version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.61"
-
-@ignore
-GDP TODO list
-
-1.2.3.4 Polymetric notation
-Quite extensive changes. Could you please check through. Divided
-into three
-sections. Necessarily uses tweaks.
-@end ignore
+@c \version "2.12.0"
@node Rhythms
@section Rhythms
@cindex durations, of notes
@cindex note durations
+@cindex length of notes
+@cindex note lengths
@funindex \longa
+@funindex longa
@funindex \breve
+@funindex breve
@funindex \maxima
+@funindex maxima
-Durations are designated by numbers and dots.
-Durations are entered as their reciprocal values. For example, a
-quarter note is entered using a @code{4} (since it is a 1/4 note),
-and a half note is entered using a @code{2} (since it is a 1/2
-note). For notes longer than a whole you must use the
-@code{\longa} (a double breve) and @code{\breve} commands.
-Durations as short as 64th notes may be specified. Shorter values
-are possible, but only as beamed notes.
+Durations are designated by numbers and dots. Durations are entered
+as their reciprocal values. For example, a quarter note is entered
+using a @code{4} (since it is a 1/4 note), and a half note is entered
+using a @code{2} (since it is a 1/2 note). For notes longer than a
+whole you must use the @code{\longa} (a double breve) and
+@code{\breve} commands. Durations as short as 128th notes may be
+specified. Shorter values are possible, but only as beamed notes.
@c Two 64th notes are needed to obtain beams
@lilypond[quote,verbatim,relative=2]
@cindex notes, dotted
@cindex dotted notes
+@cindex notes, double-dotted
+@cindex double-dotted notes
@funindex .
proportional notation, see @ref{Proportional notation}.
@funindex \dotsUp
+@funindex dotsUp
@funindex \dotsDown
+@funindex dotsDown
@funindex \dotsNeutral
+@funindex dotsNeutral
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. Predefined commands are available to
force a particular direction manually, for details
see @ref{Direction and placement}.
-@predefined
+@predefined
@code{\autoBeamOff},
@code{\dotsUp},
@code{\dotsDown},
@code{\dotsNeutral}.
+@endpredefined
@seealso
-
Music Glossary:
@rglos{breve},
@rglos{longa},
+@rglos{maxima},
@rglos{note value},
@rglos{Duration names notes and rests}.
@cindex tuplets
@cindex triplets
+
@funindex \times
+@funindex times
Tuplets are made from a music expression by multiplying all the
durations with a fraction:
@end lilypond
@funindex \tupletUp
+@funindex tupletUp
@funindex \tupletDown
+@funindex tupletDown
@funindex \tupletNeutral
+@funindex tupletNeutral
The automatic placement of the tuplet bracket above or below the
notes may be overridden manually with predefined commands, for
To modify the duration of notes without printing a tuplet bracket,
see @ref{Scaling durations}.
-@predefined
+@predefined
@code{\tupletUp},
@code{\tupletDown},
@code{\tupletNeutral}.
+@endpredefined
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{triplet},
@rglos{tuplet},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
+
@knownissues
@cindex grace notes within tuplet brackets
When the first note on a staff is a grace note followed by a
@cindex durations, scaling
You can alter the duration of single notes, rests or chords by a
-fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
-@code{M} is 1) to the duration.
-This will not affect the appearance of the notes or rests
-produced, but the altered duration will be used in calculating the
-position within the measure and setting the duration in the MIDI
-output. Multiplying factors may be combined such as @code{*L*M/N}.
+fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
+is 1) to the duration. This will not affect the appearance of the
+notes or rests produced, but the altered duration will be used in
+calculating the position within the measure and setting the duration
+in the MIDI output. Multiplying factors may be combined such as
+@code{*L*M/N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
@code{s1*23}.
@cindex compressing music
+
@funindex \scaleDurations
+@funindex scaleDurations
Longer stretches of music may be compressed by a fraction in the
same way, as if every note, chord or rest had the fraction as a
@seealso
-
Notation Reference:
@ref{Tuplets},
@ref{Invisible rests},
@unnumberedsubsubsec Ties
@cindex tie
+
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
<c~ e g~ b> <c e g b>
@end lilypond
-@funindex \repeatTie
@cindex repeating ties
@cindex ties, repeating
@cindex volta brackets and ties
@cindex ties and volta brackets
+@funindex \repeatTie
+@funindex repeatTie
+
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
@cindex laissez vibrer
@cindex ties, laissez vibrer
+
@funindex \laissezVibrer
+@funindex laissezVibrer
@notation{L.v.} ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
@end lilypond
@cindex ties, placement
+
@funindex \tieUp
+@funindex tieUp
@funindex \tieDown
+@funindex tieDown
@funindex \tieNeutral
+@funindex tieNeutral
The vertical placement of ties may be controlled, see
Predefined commands, or for details, see
@ref{Direction and placement}.
@cindex ties, appearance
+@cindex ties, dotted
+@cindex ties, dashed
+@cindex dashed ties
+@cindex dotted ties
+
@funindex \tieDotted
+@funindex tieDotted
@funindex \tieDashed
+@funindex tieDashed
@funindex \tieSolid
+@funindex tieSolid
Solid, dotted or dashed ties may be specified, see Predefined
commands.
@predefined
-
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
@code{\tieSolid}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{tie},
@rglos{laissez vibrer}.
-
-
@node Writing rests
@subsection Writing rests
@unnumberedsubsubsec Rests
@cindex rest
@cindex rest, entering durations
-@cindex maxima
-@cindex longa
-@cindex breve
+@cindex maxima rest
+@cindex longa rest
+@cindex breve rest
@funindex \rest
+@funindex rest
@funindex r
@funindex \maxima
+@funindex maxima
@funindex \longa
+@funindex longa
@funindex \breve
+@funindex breve
Rests are entered like notes with the note name @code{r}.
Durations longer than a whole rest use the predefined
@seealso
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{maxima}.
Notation Reference:
@ref{Full measure rests}.
@cindex invisible rest
@cindex rest, invisible
@cindex spacer note
+@cindex spacer rest
+
@funindex s
@funindex \skip
+@funindex skip
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
\skip 1 \skip1 \skip 1
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@cindex rest, multi-measure
@cindex rest, full-measure
@cindex whole rest for a full measure
+@cindex rest, whole for a full measure
+
@funindex R
Rests for one or more full measures are entered like notes with
b2^"Tutti" b4 a4
@end lilypond
-The duration of full-measure rests is identical to the duration notation
-used for notes. The duration in a multi-measure rest must always be an
-integral number of measure-lengths, so augmentation
-dots or fractions must often be used:
+The duration of full-measure rests is identical to the duration
+notation used for notes. The duration in a multi-measure rest must
+always be an integral number of measure-lengths, so augmentation dots
+or fractions must often be used:
@lilypond[quote,fragment,verbatim]
\compressFullBarRests
R4*5*4 |
@end lilypond
-A full-measure rest is printed as either a whole
-or breve rest, centered in the measure, depending on the time
-signature.
+A full-measure rest is printed as either a whole or breve rest,
+centered in the measure, depending on the time signature.
@lilypond[quote,verbatim,fragment]
\time 4/4
\time 8/4
R1*2 |
@end lilypond
-@funindex \expandFullBarRests
-@funindex \compressFullBarRests
+
@cindex multi-measure rest, expanding
@cindex multi-measure rest, contracting
-By default a multi-measure rest is expanded in the printed score
-to show all the rest measures explicitly.
-Alternatively, a mult-measure rest can be shown as a single measure
-containing a multi-measure rest symbol, with the number of measures of rest
-printed above the measure:
+@funindex \expandFullBarRests
+@funindex expandFullBarRests
+@funindex \compressFullBarRests
+@funindex compressFullBarRests
+
+By default a multi-measure rest is expanded in the printed score to
+show all the rest measures explicitly. Alternatively, a mult-measure
+rest can be shown as a single measure containing a multi-measure rest
+symbol, with the number of measures of rest printed above the measure:
@lilypond[quote,fragment,verbatim]
% Default behavior
@cindex fermata on multi-measure rest
@cindex multi-measure rest, attaching fermata
+@funindex \fermataMarkup
+@funindex fermataMarkup
+
Markups can be added to multi-measure rests.
The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
When a multi-measure rest immediately follows a @code{\partial}
setting, resulting bar-check warnings may not be displayed.
+
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
@code{\compressFullBarRests},
@code{\expandFullBarRests}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{multi--measure-rest-markup.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{multi-measure rest}.
@rinternals{MultiMeasureRestText}.
+@cindex fingerings and multi-measure rests
+@cindex multi-measure rests and fingerings
+
@knownissues
If an attempt is made to use fingerings (e.g.,
@cindex time signature
@cindex meter
+
@funindex \time
+@funindex time
The time signature is set as follows:
\time 3/4 c2.
@end lilypond
-@cindex Time signature, visibility of
+@cindex time signature, visibility of
Time signatures are printed at the beginning of a piece
and whenever the time signature changes. If a change takes place
c c c c
@end lilypond
+@cindex time signature style
+@cindex meter style
+
@funindex \numericTimeSignature
+@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@cindex time signature style
+@funindex defaultTimeSignature
The time signature symbol that is used in 2/2 and 4/4 time can be
changed to a numeric style:
Mensural time signatures are covered in
@ref{Mensural time signatures}.
-@predefined
+@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
+@endpredefined
-@snippets
-
-@c TODO Send as snippet called "Changing the time signature without affecting the beat length"
-The @code{\time} command sets the properties
-@code{timeSignatureFraction}, @code{beatLength}, and
-@code{measureLength} in the @code{Timing} context, which is
-normally aliased to @code{Score}. Changing the value of
-@code{timeSignatureFraction} causes the new time signature symbol
-to be printed without changing the other properties:
+@snippets
-@lilypond[quote,verbatim,relative=2]
-\time 3/4
-a16 a a a a a a a a a a a
-% Change time signature but keep 3/4 beaming
-% due to unchanged beatLength
-\set Score.timeSignatureFraction = #'(12 . 16)
-a16 a a a a a a a a a a a
-\time 12/16
-% Lose 3/4 beaming now beatLength has changed to 16
-a16 a a a a a a a a a a a
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-time-signature-without-affecting-the-beaming.ly}
@cindex compound time signatures
@cindex time signature, compound
@seealso
-
Music Glossary:
@rglos{time signature}
@cindex pickup measure
@cindex measure, change length
@cindex measurePosition
+
@funindex \partial
+@funindex partial
Partial or pick-up measures, such as an anacrusis or upbeat, are
entered using the @code{\partial} command, with the syntax
command: i.e., @code{\partial 4} is internally translated to
@code{-4}, meaning @qq{there is a quarter note left in the measure.}
-@seealso
+@seealso
Music Glossary:
@rglos{anacrusis}.
Internal Reference:
@rinternals{Timing_translator}.
+
@knownissues
The @code{\partial} command is intended to be used only at the
@node Unmetered music
@unnumberedsubsubsec Unmetered music
-@funindex \cadenzaOn
-@funindex \cadenzaOff
@cindex bar lines, turning off
@cindex bar numbering, turning off
@cindex cadenza
@cindex unmetered music
+@funindex \cadenzaOn
+@funindex cadenzaOn
+@funindex \cadenzaOff
+@funindex cadenzaOff
+
Bar lines and bar numbers are calculated automatically. For
unmetered music (some cadenzas, for example), this is not desirable.
To turn off automatic calculation of bar lines and bar numbers,
d4 e d c
@end lilypond
-@predefined
+@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
+@endpredefined
-@seealso
+@seealso
Music Glossary:
@rglos{cadenza}.
Snippets:
@rlsr{Rhythms}.
+
@knownissues
LilyPond will insert line breaks and page breaks only at a
@node Polymetric notation
@unnumberedsubsubsec Polymetric notation
+@c This section necessarily uses \set
+@c This is acceptable -td
+
@cindex double time signatures
@cindex signatures, polymetric
+@cindex time signatures, polymetric
+@cindex time signatures, double
@cindex polymetric signatures
@cindex meter, polymetric
-Polymetric notation is supported, either explicitly or through
-clever use of markup features.
+@funindex timeSignatureFraction
+@funindex \scaleDurations
+@funindex scaleDurations
+@funindex \times
+@funindex times
+
+Polymetric notation is supported, either explicitly or by modifying
+the visible time signature symbol and scaling the note durations.
-@strong{Staves with different time signatures, equal measure lengths}
+@strong{@i{Staves with different time signatures, equal measure lengths}}
This notation can be created by setting a common time signature
for each staff but replacing the symbol manually by setting
@code{timeSignatureFraction} to the desired fraction and scaling
the printed durations in each staff to the common time
-signature. This is done with @code{\scaleDurations}, which
-is used in a similar way to @code{\times}, but does not create
-a tuplet bracket, see @ref{Scaling durations}.
+signature; see @ref{Time signature}. The scaling is done with
+@code{\scaleDurations}, which is used in a similar way to
+@code{\times}, but does not create a tuplet bracket; see
+@ref{Scaling durations}.
+
+@cindex beaming in polymetric music
+@cindex beaming in polymetric meter
In this example, music with the time signatures of 3/4, 9/8, and
10/8 are used in parallel. In the second staff, shown durations
are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
+It will often be necessary to insert beams manually, as the
+duration scaling affects the autobeaming rules.
@lilypond[quote,verbatim,fragment]
-\relative c' { <<
+\relative c' <<
\new Staff {
\time 3/4
c4 c c |
\time 3/4
\set Staff.timeSignatureFraction = #'(9 . 8)
\scaleDurations #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
+ \repeat unfold 6 { c8[ c c] }
}
\new Staff {
\time 3/4
\scaleDurations #'(3 . 5) {
\repeat unfold 2 { c8[ c c] }
\repeat unfold 2 { c8[ c] } |
- c4. c4. \times 2/3 { c8 c c } c4
+ c4. c4. \times 2/3 { c8[ c c] } c4
}
}
->> }
+>>
@end lilypond
-@strong{Staves with different time signatures, unequal bar lengths}
+@strong{@i{Staves with different time signatures, unequal bar lengths}}
Each staff can be given its own independent time signature by
-moving the @code{Timing_translator} to the @code{Staff} context.
+moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} to the @code{Staff} context.
@lilypond[quote,verbatim]
\layout {
@seealso
-
Music Glossary:
@rglos{polymetric},
@rglos{polymetric time signature},
@rglos{meter}.
-Notation Reference: @ref{Scaling durations}
+Notation Reference:
+@ref{Time signature},
+@ref{Scaling durations}.
Snippets:
@rlsr{Rhythms}.
Internals Reference:
@rinternals{TimeSignature},
@rinternals{Timing_translator},
+@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
+
@knownissues
When using different time signatures in parallel, notes
@cindex notes, splitting
@cindex splitting notes
+@funindex Note_heads_engraver
+@funindex Completion_heads_engraver
+
Long notes which overrun bar lines can be converted automatically
to tied notes. This is done by replacing the
@code{Note_heads_engraver} with the
measures are not entirely filled, then the ties show exactly how
much each measure is off.
-@seealso
+@seealso
Music Glossary: @rglos{tie}
Learning Manual:
@node Showing melody rhythms
@unnumberedsubsubsec Showing melody rhythms
+@cindex melody rhythms, showing
+@cindex rhythms, showing melody
+
Sometimes you might want to show only the rhythm of a melody. This
can be done with the rhythmic staff. All pitches of notes on such a
staff are squashed, and the staff itself has a single line
>>
@end lilypond
+@cindex guitar chord charts
+@cindex strumming rhythms, showing
+@cindex guitar strumming rhythms, showing
+
+@funindex Pitch_squash_engraver
+@funindex \improvisationOn
+@funindex improvisationOn
+@funindex \improvisationOff
+@funindex improvisationOff
+
Guitar chord charts often show the strumming rhythms. This can
be done with the @code{Pitch_squash_engraver} and
@code{\improvisationOn}.
>>
@end lilypond
+
@predefined
@code{\improvisationOn},
@code{\improvisationOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@rinternals{RhythmicStaff},
@rinternals{Pitch_squash_engraver}.
+
@node Beams
@subsection Beams
@cindex beams, manual
@cindex manual beams
+@cindex beams, setting rules for
+@cindex beams, custom rules for
+
+@funindex measureLength
+@funindex beatLength
+@funindex beatGrouping
+@funindex \autoBeamOn
+@funindex autoBeamOn
+@funindex \autoBeamOff
+@funindex autoBeamOff
@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c c c
to define beaming patterns that differ from the defaults. The
default beaming rules for most common time signatures are defined
in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
-defined for the time signature being used the beaming is controlled
-by the values of three context properties, @code{measureLength},
-@code{beatLength} and @code{beatGrouping}. Both the beaming rules
-and the context properties can be overridden, see
-@ref{Setting automatic beam behavior}.
+defined for a particular beam's duration in the time signature being
+used, its beaming is controlled by the values of three context
+properties, @code{measureLength}, @code{beatLength} and
+@code{beatGrouping}. Both the beaming rules and the context
+properties can be overridden, see @ref{Setting automatic beam behavior}.
-@cindex autoBeamOn
-@cindex autoBeamOff
@warning{If beams are used to indicate melismata in songs, then automatic
beaming should be switched off with @code{\autoBeamOff} and the beams
c16 c8
@end lilypond
+
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
+@endpredefined
+
@snippets
+@cindex line breaks and beams
+@cindex beams and line breaks
+
@funindex breakable
-@cindex break, line
-@cindex line breaks
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{beams-across-line-breaks.ly}
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Manual beams},
@ref{Setting automatic beam behavior}.
Installed Files:
-@file{scm/auto-beam.scm}.
+@file{scm/@/auto@/-beam@/.scm}.
Snippets:
@rlsr{Rhythms}.
@node Setting automatic beam behavior
@unnumberedsubsubsec Setting automatic beam behavior
-@funindex autoBeaming
-@funindex autoBeamSettings
-@funindex (end * * * *)
-@funindex (begin * * * *)
@cindex automatic beams, tuning
@cindex tuning automatic beaming
@cindex autobeam
@cindex lyrics and beaming
+@funindex autoBeaming
+@funindex autoBeamSettings
+@funindex (end * * * *)
+@funindex (begin * * * *)
+@funindex measureLength
+@funindex beatLength
+@funindex beatGrouping
+@funindex \time
+@funindex time
+@funindex \set
+@funindex set
The placement of automatic beams is determined by the rules
described in @ref{Automatic beams}. There are two mutually
first, modifying the grouping of beats, applies to uncommon time
signatures, i.e. those for which there are no predefined rules
defining the beam end points. The second method, modifying the
-beam end points, must be used for those time signatures for which
-beam ending rules are pre-defined. There are predefined rules for
-time signatures of 3/2, 3/4, 4/4, 2/4, 4/8, 4/16, 6/8, 9/8 and 12/8.
+specification of the beam end points, can be used for any time
+signature. This second method @strong{must} be used for those time
+signatures and beam durations combinations for which beam ending
+rules are pre-defined, unless these have all been reverted. There
+are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
+4/8, 4/16, 6/8, 9/8 and 12/8.
@i{@strong{Modifying the grouping of beats}}
-If there are no beam-ending rules defined for the time signature
-in use the beaming is controlled by three context properties:
+If there are no beam-ending rules defined for the beam duration of a
+particular beam in the time signature in use, its beaming is
+controlled by three context properties:
@code{measureLength}, @code{beatLength} and @code{beatGrouping}.
These properties may be set in the @code{Score}, @code{Staff} or
-@code{Voice} contexts to delimit their scope.
+@code{Voice} contexts to delimit their scope. The default values
+are set while processing @code{\time} commands, so the @code{\set}
+commands must be placed after all @code{\time} commands.
These determine the beaming as follows:
@end itemize
-By default these properties are derived from the time signature set
-by the @code{\time} command. The @code{measureLength} is, by
-default, exactly the same length as the measure length given by the
-time signature, and the default @code{beatLength} is given by the
-denominator of the time signature.
+@warning{These three properties become effective for a particular
+beam @strong{only} if there are no beam-ending rules predefined for
+that beam's duration in the time signature in use, or if these
+beam-ending rules have all been reverted.}
+
+By default the @code{measureLength} and @code{beatLength} are
+derived from the time signature set by the @code{\time} command.
+The @code{measureLength} is set to be exactly the same length as
+the measure length given by the time signature, and the
+@code{beatLength} is set to be the same as one over the denominator
+of the time signature.
+
+The default value of @code{beatGrouping} is taken from a table in
+@file{scm/@/music@/-functions@/.scm}. To find this, see
+@rlearning{Other sources of information}. It defines the beat
+grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
Both @code{measureLength} and @code{beatLength} are @i{moments},
units of musical duration. A quantity of type @i{moment} is
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{grouping-beats.ly}
-@c TODO Convert to snippet called "Specifying context with beatGrouping"
-
-By specifying the context, the effect of @code{beatGrouping} can be
-limited to the context specified, and values set in higher-level
-contexts overridden:
-
-@lilypond[quote,verbatim]
-\score {
- \new Staff <<
- \time 7/8
- \new Voice {
- \relative c'' {
- \set Staff.beatGrouping = #'(2 3 2)
- a8 a a a a a a
- }
- }
- \new Voice {
- \relative c' {
- \voiceTwo
- \set Voice.beatGrouping = #'(1 3 3)
- f8 f f f f f f
- }
- }
- >>
-}
-@end lilypond
-
-
-@c TODO Send as snippet?
-
-The property @code{measureLength} determines where bar lines
-should be inserted and, with @code{beatLength} and
-@code{beatGrouping}, how automatic beams should be generated
-for time signatures for which no beam end rules are defined.
-
-@lilypond[quote,verbatim,relative=2]
-\time 3/4 % auto beam on 1/4 note groups
-a16 a a a a a a a a a a a a a a a
-\time 12/16 % no defined auto-beaming for this time sig
-a16 a a a a a a a a a a a a a a a
-\time 3/4
-a16 a a a a a a a a a a a a a a a
-\set Score.timeSignatureFraction = #'(12 . 16) %keep 3/4 beaming
- % due to beatLength
-a16 a a a a a a a a a a a a a a a
-\set Score.beatLength = #(ly:make-moment 1 8) %beam on 1/8 notes
-a16 a a a a a a a a a a a a a a a
-\set Score.beatLength = #(ly:make-moment 1 16)
-\set Score.beatGrouping = #'(3 4 2 3) %beam on 3/16, 7/16, 9/16, 12/16
-a16 a a a a a a a a a a a a a a a
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{specifying-context-with-beatgrouping.ly}
-@c End of snippet
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-beatlength-and-beatgrouping.ly}
@funindex subdivideBeams
@strong{@i{Modifying the beam end points}}
-In normal time signatures, automatic beams can start on any note but
-can end at only a few positions within the measure, namely at
+In common time signatures, automatic beams can start on any note
+but can end at only a few positions within the measure, namely at
durations specified by the properties in @code{autoBeamSettings}.
These properties consist of a list of rules defining where beams can
end. The default @code{autoBeamSettings} rules are defined in
-@file{scm/@/auto@/-beam@/.scm}.
+@file{scm/@/auto@/-beam@/.scm}. To find this, see
+@rlearning{Other sources of information}.
-This method @strong{must} be used for the common time signatures,
-and is also particularly suitable for many other time signatures
-if the time signature of the measures changes frequently. Because
-the rules can be written to apply to a specific time signature they
-need to be set up only once with rules for each time signature.
-Attempting to achieve the same result by modifying the beat grouping
-would require the insertion of @code{\set} commands every time the
-time signature changed, unless the default values in that time
-signature were suitable.
+This method @strong{must} be used for the time signatures for which
+beam-ending rules are defined by default, unless these have all
+been reverted. It is also particularly suitable for many other time
+signatures if the time signature of the measures changes frequently,
+or if the beaming should be different for different beam durations.
In order to add a rule to the list, use
<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
@end lilypond
-@c TODO Add example using Score for multiple staves?
-@c Hmm. Not sure it works correctly. Needs more investigation.
-
@warning{If any unexpected beam behavior occurs, check the default
automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
possible interference, because the beam endings defined there will
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{beam-grouping-in-7-8-time.ly}
-@ignore
-
-@c TODO Does this example add anything?
-
-In this
-example, automatic beams can only end on a dotted quarter note
-@example
-#(override-auto-beam-setting '(end * * * *) 3 8)
-#(override-auto-beam-setting '(end * * * *) 1 2)
-#(override-auto-beam-setting '(end * * * *) 7 8)
-@end example
-
-In 4/4 time signature, this means that automatic beams could end only on
-3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
-3/8, has passed within the measure).
-
-@end ignore
-
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{reverting-default-beam-endings.ly}
-
-@predefined
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-endings-in-score-context.ly}
@funindex \autoBeamOff
-@code{\autoBeamOff},
+@funindex autoBeamOff
@funindex \autoBeamOn
+@funindex autoBeamOn
+
+@predefined
+@code{\autoBeamOff},
@code{\autoBeamOn}.
+@endpredefined
+@cindex beam, last in score
+@cindex beam, last in polyphonic voice
+
@knownissues
If a score ends while an automatic beam has not been ended and is
@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@unnumberedsubsubsec Manual beams
@cindex beams, manual
+@cindex manual beams
+
@funindex ]
@funindex [
@end lilypond
+@funindex \noBeam
+@funindex noBeam
+
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
@snippets
-@c TODO Add snippet "Flat flags and beam nibs" when available
-@c Added to LSR 27 Oct 08
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{flat-flags-and-beam-nibs.ly}
@node Feathered beams
@unnumberedsubsubsec Feathered beams
@cindex beams, feathered
+
@funindex \featherDurations
+@funindex featherDurations
+@funindex grow-direction
Feathered beams are used to indicate that a small group of notes
should be played at an increasing (or decreasing) tempo, without
@code{featheredDurations} command which specifies the ratio
between the durations of the first and last notes in the group.
-The square brackets
-show the extent of the beam and the braces show
-which notes are to have their durations modified. Normally
-these would delimit the same group of notes, but this is not
-required: the two commands are independent.
+The square brackets show the extent of the beam and the braces show
+which notes are to have their durations modified. Normally these
+would delimit the same group of notes, but this is not required: the
+two commands are independent.
In the following example the eight 16th notes occupy exactly the
same time as a half note, but the first note is one half as long
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
-
@node Bars
@subsection Bars
@unnumberedsubsubsec Bar lines
@cindex bar lines
-@funindex \bar
@cindex measure lines
@cindex repeat bars
+@funindex \bar
+@funindex bar
+
Bar lines delimit measures, and are also used to indicate
repeats. Normally, simple bar lines are automatically inserted
into the printed output at places based on the current time
counter is not increased. To force a line break see
@ref{Line breaking}.
+@cindex manual bar lines
+@cindex manual measure lines
+@cindex bar lines, manual
+@cindex measure lines, manual
+
This and other special bar lines may be inserted manually at any
-point. When they coincide with the end of a measure they replace
-the simple bar line which would have been inserted there
-automatically. When they do not coincide
-with the end of a measure the specified bar line is inserted at that
-point in the printed output. Such insertions do not affect
-the calculation and placement of subsequent automatic bar lines.
+point. When they coincide with the end of a measure they replace the
+simple bar line which would have been inserted there automatically.
+When they do not coincide with the end of a measure the specified bar
+line is inserted at that point in the printed output. Such insertions
+do not affect the calculation and placement of subsequent automatic
+bar lines.
The simple bar line and five types of double bar line are available
for manual insertion:
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
-@code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
+@code{PianoStaff}, or @code{GrandStaff}.
@lilypond[quote,fragment,verbatim]
<<
@funindex whichBar
@funindex defaultBarType
+@funindex \bar
+@funindex bar
+@funindex bartype
The command @code{\bar }@var{bartype} is a shortcut for
@code{\set Timing.whichBar = }@var{bartype}. A bar line is
@code{"|"}. This may be changed at any time
with @code{\set Timing.defaultBarType = }@var{bartype}.
-@seealso
+@seealso
Notation Reference:
@ref{Line breaking},
@ref{Repeats},
@cindex bar numbers
@cindex measure numbers
+@cindex numbers, bar
+@cindex numbers, measure
+
@funindex currentBarNumber
Bar numbers are typeset by default at the start of every line except
@snippets
-@funindex barNumberVisibility
@cindex bar numbers, regular spacing
+@funindex barNumberVisibility
+
Bar numbers can be typeset at regular intervals instead of just at
the beginning of every line. To do this the default behavior
must be overridden to permit bar numbers to be printed at places
@seealso
-
Snippets:
@rlsr{Rhythms}.
Internals Reference: @rinternals{BarNumber}.
+@cindex bar number collision
+@cindex collision, bar number
+
@knownissues
Bar numbers may collide with the top of the
@unnumberedsubsubsec Bar and bar number checks
@cindex bar check
+@cindex bar number check
+@cindex measure check
+@cindex measure number check
+
@funindex barCheckSynchronize
@funindex |
-Bar checks help detect errors in the entered durations.
-A bar check may be entered using the bar symbol, @code{|},
-at any place where a bar line is expected to fall.
-If bar check lines are encountered at other places,
-a list of warnings is printed in the log file,
-showing the line numbers and lines
-in which the bar checks failed. In the next
-example, the second bar check will signal an error.
+Bar checks help detect errors in the entered durations. A bar check
+may be entered using the bar symbol, @code{|}, at any place where a
+bar line is expected to fall. If bar check lines are encountered at
+other places, a list of warnings is printed in the log file, showing
+the line numbers and lines in which the bar checks failed. In the
+next example, the second bar check will signal an error.
@example
\time 3/4 c2 e4 | g2 |
}
@end lilypond
+@funindex \barNumberCheck
+@funindex barNumberCheck
+
When copying large pieces of music, it can be helpful to check
that the LilyPond bar number corresponds to the original that you
are entering from. This can be checked with
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@cindex rehearsal marks
@cindex mark, rehearsal
+
@funindex \mark
+@funindex mark
To print a rehearsal mark, use the @code{\mark} command
@cindex format, rehearsal mark
@cindex mark, rehearsal, style
@cindex mark, rehearsal, format
+@cindex rehearsal mark, manual
+@cindex mark, rehearsal, manual
+@cindex custom rehearsal mark
The style is defined by the property @code{markFormatter}. It is
a function taking the current mark (an integer) and the current
@cindex segno
@cindex coda
@cindex D.S al Fine
+@cindex fermata
+@cindex music glyphs
+@cindex glyphs, music
+
+@funindex \musicglyph
+@funindex musicglyph
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
For common tweaks to the positioning of rehearsal marks, see
@ref{Formatting text}.
-@seealso
+@seealso
Notation Reference:
@ref{The Feta font},
@ref{Formatting text}.
Internals Reference: @rinternals{RehearsalMark}.
+
@node Special rhythmic concerns
@subsection Special rhythmic concerns
@node Grace notes
@unnumberedsubsubsec Grace notes
-@funindex \grace
@cindex ornaments
@cindex grace notes
@cindex appoggiatura
@cindex acciaccatura
+@funindex \grace
+@funindex grace
+
Grace notes are ornaments that are written out. Grace notes
are printed in a smaller font and take up no logical time
in a measure.
\new Staff { c2 \grace { g8[ b] } c2 } >>
@end lilypond
-@funindex \afterGrace
-
@cindex grace notes, following
+@funindex \afterGrace
+@funindex afterGrace
+
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
notes following the main note.
@seealso
-
Music Glossary:
@rglos{grace notes},
@rglos{acciaccatura},
>>
@end lilypond
-@seealso
+@seealso
Music Glossary:
@rglos{cadenza}.
@seealso
-
This manual: @ref{Bar numbers}, @ref{Unmetered music}
Snippets:
projects / lilypond.git / blobdiff