@node Rhythms
@section Rhythms
-@lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
+@lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
{rhythms-headword.ly}
-This section discusses rhythms, durations, and bars.
+This section discusses rhythms, rests, durations, beaming and bars.
@menu
* Writing rhythms::
@end menu
@node Durations
-@unnumberedsubsubsec Durations
+@subsubsection Durations
+
+@cindex durations, of notes
+@cindex note durations
-@cindex duration
-@cindex beams, automatic
@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
@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
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.
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]
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}.
+
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes, see @ref{Vocal music}.
+
+Optionally, notes can be spaced strictly proportionately to their
+duration. For details of this and other settings which control
+proportional notation, see @ref{Proportional notation}.
@refcommands
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. The following commands may be used to
-force a particular direction manually:
+force a particular direction manually, and to return to the
+default behaviour:
@funindex \dotsUp
@code{\dotsUp},
@funindex \dotsNeutral
@code{\dotsNeutral}.
-For ways of specifying durations for the syllables of lyrics and
-ways of aligning lyrics to notes see @ref{Vocal music}.
-
-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}.
-
@seealso
-Music Glossary: @rglos{breve}, @rglos{longa}.
+Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
+@rglos{Duration names notes and rests}.
-Notation Reference:@ref{Automatic beams}, @ref{Ties}, @ref{Writing rests}, @ref{Vocal music},
+Notation Reference: @ref{Automatic beams}, @ref{Ties},
+@ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
@ref{Ancient notation}, @ref{Proportional notation}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{Dots},
@internalsref{DotColumn}.
@refbugs
-@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
-@unnumberedsubsubsec Tuplets
+@subsubsection Tuplets
@cindex 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:
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
+a2 \times 2/3 {b4 b b}
+c4 c \times 2/3 {b4 a g}
+
@end lilypond
-Tuplets may be nested; for example,
+Tuplets may be nested:
@lilypond[fragment,ragged-right,verbatim,relative=2]
-\times 2/3 {
- a4 a
- \times 3/5 { a a a a a }
+\relative c'' {
+ \autoBeamOff
+ c4 \times 4/5 { f8 e f \times 2/3 {e[ f g] } } f4 |
}
@end lilypond
@commonprop
+@cindex tuplet formatting
+@cindex triplet formatting
+
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@cindex tuplet formatting
+@c when available
+@c @lilypondfile [ragged-right,line-width=16\cm,staffsize=14,quote]
+@c {Entering-several-tuplets-using-only-one-\times-command.ly}
+
+@ignore
+@c TODO Remove when snippet works ok
+@c Sent to Snippet 5 Feb 08
The property @code{tupletSpannerDuration} specifies how long each
bracket should last. With this, you can make lots of tuplets
while typing @code{\times} only once, thus saving lots of typing.
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c8 c c c c c }
@end lilypond
+@end ignore
@noindent
For more information about @code{make-moment}, see
@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 the property is set with @code{\override
-TupletNumber #'text = #tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
+By default, only the numerator of the tuplet number
+is printed over the tuplet bracket, i.e. the denominator
+of the argument to the @code{\times} command. Alternatively,
+@var{num}:@var{den} of the tuplet number may be printed, or
+the tuplet number may be suppressed altogether.
-To 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 }
\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.
+@c TODO Add snippet to show this
+Tuplets may extend over bar lines, but they will inhibit a
+line break unless the @code{Forbid_line_break_engraver} is
+removed from the @code{Voice context}.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@subheading Modifying nested tuplets
+
+@cindex tuplets, nested
+@cindex triplets, nested
+@cindex bracket, tuplet
+@cindex tuplet bracket
+@cindex triplet bracket
+@funindex TupletBracket
+
+If nested tuplets do not begin at the same moment their
+appearance may be modified in the usual way with
+@code{\override} commands:
+
+@c NOTE Tuplet brackets collide if notes are high on staff
+@c See issue 509
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
+\times 2/3 { c8[ c c]}
+\once \override TupletNumber #'text = #tuplet-number::calc-fraction-text
+\times 2/3 {
+ c[ c]
+ c[ c]
+ \once \override TupletNumber #'transparent = ##t
+ \times 2/3 { c8[ c c] }
+\times 2/3 { c8[ c c]}
+}
+@end lilypond
+
+However, if the nested tuplets begin at the same musical moment,
+@code{\override} commands cannot be applied to just one of them
+-- they apply to both. So to change the appearance of nested
+tuplets beginning at the same musical moment individually, the
+@code{\tweak} function must be used (see @ref{Objects connected
+to the input}). The @code{\tweak} function is applied to the
+following @code{\times} command as it appears in the input stream,
+and so can distinguish between separate @code{\times} commands
+even if their tuplets begin at the same musical moment.
+
+In this example, the @code{\tweak} command is used to specify
+fraction text for the outer @code{TupletNumber} and denominator
+text for the @code{TupletNumber} of the first of the three
+inner tuplets.
+
+@c NOTE Tuplet brackets collide if notes are high on staff
+@c so use relative=1 until this is fixed
+@c See issue 509
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\tweak #'text #tuplet-number::calc-fraction-text
\times 4/3 {
\tweak #'text #tuplet-number::calc-denominator-text
}
@end lilypond
-@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.
+the staff. Note that the @code{\tweak} command needs to be used
+only for events that begin at the same music moment: the outer
+tuplet and the first of the three inner tuplets. To position the
+@code{TupletBracket}s of the second and third of the inner tuplets
+below the staff, we can use @code{\override} in the usual way.
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\tweak #'text #tuplet-number::calc-fraction-text
}
@end lilypond
-Tuplet brackets can be made to run to prefatory matter or the next
-note:
+@subheading Modifying tuplet bracket length
+
+@cindex tuplet bracket length
+@cindex triplet bracket length
+@cindex bracket length, tuplets
+@funindex tupletFullLength
+@funindex tupletFullLengthNote
+
+Tuplet brackets can be made to run to prefatory matter or the
+next note.
+Default tuplet brackets end at the right edge of the final note
+of the tuplet; full-length tuplet brackets extend farther to the
+right, either to cover all the non-rhythmic notation up to the
+following note, or to cover only the whitespace before the next
+item of notation, be that a clef, time signature, key signature,
+or another note. The example shows how to switch tuplets to
+full length mode and how to modify what material they cover.
+
@lilypond[ragged-right,verbatim,quote]
\new RhythmicStaff {
+ % Set tuplets to be extendable ..
\set tupletFullLength = ##t
+ % .. to cover all items up to the next note
\set tupletFullLengthNote = ##t
\time 2/4
\times 2/3 { c4 c c }
+ % .. or to cover just whitespace
\set tupletFullLengthNote = ##f
\time 4/4
\times 4/5 { c4 c1 }
\time 3/4
- c4
+ c4
}
@end lilypond
+@subheading Compressing music
+
+@cindex compressing music
@funindex \compressMusic
-@funindex \times
@code{\compressMusic} works similarly to \times, but does not
-create a tuplet bracket; see @ref{Polymetric notation}.
-
+create a tuplet bracket. One application is in polymetric
+notation, as shown in the following example. See
+@ref{Polymetric notation}.
-@refbugs
+@c when available
+@c @lilypondfile [ragged-right,line-width=16\cm,staffsize=14,quote]
+@c {printing-music-with-different-time-signatures.ly}
-Tuplets which cross bar lines will prevent a line break at that
-point.
@seealso
-Music Glossary: @c TODO Add @rglos{Tuplet} when Tuplet has been added to the Glossary
+Music Glossary: @rglos{triplet}, @rglos{tuplet},
+@rglos{polymetric}.
Notation Reference: @ref{Time administration},
@ref{Objects connected to the input}, @ref{Polymetric notation}.
-Snippets: @lsrdir{rhythms}.
+Snippets: @lsrdir{Rhythms,Rhythms}.
Internals Reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
+@internalsref{TupletNumber}, @internalsref{TimeScaledMusic}.
+
+@refbugs
+Lines may be broken within a tuplet with @code{\bar "" \break},
+but the tuplet bracket does not correctly carry over.
@node Scaling durations
-@unnumberedsubsubsec Scaling durations
+@subsubsection 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}).
@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}.
@seealso
Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Ties
-@unnumberedsubsubsec Ties
+@subsubsection Ties
@cindex tie
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
-in effect extends the length of a note.
+in effect extends the length of a note.
@warning{Ties should not be confused with @emph{slurs}, which
indicate articulation, or @emph{phrasing slurs}, which indicate
@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 }}
+\alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
@end lilypond
@cindex laissez vibrer
<c f g>\laissezVibrer
@end lilypond
-The direction of a tie can be specified with @code{\tieUp} or
+The vertical placement of ties may be controlled; see
+@ref{Controlling direction}.
+
+@quotation
+DELETE THIS ?
@code{\tieDown} (see example below). @code{\tieNeutral} reverts
to the default behaviour again.
@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
c4_~ c c^~ c)
@end lilypond
+@end quotation
+@refcommands
-@seealso
-
-Music Glossary: @rglos{tie}, @c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
-
-Snippets: @lsrdir{rhythms}
-
-Internals Reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
-
-Example files:
-@lsr{connecting,laissez-vibrer-ties.ly}
+@funindex \tieUp
+@code{\tieUp},
+@funindex \tieDown
+@code{\tieDown},
+@funindex \tieNeutral
+@code{\tieNeutral},
+@funindex \tieDotted
+@code{\tieDotted},
+@funindex \tieDashed
+@code{\tieDashed},
+@funindex \tieSolid
+@code{\tieSolid}.
@commonprop
@end lilypond
-@refcommands
+@seealso
-@funindex \tieUp
-@code{\tieUp},
-@funindex \tieDown
-@code{\tieDown},
-@funindex \tieNeutral
-@code{\tieNeutral},
-@funindex \tieDotted
-@code{\tieDotted},
-@funindex \tieDashed
-@code{\tieDashed},
-@funindex \tieSolid
-@code{\tieSolid}.
+Music Glossary: @rglos{tie},
+@c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
+Snippets: @lsrdir{Rhythms,Rhythms}
+
+Internals Reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+
+Example files:
+@c @lsr{connecting,laissez-vibrer-ties.ly}
-@seealso
Notation Reference: @ref{Automatic note splitting}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{Tie}.
@subsection Writing rests
@menu
-* Rests::
-* Skips::
-* Multi measure rests::
+* Rests::
+* Skips::
+* Full measure rests::
@end menu
@node Rests
-@unnumberedsubsubsec Rests
+@subsubsection Rests
@cindex rest
@cindex maxima
@cindex longa
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}.
+many measures and are discussed in @ref{Full measure rests}.
To explicitly specify a rest's vertical position, write a note
followed by @code{\rest}. A rest will be placed in the position
@seealso
-Notation Reference: @ref{Multi measure rests}.
+Notation Reference: @ref{Full measure rests}.
-Snippets: @lsrdir{rhythms}.
+Snippets: @lsrdir{Rhythms,Rhythms}.
Internals Reference: @internalsref{Rest}.
@refbugs
-@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).
@node Skips
-@unnumberedsubsubsec Skips
+@subsubsection Skips
@cindex skip
@cindex invisible rest
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{SkipMusic}.
-@node Multi measure rests
-@unnumberedsubsubsec Multi measure rests
+@node Full measure rests
+@subsubsection Full measure rests
@cindex multi measure rests
@cindex full measure rests
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
+the rest, preceded by @code{\textLengthOn} (turn off again with
+@code{\textLengthOff}), since this will cause the measure to expand to
accommodate the length of the text:
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\set Score.skipBars = ##t
-\fatText
+\textLengthOn
s1*0^\markup {[MAJOR GENERAL]}
R1*19
s1*0^\markup {[MABEL] }
s1*0_\markup {\italic {Cue: ... it is yours}}
R1*30
+\textLengthOff
c4^\markup {CHORUS} d f c
@end lilypond
+@noindent
+Text attached to a skip note in this way is left-aligned to the
+position where the note would be placed in the bar, and placed
+above the bar count numeral, but because the bar length is
+determined by the length of the text, the text will appear to be
+centered. If two (or more) texts are
+attached to skip notes in a bar the bar length is determined by
+the longer text, and the shorter text is then clearly
+left-aligned, as shown in the second bar above. If the shorter
+text of two marks is short enough to fit it will be placed
+alongside and to the left of the bar count numeral.
@seealso
Notation Reference: @ref{Durations}, @ref{Text},
@ref{Text markup}, @ref{Text scripts}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{MultiMeasureRest}.
@end menu
@node Time signature
-@unnumberedsubsubsec Time signature
+@subsubsection Time signature
@cindex time signature
@cindex meter
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{TimeSignature}, and
@internalsref{Timing_translator}.
-Examples: @lsr{contemporary,compound-time-signature.ly}.
+Examples: @c @lsr{contemporary,compound-time-signature.ly}.
@refbugs
@node Upbeats
-@unnumberedsubsubsec Upbeats
+@subsubsection Upbeats
@cindex anacrusis
@cindex upbeat
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Unmetered music
-@unnumberedsubsubsec Unmetered music
+@subsubsection Unmetered music
@cindex cadenza
@funindex \cadenzaOn
d4 e d c
@end lilypond
+Bar numbering is resumed at the end of the cadenza as if the
+cadenza were not there:
+
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+\override Score.BarNumber #'break-visibility = ##( #t #t #t )
+c4 d e d
+\cadenzaOn
+c4 c d8 d d f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
@refbugs
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Polymetric notation
-@unnumberedsubsubsec Polymetric notation
+@subsubsection Polymetric notation
@cindex double time signatures
@cindex signatures, polymetric
@cindex polymetric signatures
@cindex meter, polymetric
+Music Glossary:
+@rglos{polymetric}
+@rglos{polymetric time signature}
+@rglos{meter}
+
Double time signatures are not supported explicitly, but they can
be faked. In the next example, the markup for the time signature
is created with a markup text. This markup text is inserted in
the @internalsref{TimeSignature} grob. See also
-@lsr{contemporary,compound-time-signature}.
+@c @lsr{contemporary,compound-time-signature}.
@lilypond[verbatim,ragged-right]
% create 2/4 + 5/8
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
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
+
+Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
@node Automatic note splitting
-@unnumberedsubsubsec Automatic note splitting
+@subsubsection Automatic note splitting
Long notes which overrun bar lines can be converted automatically
to tied notes. This is done by replacing the
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{Completion_heads_engraver},
+Internals Reference: @internalsref{Note_heads_engraver},
+@internalsref{Completion_heads_engraver},
@internalsref{Forbid_line_break_engraver}.
* Automatic beams::
* Setting automatic beam behavior::
* Manual beams::
+* Feathered beams::
@end menu
@node Automatic beams
-@unnumberedsubsubsec Automatic beams
+@subsubsection Automatic beams
-By default beams are inserted automatically:
+By default, beams are inserted automatically:
+
+@cindex beams, manual
+@cindex manual beams
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c c c
c8[^"(3+2)" c16 c8]
@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} (defaults to a quarter note), by
-drawing only one beam over the beat.
+The beams of consecutive 16th (or shorter) notes are, by default,
+not sub-divided. That is, the three (or more) beams stretch
+unbroken over entire groups of notes. This behaviour can
+be modified to sub-divide the beams into sub-groups by setting
+the property @code{subdivideBeams}. When set, multiple beams
+will be sub-divided at intervals defined by the current value of
+@code{beatLength} by reducing the multiple beams to just one beam
+between the sub-groups. Note that @code{beatLength} lives in the
+@code{Score} context and defaults to a quarter note. It must be
+set to a fraction giving the duration of the beam sub-group
+using the @code{make-moment} function, as shown here:
@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
c32[ c c c c c c c]
\set subdivideBeams = ##t
c32[ c c c c c c c]
+% Set beam sub-group length to an eighth note
\set Score.beatLength = #(ly:make-moment 1 8)
c32[ c c c c c c c]
+% Set beam sub-group length to a sixteenth note
\set Score.beatLength = #(ly:make-moment 1 16)
c32[ c c c c c c c]
@end lilypond
@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}
@seealso
-Snippets: @lsrdir{rhythms}
+Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{Beam}.
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
+Beams can collide with note heads and accidentals in other voices
@node Setting automatic beam behavior
-@unnumberedsubsubsec Setting automatic beam behavior
+@subsubsection Setting automatic beam behavior
@funindex autoBeamSettings
@funindex (end * * * *)
@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
+but can end in only a few positions within the measure: beams can
end on a beat, or at durations specified by the properties in
@code{autoBeamSettings}. The properties in
@code{autoBeamSettings} consist of a list of rules for where beams
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Manual beams
-@unnumberedsubsubsec Manual beams
+@subsubsection Manual beams
@cindex beams, manual
@commonprop
+@node Feathered beams
+@subsubsection Feathered beams
+
@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
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@end menu
@node Bar lines
-@unnumberedsubsubsec Bar lines
+@subsubsection Bar lines
@cindex bar lines
@funindex \bar
breaks happen only at the end of complete bars, i.e. where
the end of a note coincides with the end of a bar.
+@cindex line breaks
+@cindex bar lines, invisible
+@cindex measure lines, invisible
+
Line breaks are also permitted at manually inserted bar lines
even within incomplete bars. To allow a line break without
printing a bar line, use
f1 \bar "|:" g \bar ":|:" a \bar ":|" b
@end lilypond
+@cindex repeats
+
Although the bar line types signifying repeats may be inserted
manually they do not in themselves cause LilyPond to recognise
a repeated section. Such repeated sections are better entered
@seealso
-Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
+Notation Reference: @ref{Line breaking}, @ref{Repeats},
+@ref{System start delimiters}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across
@node Bar numbers
-@unnumberedsubsubsec Bar numbers
+@subsubsection 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
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{BarNumber}.
-Examples: @lsrdir{bar number}
-
@refbugs
@node Bar and bar number checks
-@unnumberedsubsubsec Bar and bar number checks
+@subsubsection Bar and bar number checks
@cindex bar check
@funindex barCheckSynchronize
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 |
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Rehearsal marks
-@unnumberedsubsubsec Rehearsal marks
+@subsubsection 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
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
-This manual: @ref{Text marks}.
+This manual: @ref{The Feta font}, @ref{Text marks}.
Internals Reference: @internalsref{RehearsalMark}.
@code{format-mark-letters}. They can be used as inspiration for
other formatting functions.
-Examples: @lsr{parts,rehearsal-mark-numbers.ly}
+Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
@node Special rhythmic concerns
@end menu
@node Grace notes
-@unnumberedsubsubsec Grace notes
+@subsubsection Grace notes
@funindex \grace
@cindex ornaments
@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 @emph{acciaccatura}s can be obtained in
other situations by @code{\override Stem #'stroke-style =
@seealso
-Snippets: @lsrdir{rhythms}
+Music Glossary:
+@rglos{grace notes},
+@rglos{acciaccatura},
+@rglos{appoggiatura}
+
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{GraceMusic}.
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
+@c TODO Add link to LSR snippet to add slash when available
Grace note synchronization can also lead to surprises. Staff
notation, such as key signatures, bar lines, etc., are also
supported, and might produce crashes or other errors.
@node Aligning to cadenzas
-@unnumberedsubsubsec Aligning to cadenzas
+@subsubsection Aligning to cadenzas
+
+@cindex cadenza
+@cindex cadenza, aligning to
+@cindex aligning to cadenza
In an orchestral context, cadenzas present a special problem: when
constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
cadenza, otherwise they will start too soon or too late.
-A solution to this problem are the functions
+A solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a piece of music as argument, and generate a
-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' {
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Time administration
-@unnumberedsubsubsec Time administration
+@subsubsection Time administration
@cindex time administration
+@cindex timing (within the score)
+@cindex music, unmetered
+@cindex unmetered music
@funindex currentBarNumber
@funindex measurePosition
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
This manual: @ref{Bar numbers}, @ref{Unmetered music}
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{Timing_translator},
@internalsref{Score}
+
+
+
+
+
projects / lilypond.git / blobdiff