of notes across bar lines, it may be
+easier to use automatic note splitting (see @ref{Automatic note
+splitting}). This mechanism automatically splits long notes, and
+ties them across bar lines.
@funindex \repeatTie
@cindex repeating ties
have to repeat the tie. This can be achieved with
@code{\repeatTie},
-@lilypond[fragment,quote,ragged-right,relative=2]
+@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
\alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
@end lilypond
-@cindex Laissez vibrer
-@cindex Ties, laissez vibrer
+@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
@seealso
+Music Glossary: @rglos{tie},
+@c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
+
Snippets: @lsrdir{rhythms}
Internals Reference:
@end lilypond
Ties may be engraved manually by changing the
-@code{tie-configuration} property. 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).
+@code{tie-configuration} property of the @code{TieColumn} object.
+The first number indicates the distance from the center of the
+staff in staff-spaces, and the second number indicates the
+direction (1=up, -1=down).
@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
<c e g>2~ <c e g> |
-In this manual: @ref{Automatic note splitting}.
+Notation Reference: @ref{Automatic note splitting}.
Snippets: @lsrdir{rhythms}
@node Rests
@unnumberedsubsubsec Rests
-@cindex Rests
+@cindex rest
+@cindex maxima
+@cindex longa
+@cindex breve
@funindex \rest
@funindex r
@funindex \maxima
+@funindex \longa
+@funindex \breve
-Rests are entered like notes with the note name @code{r}
+Rests are entered like notes with the note name @code{r}:
-@c \time 16/1 is used to avoid spurious barlines
-@c and long tracts of empty bars
+@c \time 16/1 is used to avoid spurious bar lines
+@c and long tracts of empty measures
@lilypond[fragment,quote,ragged-right,verbatim]
\new Staff {
\time 16/1
}
@end lilypond
-Whole bar rests, centered in middle of the bar, must be entered as
-multi-measure rests. They can be used for a single bar as well as
-many bars, and are discussed in @ref{Multi measure rests}.
+Whole measure rests, centered in middle of the measure, must be entered as
+multi-measure rests. They can be used for a single measure as well as
+many measures and are discussed in @ref{Multi measure rests}.
To explicitly specify a rest's vertical position, write a note
followed by @code{\rest}. A rest will be placed in the position
-where the note would appear,
+where the note would appear. This allows for precise manual
+formatting of polyphonic music, since the automatic rest collision
+formatter will leave these rests alone.
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
-@noindent
-This makes manual formatting of polyphonic music much easier,
-since the automatic rest collision formatter will leave these
-rests alone.
@seealso
-Snippets: @lsrdir{rhythms}
+Notation Reference: @ref{Multi measure rests}.
+
+Snippets: @lsrdir{rhythms}.
Internals Reference: @internalsref{Rest}.
@refbugs
@c duplicated in Durations and Rests. -gp
-There is no fundamental limit to note durations (both in terms of
+There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
-are flags up 64th and rests up to 128th. At the other extreme,
-there are note heads up to longa (4x whole note) and rests up to
-maxima (8 x whole). Since beams can be extended arbitrarily,
-beamed notes can be arbitrarily short.
-
+are rests from 128th to maxima (8 x whole).
@node Skips
@unnumberedsubsubsec Skips
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
+@cindex skip
+@cindex invisible rest
+@cindex space note
@funindex \skip
@funindex s
An invisible rest (also called a @q{skip}) can be entered like a
-note with note name @samp{s} or with @code{\skip @var{duration}}
+note with note name @code{s} or with @code{\skip @var{duration}}
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4 a4 s4 a4 \skip 1 a4
@end lilypond
+@cindex lyrics, skip
+
The @code{s} syntax is only available in note mode and chord mode.
-In other situations, for example, when entering lyrics, you should
-use the @code{\skip} command
+In other situations, for example, when entering lyrics, one must
+use the @code{\skip} command:
@lilypond[quote,ragged-right,verbatim,relative=2]
<<
@internalsref{Voice} when necessary, similar to note and rest
commands. For example, the following results in an empty staff.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
{ s4 }
@end lilypond
+@c with ragged-right, the staff lines are cut BEFORE the time
+@c signature, which makes for a VERY empty staff
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
+@c The fragment @code{@{ \skip 4 @} } would produce an empty page.
+@c Misleading -- it doesn't produce anything, not even an empty page.
+@c Ppl who want to make empty sheets will see this and wonder what's
+@c happening. -eo
@seealso
@cindex multi measure rests
@cindex full measure rests
-@cindex Rests, multi measure
-@cindex Rests, full measure
-@cindex whole rests for a full measure
+@cindex rest, multi measure
+@cindex rest, full measure
+@cindex whole rest for a full measure
@funindex R
-Rests for one or more full measures are entered using
-@code{R} followed by a duration (see @ref{Durations}).
-The duration should correspond to an integral number
-of bars, otherwise a barcheck warning is printed.
-Multi-measure rests are principally used to indicate
-that a part in a multi-part score should be silent:
+Rests for one or more full measures are entered using @code{R}
+followed by a duration (see @ref{Durations}). The duration should
+correspond to an integral number of measures, otherwise a barcheck
+warning is printed. A @rglos{multi-measure rest} is used
+principally to indicate that a part in a multi-part score should
+be silent:
@lilypond[quote,fragment,verbatim,relative=2]
\set Score.skipBars = ##t
@end lilypond
A multi-measure rest can be expanded in the printed score
-to show all the rest bars explicitly, or, as above, it can be
-condensed to a single bar
+to show all the rest measures explicitly, or, as above, it can be
+condensed to a single measure
containing a multi-measure rest symbol, with the number of
-bars of rest printed above the bar. This expansion
+measures of rest printed above the measure. This expansion
is controlled by the property @code{Score.skipBars}. If this is
-set to true, empty measures will condensed to a single bar.
+set to true, empty measures will be condensed to a single measure.
@lilypond[quote,ragged-right,fragment,verbatim]
\time 4/4 r1 | R1 | R1*2 |
@end lilypond
The @code{1} in @code{R1} is similar to the duration notation
-used for notes and is the length of a bar in 2/2 or 4/4 time.
+used for notes and is the length of a measure in 2/2 or 4/4 time.
The duration in a multi-measure rest must always be an integral
-number of bar-lengths, so in other time signatures augmentation
+number of measure-lengths, so in other time signatures augmentation
dots or fractions must be used:
@lilypond[quote,ragged-right,fragment,verbatim]
or breve rest, centered in the measure, regardless of the time
signature.
+@cindex church rest
+@cindex rest, church
+@cindex kirchenpausen
+
If there are 10 or fewer measures of rest, LilyPond prints
-@rglos{church rests} (a series of longa and breve rests)
-in the staff and
+a series of longa and breve rests (called in German
+Kirchenpausen - @q{church rests}) within the staff and
prints a simple line otherwise. This default number of 10
may be changed by overriding
@code{MultiMeasureRest.expand-limit}.
R1*2 | R1*5 | R1*9
@end lilypond
-Note that the vertical position on the staff of the multi-measure
-rest symbol of either form cannot be changed.
+Note that unlike ordinary rests, the vertical position on the
+staff of the multi-measure rest symbol of either form cannot be
+changed.
@cindex text on multi-measure rest
@cindex script on multi-measure rest
@cindex fermata on multi-measure rest
Text can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax @ref{Text markup}. A variable
-(@code{\fermataMarkup}) is provided for adding fermatas
+@var{note}-@code{markup} syntax described in @ref{Text markup}.
+The variable @code{\fermataMarkup} is provided for adding
+fermatas.
@lilypond[quote,ragged-right,verbatim,fragment]
\set Score.skipBars = ##t
R1^"high"
@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 bar to expand, and may collide with text in adjacent bars.
+Text attached to a multi-measure rest will be centered above or
+below it. Long text attached in this way does not cause the
+measure to expand, and may collide with text in adjacent measures.
Long text is better attached to a zero-length skip note preceding
-the rest, preceded by @code{\fatText}, since this will cause the
-bar to expand to accommodate the length of the text:
+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:
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\set Score.skipBars = ##t
\fatText
s1*0^\markup {[MAJOR GENERAL]}
s1*0^\markup {[MABEL] }
s1*0_\markup {\italic {Cue: ... it is yours}}
R1*30
-s1^\markup {CHORUS} % Chorus notes would go here
+c4^\markup {CHORUS} d f c
@end lilypond
@seealso
-This manual: @ref{Text}
+Notation Reference: @ref{Durations}, @ref{Text},
+@ref{Text markup}, @ref{Text scripts}.
Snippets: @lsrdir{rhythms}
-Internals Reference:
-
-@internalsref{MultiMeasureRest}.
+Internals Reference: @internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
Be careful when entering multi-measure rests followed by whole
notes. The following will enter two notes lasting four measures
-each
+each:
@example
R1*4 cis cis
* Unmetered music::
* Polymetric notation::
* Automatic note splitting::
-* Setting automatic beam behavior::
@end menu
@node Time signature
@unnumberedsubsubsec Time signature
-@cindex Time signature
+@cindex time signature
@cindex meter
@funindex \time
-Time signature indicates the meter of a piece: a regular pattern
-of strong and weak beats. It is denoted by a fraction at the
-start of the staff.
-
-The time signature is set with the @code{\time} command
+The time signature is set with the @code{\time} command:
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c2 \time 3/4 c2.
\time 2/2 c1
@end lilypond
-A time signature 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}.
+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
There are many more options for its layout. See @ref{Ancient time
signatures}, for more examples.
-@code{\time} sets the property @code{timeSignatureFraction},
-@code{beatLength} and @code{measureLength} in the @code{Timing}
+@code{\time} sets the properties @code{timeSignatureFraction},
+@code{beatLength}, and @code{measureLength} in the @code{Timing}
context, which is normally aliased to @internalsref{Score}. The
-property @code{measureLength} determines where barlines should be
+property @code{measureLength} determines where bar lines should be
inserted, and how automatic beams should be generated. Changing
the value of @code{timeSignatureFraction} also causes the symbol
to be printed.
-@cindex Measure groupings
+@cindex measure groupings
More options are available through the Scheme function
-@code{set-time-signature}. In combination with the
-@internalsref{Measure_grouping_engraver}, it will create
+@code{set-time-signature}, which takes three arguments: the number
+of beats, the beat length, and the internal grouping of beats in
+the measure. If the @internalsref{Measure_grouping_engraver} is
+included, the function will also create
@internalsref{MeasureGrouping} signs. Such signs ease reading
rhythmically complex modern music. In the following example, the
9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument @code{(2 2 2 3)}
+@code{set-time-signature} as the third argument @code{(2 2 2 3)}:
@lilypond[quote,ragged-right,verbatim]
\score {
@cindex upbeat
@cindex partial measure
@cindex measure, partial
+@cindex pickup measure
@cindex shorten measures
@funindex \partial
-Partial measures, such as an anacrusis or upbeat, are entered
-using the
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
-@end lilypond
-
-The syntax for this command is
+Partial or pickup measures, such as an anacrusis or upbeat, are
+entered using the @code{\partial} command, with the syntax
@example
\partial @var{duration}
@end example
where @code{duration} is the rhythmic length to be added before
-the next bar.
+the next measure:
-This is internally translated into
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\partial 16*5 c16 cis d dis e | a2. c,4 | b2
+@end lilypond
+
+Internally, this is translated into
@example
\set Timing.measurePosition = -@var{length of duration}
@refbugs
This command does not take into account grace notes at the start
-of the music. When a piece starts with graces notes in the
-pickup, then the @code{\partial} should follow the grace notes
+of the music. When a piece starts with grace notes in the
+pickup, then the @code{\partial} should follow the grace notes:
@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
@funindex \cadenzaOn
@funindex \cadenzaOff
-Barlines and bar numbers are calculated automatically. For
+Bar lines and bar numbers are calculated automatically. For
unmetered music (cadenzas, for example), this is not desirable.
-To turn off automatic barlines and bar numbers, use the commands
+To turn off automatic bar lines and bar numbers, use the commands
@code{\cadenzaOn} and @code{\cadenzaOff}.
@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
@refbugs
LilyPond will only insert line breaks and page breaks at a
-barline. Unless the unmetered music ends before the end of the
-staff line, you will need to insert invisible barlines
+bar line. Unless the unmetered music ends before the end of the
+staff line, you will need to insert invisible bar lines with
@example
\bar ""
@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
@lilypond[verbatim,ragged-right]
% create 2/4 + 5/8
-tsMarkup =\markup {
+tsMarkup = \markup {
\override #'(baseline-skip . 2) \number {
\column { "2" "4" }
\vcenter "+"
moving the @internalsref{Timing_translator} to the
@internalsref{Staff} context.
-@example
-\layout @{
- \context @{ \Score
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
- @}
- \context @{
+@lilypond[quote,verbatim,ragged-right]
+\layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ \context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
- @}
-
-@}
-@end example
-
-
-Now, each staff has its own time signature.
-
-@example
-<<
- \new Staff @{
- \time 3/4
- c4 c c | c c c |
- @}
- \new Staff @{
- \time 2/4
- c4 c | c c | c c
- @}
- \new Staff @{
- \time 3/8
- c4. c8 c c c4. c8 c c
- @}
->>
-@end example
-
-@lilypond[quote,ragged-right]
-\layout{
- \context{
- \Score
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
- }
- \context{ \Staff
- \consists "Timing_translator"
- \consists "Default_bar_line_engraver"
}
}
+%Now, each staff has its own time signature.
\relative c' <<
\new Staff {
A different form of polymetric notation is where note lengths have
-different values across staves, but the bars are all the same
+different values across staves, but the measures are all the same
length.
This notation can be created by setting a common time signature
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}
@refbugs
When using different time signatures in parallel, the spacing is
-aligned vertically, but barlines distort the regular spacing.
+aligned vertically, but bar lines distort the regular spacing.
@seealso
-Snippets: @lsrdir{rhythms}
+@ignore
+TODO: add @rglos{polymetric time signature}, {polymetric}, {double time
+signature}, and {polymetric meter}. when glossary entries
+exist.
+@end ignore
+
+Snippets: @lsrdir{rhythms}, @lsr{contemporary,compound-time-signature}.
+
+Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
@node Automatic note splitting
@unnumberedsubsubsec Automatic note splitting
-Long notes which overrun barlines can be converted
-automatically to tied notes. This is
-done by replacing the @internalsref{Note_heads_engraver} by the
+Long notes which overrun bar lines can be converted automatically
+to tied notes. This is done by replacing the
+@internalsref{Note_heads_engraver} by the
@internalsref{Completion_heads_engraver}. In the following
-examples, notes crossing the barline are split and tied.
+examples, notes crossing the bar line are split and tied.
@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
\new Voice \with {
}
@end lilypond
-This engraver splits all running notes at the barline, and
+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
much each measure is off.
-If you want to allow line breaking on the barlines where
+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}.
Snippets: @lsrdir{rhythms}
-Internals Reference: @internalsref{Completion_heads_engraver}.
+Internals Reference: @internalsref{Note_heads_engraver},
+@internalsref{Completion_heads_engraver},
+@internalsref{Forbid_line_break_engraver}.
+
+
+
+
+
+@node Beams
+@subsection Beams
+
+@menu
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+@end menu
+
+@node Automatic beams
+@unnumberedsubsubsec Automatic beams
+
+By default, beams are inserted automatically:
+
+@cindex beams, manual
+@cindex manual beams
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c8 c c c
+\time 6/8 c c c c8. c16 c8
+@end lilypond
+
+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}.
+
+@cindex autoBeamOn
+@cindex autoBeamOff
+
+@noindent
+Automatic beaming may be turned off and on with
+@code{\autoBeamOff} and @code{\autoBeamOn} commands:
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+c4 c8 c8. c16 c8. c16 c8
+\autoBeamOff
+c4 c8 c8. c16 c8.
+\autoBeamOn
+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.
+
+@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}.
+
+@funindex breakable
+@cindex break, line
+@cindex line breaks
+
+Line breaks are normally forbidden when beams cross bar lines.
+This behavior can be changed by setting the @code{breakable}
+property: @code{\override Beam #'breakable = ##t}.
+
+@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
+\override Beam #'breakable = ##t
+c8 \repeat unfold 15 {c[ c] } c
+@end lilypond
+
+@cindex beams and line breaks
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
+
+Kneed beams are inserted automatically when a large gap is
+detected between the note heads. This behavior can be tuned
+through the @code{auto-knee-gap} property. A kneed beam is
+drawn if the gap is larger than the value of
+@code{auto-knee-gap} plus the width of the beam object (which
+depends on the duration of the notes and the slope of the beam).
+By default @code{auto-knee-gap} is set to 5.5 staff spaces.
+
+@lilypond[fragment,ragged-right,quote,verbatim]
+f8 f''8 f8 f''8
+\override Beam #'auto-knee-gap = #6
+f8 f''8 f8 f''8
+@end lilypond
+
+
+@seealso
+
+Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+
+Snippets: @lsrdir{rhythms}
+
+Internals Reference: @internalsref{Beam}.
+
+
+@refbugs
+
+Automatically kneed cross-staff beams cannot be used together with
+hidden staves. See @ref{Hiding staves}.
+
+Beams can collide with noteheads and accidentals in other voices
@node Setting automatic beam behavior
@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}.
+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}.
In order to add a rule to the list, use
@example
@itemize
-@item @code{be} is either "begin" or "end".
+@item @code{be} is either @code{begin} or @code{end}.
@item @code{p/q} is the duration of the note for which you want
to add a rule. A beam is considered to have the duration of its
@item @code{context} is optional, and it specifies the context at which
the change should be made. The default is @code{'Voice}.
+
@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
@funindex \autoBeamOn
@code{\autoBeamOn}.
-@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
-
@refbugs
If a score ends while an automatic beam has not been ended and is
-still accepting notes, this last beam will not be typeset at all. The
-same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
-accepting notes, it is not typeset.
+still accepting notes, this last beam will not be typeset at all.
+The same holds for polyphonic voices, entered with @code{<<
+@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
+automatic beam is still accepting notes, it is not typeset.
@seealso
Snippets: @lsrdir{rhythms}
+@node Manual beams
+@unnumberedsubsubsec Manual beams
+@cindex beams, manual
-@node Beams
-@subsection Beams
-
-@menu
-* Automatic beams::
-* Manual beams::
-@end menu
-
-@node Automatic beams
-@unnumberedsubsubsec Automatic beams
-
-By default beams are inserted automatically
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c c c c8. c16 c8
-@end lilypond
-
-When these automatic decisions are not good enough, beaming
-can be entered explicitly. It is also possible to define beaming
-patterns that differ from the defaults. See @ref{Manual beams}
-and @ref{Setting automatic beam behavior}.
-
-@cindex autoBeamOn
-@cindex autoBeamOff
-
-@noindent
-Automatic beaming may be turned off and on with
-@code{\autoBeamOff} and @code{\autoBeamOn} commands:
-
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
-@end lilypond
-
-
-@commonprop
-
-@funindex stemLeftBeamCount
-@funindex stemRightBeamCount
-
-LilyPond can automatically determine beaming patterns within a
-beam, but this automatic behavior can sometimes produce odd
-results; therefore the @code{stemLeftBeamCount} and
-@code{stemRightBeamCount} properties can be used to override the
-defaults. If either property is set, its value will be used only
-once, and then it is erased.
+In some cases it may be necessary to override the automatic
+beaming algorithm. For example, the autobeamer will not put beams
+over rests or bar lines, and in choral scores the beaming is
+often set to follow the meter of the lyrics rather than the
+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]
{
- f8[ r16
- f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
+ r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
-The property @code{subdivideBeams} can be set in order to
-subdivide all 16th or shorter beams.
-When set, multiple beams will be sub-divided at beat
-positions, defined by the current value of @code{beatLength},
-by drawing only one beam over the beat.
-
-@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
-c16[ c c c c c c c]
-\set subdivideBeams = ##t
-c16[ c c c c c c c]
-\set Score.beatLength = #(ly:make-moment 1 8)
-c16[ c c c c c c c]
-@end lilypond
-@funindex subdivideBeams
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-
-@c TODO Consider whether the section Setting automatic
-@c beam behavior should all be moved here. For now
-@c here's a link to it.
-
-For details about modifying the automatic beam behaviour
-see @ref{Setting automatic beam behavior}
-
-@funindex breakable
-
-Line breaks are normally forbidden when beams cross barlines.
-This behavior can be changed by setting the @code{breakable}
-property: @code{\override Beam #'breakable = ##t}.
-
-@cindex beams and line breaks
-@cindex beams, kneed
-@cindex kneed beams
-@cindex auto-knee-gap
-
-Kneed beams are inserted automatically when a large gap is
-detected between the note heads. This behavior can be tuned
-through the @code{auto-knee-gap} property. A kneed beam is
-drawn if the gap is larger than the value of
-@code{auto-knee-gap} plus the width of the beam object (which
-depends on the duration of the notes and the slope of the beam).
-By default @code{auto-knee-gap} is set to 5.5 staff spaces.
-
-@lilypond[fragment,ragged-right,quote,verbatim]
-f8 f''8 f8 f''8
-\override Beam #'auto-knee-gap = #6
-f8 f''8 f8 f''8
-@end lilypond
-
-
-@seealso
-
-Snippets: @lsrdir{rhythms}
-
-Internals Reference: @internalsref{Beam}.
-
-
-@refbugs
-
-Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
-
-Beams can collide with noteheads and accidentals in other voices
-
-@node Manual beams
-@unnumberedsubsubsec Manual beams
-
-@cindex beams, manual
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
@funindex ]
@funindex [
-In some cases it may be necessary to override the automatic
-beaming algorithm. For example, the autobeamer will not put beams
-over rests or barlines, and in choral scores the beaming is
-often set to follow the meter of the lyrics rather than the
-notes. Such beams can be specified manually by
-marking the begin and end point with @code{[} and @code{]}
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
+
+Even more strict manual control with the beams can be achieved by
+setting the properties @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}. They specify the number of beams to
+draw on the left and right side, respectively, of the next note.
+If either property is set, its value will be used only once, and
+then it is erased. In this example, the last @code{f} is printed
+with only one beam on the left side, i.e. the eigth-note beam of
+the group as a whole.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
- r4 r8[ g' a r8] r8 g[ | a] r8
+ f8[ r16 f g a]
+ f8[ r16
+ \set stemLeftBeamCount = #1
+ f g a]
}
@end lilypond
+
+@commonprop
+
@cindex beams, feathered
@funindex \featherDurations
these would delimit the same group of notes, but this is not
required: the two commands are independent.
-In the following example the eight 16th notes occupy exactly
-the same time as a half note, but the first note is twice
-as short as the last one, with the intermediate notes gradually
-lengthening. The first four 32nd notes gradually speed up,
-while the last four 32nd notes are at a constant tempo.
+In the following example the eight 16th notes occupy exactly the
+same time as a half note, but the first note is one half as long
+as the last one, with the intermediate notes gradually
+lengthening. The first four 32nd notes gradually speed up, while
+the last four 32nd notes are at a constant tempo.
@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
\override Beam #'grow-direction = #LEFT
The spacing in the printed output represents the
note durations only approximately, but the midi output is exact.
-
-@commonprop
-
-Line breaking is prevented by beams which straddle barlines. The
-@samp{breakable} property of @code{Beam} allows this behaviour
-to be overridden:
-
-@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
-\override Beam #'breakable = ##t
-c8 \repeat unfold 15 {c[ c] } c
-@end lilypond
-
-
@refbugs
The @code{\featherDurations} command only works with very short
Snippets: @lsrdir{rhythms}
+
@node Bars
@subsection Bars
@node Bar lines
@unnumberedsubsubsec Bar lines
-@cindex Bar lines
-@cindex Barlines
+@cindex bar lines
@funindex \bar
@cindex measure lines
@cindex repeat bars
-Barlines delimit measures, and are also used to indicate
-repeats. Normally, simple barlines are automatically inserted
+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.
-The simple barlines inserted automatically can be changed to
+The simple bar lines inserted automatically can be changed to
other types with the @code{\bar} command. For example, a closing
-double barline is usually placed at the end of a piece:
+double bar line is usually placed at the end of a piece:
@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
-e4 d c2 \bar "||"
+e4 d c2 \bar "|."
@end lilypond
@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 barline: the note is assumed
+end on the automatically entered bar line: the note is assumed
to carry over into the next bar. But if a long sequence
of such carry-over bars appears the music can appear compressed
or even flowing off the page. This is because automatic line
breaks happen only at the end of complete bars, i.e. where
the end of a note coincides with the end of a bar.
-Line breaks are also permitted at manually inserted barlines
+@cindex line breaks
+@cindex bar lines, invisible
+@cindex measure lines, invisible
+
+Line breaks are also permitted at manually inserted bar lines
even within incomplete bars. To allow a line break without
-printing a barline, use
+printing a bar line, use
@example
\bar ""
@end example
@noindent
-This will insert an invisible barline and allow (but not
+This will insert an invisible bar line and allow (but not
force) a line break to occur at this point. The bar number
counter is not increased. To force a line break see
@ref{Line breaking}.
-This and other special barlines may be inserted manually at any
+This and other special bar lines may be inserted manually at any
point. When they coincide with the end of a bar they replace
-the simple barline which would have been inserted there
+the simple bar line which would have been inserted there
automatically. When they do not coincide
-with the end of a bar the specified barline is inserted at that
+with the end of a bar the specified bar line is inserted at that
point in the printed output. Such insertions do not affect
-the calculation and placement of subsequent automatic barlines.
+the calculation and placement of subsequent automatic bar lines.
-The simple barline and four types of double barline are available
+The simple bar line and four types of double bar line are available
for manual insertion:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
@end lilypond
@noindent
-together with dotted and dashed barlines:
+together with dotted and dashed bar lines:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
f1 \bar ":" g \bar "dashed" a
@end lilypond
@noindent
-and three types of repeat barline:
+and three types of repeat bar line:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
f1 \bar "|:" g \bar ":|:" a \bar ":|" b
@end lilypond
-Although the barline types signifying repeats may be inserted
+@cindex repeats
+
+Although the bar line types signifying repeats may be inserted
manually they do not in themselves cause LilyPond to recognise
a repeated section. Such repeated sections are better entered
using the various repeat commands (see @ref{Repeats}), which
-automatically print the appropriate barlines.
+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
@end lilypond
In scores with many staves, a @code{\bar} command in one staff is
-automatically applied to all staves. The resulting barlines are
+automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
@code{PianoStaff}, or @code{GrandStaff}.
@funindex whichBar
@funindex defaultBarType
-The command @code{\bar }@var{bartype} is a short cut for
-@code{\set Timing.whichBar = }@var{bartype}. A barline is
+The command @code{\bar }@var{bartype} is a shortcut for
+@code{\set Timing.whichBar = }@var{bartype}. A bar line is
created whenever the @code{whichBar} property is
set.
-The default bar type used for automatically inserted barlines is
+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}.
@seealso
-In this manual: @ref{Repeats}, @ref{System start delimiters}.
+Notation Reference: @ref{Line breaking}, @ref{Repeats},
+@ref{System start delimiters}.
Snippets: @lsrdir{rhythms}
@node Bar numbers
@unnumberedsubsubsec Bar numbers
-@cindex Bar numbers
+@cindex bar numbers
@cindex measure numbers
@funindex currentBarNumber
-Bar numbers are typeset by default at the start of every line
-except the first line. The
-number itself is stored in the @code{currentBarNumber} property,
-which is normally updated automatically for every measure. It
-may also be set manually:
+Bar numbers are typeset by default at the start of every line except
+the first line. The number itself is stored in the
+@code{currentBarNumber} property, which is normally updated
+automatically for every measure. It may also be set manually:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
c1 c c c
c c c c c
@end lilypond
+@cindex measure number, format
+@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
numbers in boxes and circles, and shows an alternative way
-of specifying @samp{#(#f #t #t)} for @code{break-visibility}.
+of specifying @code{#(#f #t #t)} for @code{break-visibility}.
@lilypond[verbatim,ragged-right,quote,fragment,relative]
% Prevent bar numbers at the end of a line and permit them elsewhere
\repeat unfold 4 { c1 } \bar "|."
@end lilypond
-@cindex Bar number alignment
+@cindex bar number alignment
Bar numbers by default are left-aligned to their parent object.
This is usually the left edge of a line or, if numbers are printed
-within a line, the left barline of the bar. The numbers may also
-be positioned directly on the barline or right-aligned to the
-barline:
+within a line, the left bar line of the bar. The numbers may also
+be positioned directly on the bar line or right-aligned to the
+bar line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\set Score.currentBarNumber = #111
@refbugs
-Bar numbers can collide with the top of the
-@internalsref{StaffGroup} bracket, if there is one.
-To solve this, the @code{padding} property of
-@internalsref{BarNumber} can be used to
-position the number correctly.
+Bar numbers may collide with the top of the
+@internalsref{StaffGroup} bracket, if there is one. To solve
+this, the @code{padding} property of @internalsref{BarNumber} can
+be used to position the number correctly.
-Bar numbers may only be printed at barlines; to print a bar
-number at the beginning of a piece, an empty barline must be
+Bar numbers may only be printed at bar lines; to print a bar
+number at the beginning of a piece, an empty bar line must be
inserted there, and a value other than @code{1} must be placed
in @code{currentBarNumber}:
@node Bar and bar number checks
@unnumberedsubsubsec Bar and bar number checks
-@cindex Bar check
+@cindex bar check
@funindex barCheckSynchronize
@funindex |
Bar checks help detect errors in the entered durations.
-A bar check may be entered using the bar symbol, @samp{|},
-at any place where a barline is expected to fall.
+A bar check may be entered using the bar symbol, @code{|},
+at any place where a bar line is expected to fall.
If bar check lines are encountered at other places,
a list of warnings is printed in the log file,
showing the line numbers and lines
in which the bar checks failed. In the next
-example, the second bar check will signal an error
+example, the second bar check will signal an error.
@example
\time 3/4 c2 e4 | g2 |
@funindex pipeSymbol
It is also possible to redefine the action taken when a bar check
-or pipe symbol, @samp{|}, is encountered in the input, so that
+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 @samp{|} is set to insert a double bar
+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.
@node Rehearsal marks
@unnumberedsubsubsec Rehearsal marks
-@cindex Rehearsal marks
+@cindex rehearsal marks
+@cindex mark, rehearsal
@funindex \mark
To print a rehearsal mark, use the @code{\mark} command
mark manually. The value to use is stored in the property
@code{rehearsalMark}.
+@cindex rehearsal mark format
+@cindex rehearsal mark style
+@cindex style, rehearsal mark
+@cindex format, rehearsal mark
+@cindex mark, rehearsal, style
+@cindex mark, rehearsal, format
+
The style is defined by the property @code{markFormatter}. It is
a function taking the current mark (an integer) and the current
context as argument. It should return a markup object. In the
Snippets: @lsrdir{rhythms}
-This manual: @ref{Text marks}.
+This manual: @ref{The Feta font}, @ref{Text marks}.
Internals Reference: @internalsref{RehearsalMark}.
@cindex appoggiatura
@cindex acciaccatura
-Grace notes are ornaments that are written out. The most common
-ones are acciaccatura, which should be played as very short. It
+Grace notes are ornaments that are written out. They are made with
+the @code{\grace} command. By prefixing this keyword to a music
+expression, a new one is formed, which will be printed in a
+smaller font and takes up no logical time in a measure.
+
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
+@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
-appoggiatura is a grace note that takes a fixed fraction of the
-main note, and is denoted as a slurred note in small print without
+@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
+and @code{\appoggiatura}, as demonstrated in the following
+example:
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4
\acciaccatura { g16[ f] } e4
@end lilypond
-Both are special forms of the @code{\grace} command. By prefixing
-this keyword to a music expression, a new one is formed, which
-will be printed in a smaller font and takes up no logical time in
-a measure.
-
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
-@end lilypond
-
@noindent
-Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
-@code{\grace} command does not start a slur.
+@code{\acciaccatura} and @code{\appoggiatura} start a slur,
+@code{\grace} does not.
The placement of grace notes is synchronized between different
staves. In the following example, there are two sixteenth grace
@funindex \afterGrace
+@cindex grace notes, following
+
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
notes following the main note.
seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
them other effects may be obtained.
+@cindex stem, with slash
+
@noindent
-The slash through the stem in acciaccaturas can be obtained in
+The slash through the stem in @emph{acciaccatura}s can be obtained in
other situations by @code{\override Stem #'stroke-style =
#"grace"}.
@seealso
+Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
+@c [TODO add appoggiatura]
+
Snippets: @lsrdir{rhythms}
Internals Reference: @internalsref{GraceMusic}.
@refbugs
-A multi-note beamed acciaccatura is printed without a slash,
-and looks exactly the same as a multi-note beamed appoggiatura.
+A multi-note beamed @emph{acciaccatura} is printed without a slash,
+and looks exactly the same as a multi-note beamed
+@emph{appoggiatura}.
@c TODO Add link to LSR snippet to add slash when available
Grace note synchronization can also lead to surprises. Staff
-notation, such as key signatures, barlines, etc., are also
+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,
@node Aligning to cadenzas
@unnumberedsubsubsec Aligning to cadenzas
+@cindex cadenza
+@cindex cadenza, aligning to
+@cindex aligning to cadenza
+
In an orchestral context, cadenzas present a special problem: when
constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
cadenza, otherwise they will start too soon or too late.
-A solution to this problem are the functions
+A solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a piece of music as argument, and generate a
-multi-rest or @code{\skip}, exactly as long as the piece. The use
-of @code{mmrest-of-length} is demonstrated in the following
-example.
+functions take a piece of music as argument, and generate a multi-rest
+or @code{\skip}, exactly as long as the piece. The use of
+@code{mmrest-of-length} is demonstrated in the following example.
@lilypond[verbatim,ragged-right,quote]
cadenza = \relative c' {
@node Time administration
@unnumberedsubsubsec Time administration
-@cindex Time administration
+@cindex time administration
+@cindex timing (within the score)
+@cindex music, unmetered
+@cindex unmetered music
@funindex currentBarNumber
@funindex measurePosition
@funindex measureLength
-Time is administered by the
-@code{Timing_translator}, which by default is
-to be found in the @code{Score} context. An
-alias, @code{Timing}, is added to the context in which
-the @code{Timing_translator} is placed.
+Time is administered by the @code{Timing_translator}, which by
+default is to be found in the @code{Score} context. An alias,
+@code{Timing}, is added to the context in which the
+@code{Timing_translator} is placed.
The following properties of @code{Timing} are used
to keep track of timing within the score.
+@cindex bar number
+@cindex measure number
+
@table @code
@item currentBarNumber
The current measure number. For an example showing the
@item measureLength
The length of the measures in the current time signature. For a
4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
-determines when barlines are inserted and how automatic beams
+determines when bar lines are inserted and how automatic beams
should be generated.
@item measurePosition
Timing can be changed by setting any of these variables
explicitly. In the next example, the default 4/4 time
signature is printed, but @code{measureLength} is set to 5/4.
-At 4/8 though the third bar, the @code{measurePosition} is
+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 barline then falls at 9/8 rather than 5/4.
+The next bar line then falls at 9/8 rather than 5/4.
@lilypond[quote,ragged-right,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
@code{ly:make-moment 7 16} is the duration of seven sixteenths
notes.
+
@seealso
This manual: @ref{Bar numbers}, @ref{Unmetered music}
+
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