@node Rhythms
@section Rhythms
-@lilypondfile[ragged-right,line-width=16\cm,staffsize=14,quote]
-{rhythms-headword.ly}
+@lilypondfile[quote]{rhythms-headword.ly}
This section discusses rhythms, rests, durations, beaming and bars.
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, and to return to the
-default behaviour:
+polyphonic situations. To force a particular direction manually,
+see @ref{Controlling direction and placement}.
+
+@predefined
@funindex \dotsUp
@code{\dotsUp},
@seealso
-Music Glossary: @rglos{breve}, @rglos{longa}, @rglos{note value}
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{note value},
@rglos{Duration names notes and rests}.
-Notation Reference: @ref{Automatic beams}, @ref{Ties},
-@ref{Writing rhythms}, @ref{Writing rests}, @ref{Vocal music},
-@ref{Ancient notation}, @ref{Proportional notation}.
+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,Rhythms}
-Internals Reference: @internalsref{Dots},
+Internals Reference:
+@internalsref{Dots},
@internalsref{DotColumn}.
-@refbugs
+@knownissues
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
@cindex triplets
@funindex \times
-Tuplets are made out of a music expression by multiplying all
+Tuplets are made from a music expression by multiplying all the
durations with a fraction:
@example
The duration of @var{musicexpr} will be multiplied by the
fraction. The fraction's denominator will be printed over or
under the notes, optionally with a bracket. The most common
-tuplet is the triplet in which 3 notes have the length of 2, so
+tuplet is the triplet in which 3 notes have the duration of 2, so
the notes are 2/3 of their written length.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-g4 \times 2/3 {c4 c c} d4 d4
+a2 \times 2/3 {b4 b b}
+c4 c \times 2/3 {b4 a g}
+
@end lilypond
-Tuplets may be nested; for example,
+The automatic placement of the tuplet bracket above or below the
+notes may be overridden manually, for details see
+@ref{Controlling direction and placement}.
-@lilypond[fragment,ragged-right,verbatim,relative=2]
-\times 2/3 {
- a4 a
- \times 3/5 { a a a a a }
-}
+Tuplets may be nested:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\autoBeamOff
+c4 \times 4/5 { f8 e f \times 2/3 {e[ f g] } } f4 |
@end lilypond
-@refcommands
+Modifying nested tuplets which begin at the same musical moment
+must be done with @code{\tweak}.
+
+To modify the duration of notes without printing a tuplet bracket,
+see @ref{Scaling durations}.
+
+@predefined
@funindex \tupletUp
@code{\tupletUp},
@code{\tupletNeutral}.
-@commonprop
+@snippets
@cindex tuplet formatting
@cindex triplet formatting
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@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.
-In the next example, there are two triplets shown, while
-@code{\times} was only used once.
-
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
-\set tupletSpannerDuration = #(ly:make-moment 1 4)
-\times 2/3 { c8 c c c c c }
-@end lilypond
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
+@lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
+{entering-several-tuplets-using-only-one--times-command.ly}
@funindex TupletNumber
+@c Sent to VV on 12 Feb - replace with @lilypondfile when available
+@c TODO and delete from here ...
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,
\times 2/3 { c8 c c }
@end lilypond
-@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}.
-
-@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
+@c ... to here
-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
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
-}
-@end lilypond
-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} 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.
+@c Sent to VV on 12 Feb - replace with @lilypondfile when available
+@c TODO and delete from here ...
+This artificial example shows how both manual and automatic line
+breaks may be permitted within a beamed tuplet. Note that such
+off-beat tuplets have to be beamed manually.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak #'text #tuplet-number::calc-fraction-text
-\tweak #'direction #up
-\times 4/3 {
- \tweak #'direction #down
- \times 2/3 { c8[ c8 c8] }
- \override TupletBracket #'direction = #down
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a8
+ \repeat unfold 8 {\times 2/3 { c[ b a]}}
+ % Insert a manual line break within a tuplet
+ \times 2/3 { c[ b \bar "" \break a]}
+ \repeat unfold 2 {\times 2/3 { c[ b a]}}
+ c8
}
-@end lilypond
-
-@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
+\layout {
+ \context {
+ \Voice
+ % Permit line breaks within tuplets
+ \remove "Forbid_line_break_engraver"
+ % Allow beams to be broken at line breaks
+ \override Beam #'breakable = ##t
+ }
}
@end lilypond
-@subheading Compressing music
-
-@cindex compressing music
-@funindex \compressMusic
-
-@code{\compressMusic} works similarly to \times, but does not
-create a tuplet bracket. One application is in polymetric
-notation, as shown in the following example. See
-@ref{Polymetric notation}.
-
-@c not added yet. -gp
-@c @lilypondfile [ragged-right,line-width=16\cm,staffsize=14,quote]
-@c {printing-music-with-different-time-signatures.ly}
-
+@c .. to here
@seealso
-Music Glossary: @rglos{triplet}, @rglos{tuplet},
+Music Glossary:
+@rglos{triplet},
+@rglos{tuplet},
@rglos{polymetric}.
-Notation Reference: @ref{Time administration},
-@ref{Objects connected to the input}, @ref{Polymetric notation}.
+Notation Reference:
+@ref{Time administration},
+@ref{Scaling durations},
+@ref{Objects connected to the input},
+@ref{Polymetric notation}.
Snippets: @lsrdir{Rhythms,Rhythms}.
-Internals Reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
-
+Internals Reference:
+@internalsref{TupletBracket},
+@internalsref{TupletNumber},
+@internalsref{TimeScaledMusic}.
@node 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}).
+@cindex scaling durations
+@cindex durations, scaling
+
+You can alter the duration of single notes, rests or chords by a
+fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
+@code{M} is 1) to the duration.
This will not affect the appearance of the notes or rests
produced, but the altered duration will be used in calculating the
position within the measure and setting the duration in the MIDI
-output. Multiplying factors may be combined
-such as @code{*M*N}.
+output. Multiplying factors may be combined such as @code{*L*M/N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
+% Alter durations to triplets
a4*2/3 gis4*2/3 a4*2/3
-a4 a4 a4*2
+% Normal durations
+a4 a4
+% Double the duration of chord
+<a d>4*2
+% Duration of quarter, appears like sixteeth
b16*4 c4
@end lilypond
The duration of skip or spacing notes may also be modified by
-a multiplier. This is useful for skipping many measures, e.g.,
+a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
+@cindex compressing music
+@funindex \compressMusic
+
+Longer stretches of music may be compressed by a fraction in
+the same way, as if every note, chord or rest had the fraction
+as a multiplier. The general syntax of the command to do this
+is:
+
+@example
+\compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
+@end example
+
+@noindent
+This will leave the appearance of @emph{music} unchanged but
+the internal duration of the notes will be multiplied by the
+fraction @emph{num}/@emph{den}. The spaces around the dot
+are required. Here is an example showing how music can be
+compressed and expanded:
+
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+\time 2/4
+% Normal durations
+<c a>4 c8 a
+% Scale music by *2/3
+\compressMusic #'(2 . 3) {
+ <c a f>4. c8 a f
+}
+% Scale music by *2
+\compressMusic #'(2 . 1) {
+ <c' a>4 c8 b
+}
+@end lilypond
+
+@noindent
+One application of this command is in polymetric
+notation, see @ref{Polymetric notation}.
+
+
@seealso
-Notation Reference: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
+Notation Reference:
+@ref{Tuplets},
+@ref{Skips},
+@ref{Polymetric notation}.
Snippets: @lsrdir{Rhythms,Rhythms}
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
-in effect extends the length of a note.
+in effect extends the duration of a note.
@warning{Ties should not be confused with @emph{slurs}, which
indicate articulation, or @emph{phrasing slurs}, which indicate
@end lilypond
If you need to tie a lot of notes across bar lines, it may be
-easier to use automatic note splitting (see @ref{Automatic note
-splitting}). This mechanism automatically splits long notes, and
+easier to use automatic note splitting, see @ref{Automatic note
+splitting}. This mechanism automatically splits long notes, and
ties them across bar lines.
-@funindex \repeatTie
-@cindex repeating ties
-@cindex volta brackets and ties
+@cindex ties and chords
+@cindex chords and ties
When a tie is applied to a chord, all note heads whose pitches
match are connected. When no note heads match, no ties will be
<c~ e g~ b> <c e g b>
@end lilypond
+@funindex \repeatTie
+@cindex repeating ties
+@cindex ties, repeating
+@cindex volta brackets and ties
+@cindex ties and volta brackets
+
When a second alternative of a repeat starts with a tied note, you
-have to repeat the tie. This can be achieved with
-@code{\repeatTie},
+have to specify the repeated tie as follows:
@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
-\alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
+\alternative {
+ % Following note is tied normally in first alternative
+ { <c e>2. r4 }
+ % Following note has a repeated tie in second alternative
+ {<c e>2\repeatTie d4 c }}
@end lilypond
@cindex laissez vibrer
@cindex ties, laissez vibrer
@funindex \laissezVibrer
-@funindex \tieUp
-@funindex \tieDown
-@funindex \tieNeutral
@notation{L.v.} ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
piano, harp and other string and percussion instruments. They can
-be entered using @code{\laissezVibrer}:
+be entered as follows:
@lilypond[fragment,ragged-right,verbatim,relative=1]
<c f g>\laissezVibrer
@end lilypond
-The direction of a tie can be specified with @code{\tieUp} or
-@code{\tieDown} (see example below). @code{\tieNeutral} reverts
-to the default behaviour again.
-
-However, as with other music elements of this kind, there is a
-convenient shorthand for forcing tie directions. By adding
-@code{_} or @code{^} before the tilde, the direction is also set:
-
-@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
-c4_~ c c^~ c)
-@end lilypond
+@cindex ties, placement
+@funindex \tieUp
+@funindex \tieDown
+@funindex \tieNeutral
+The vertical placement of ties may be controlled, see the
+predefined commands. For details, see
+@ref{Controlling direction and placement}.
-@seealso
+@cindex ties, appearance
+@funindex \tieDotted
+@funindex \tieDashed
+@funindex \tieSolid
-Music Glossary: @rglos{tie},
-@c [TODO]add @rglos{laissez vibrer}. when there is a glossary entry.
+Solid, dotted or dashed ties may be specified, see predefined
+commands.
-Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
+@predefined
-Example files:
-@c @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
+@snippets
+@c TODO Remove when snippet available - sent 15 Mar 08
Ties are sometimes used to write out arpeggios. In this case, two
tied notes need not be consecutive. This can be achieved by
setting the @code{tieWaitForNote} property to true. The same
\tieUp c8~ a \tieDown \tieDotted g~ c g2
@end lilypond
+@c end of section to be removed
+
+@c TODO Remove when snippet available - sent 15 Mar 08
Ties may be engraved manually by changing the
@code{tie-configuration} property of the @code{TieColumn} object.
The first number indicates the distance from the center of the
<c e g>~ <c e g> |
@end lilypond
-
-@refcommands
-
-
-@funindex \tieUp
-@code{\tieUp},
-@funindex \tieDown
-@code{\tieDown},
-@funindex \tieNeutral
-@code{\tieNeutral},
-@funindex \tieDotted
-@code{\tieDotted},
-@funindex \tieDashed
-@code{\tieDashed},
-@funindex \tieSolid
-@code{\tieSolid}.
+@c end of section to be removed
@seealso
-
+Music Glossary:
+@rglos{tie},
+@rglos{laissez vibrer}.
Notation Reference: @ref{Automatic note splitting}.
Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{Tie}.
+Internals Reference:
+@internalsref{LaissezVibrerTie}
+@internalsref{LaissezVibrerTieColumn}
+@internalsref{TieColumn}
+@internalsref{Tie}.
-@refbugs
+@knownissues
Switching staves when a tie is active will not produce a slanted
tie.
@subsection Writing rests
@menu
-* Rests::
-* Skips::
-* Full measure rests::
+* Rests::
+* Skips::
+* Full measure rests::
@end menu
@node Rests
Internals Reference: @internalsref{Rest}.
-@refbugs
+@knownissues
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
specified texts.
-@refbugs
+@knownissues
If an attempt is made to use fingerings (e.g.,
@code{R1*10-4}) to put numbers over multi-measure rests, the
\time 2/4 c2 \time 3/4 c2.
@end lilypond
-@commonprop
+@snippets
The symbol that is printed can be customized with the @code{style}
property. Setting it to @code{#'()} uses fraction style for 4/4
Examples: @c @lsr{contemporary,compound-time-signature.ly}.
-@refbugs
+@knownissues
Automatic beaming does not use the measure grouping specified with
@code{set-time-signature}.
translated to mean @qq{there is a quarter note left in the bar.}
-@refbugs
+@knownissues
This command does not take into account grace notes at the start
of the music. When a piece starts with grace notes in the
d4 e d c
@end lilypond
-@refbugs
+@knownissues
LilyPond will only insert line breaks and page breaks at a
bar line. Unless the unmetered music ends before the end of the
@node Polymetric notation
@subsubsection Polymetric notation
+@c TODO Work this example into the main text
+@c @lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
+@c {printing-music-with-different-time-signatures.ly}
+
@cindex double time signatures
@cindex signatures, polymetric
@cindex polymetric signatures
@end lilypond
-@refbugs
+@knownissues
When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.
also remove @internalsref{Forbid_line_break_engraver}.
-@refbugs
+@knownissues
Not all durations (especially those containing tuplets) can be
represented exactly with normal notes and dots, but the engraver
@end lilypond
-@commonprop
+@snippets
Beaming patterns may be altered with the @code{beatGrouping} property,
Internals Reference: @internalsref{Beam}.
-@refbugs
+@knownissues
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
beaming should be switched off with @code{\autoBeamOff}.
-@refcommands
+@predefined
@funindex \autoBeamOff
@code{\autoBeamOff},
@code{\autoBeamOn}.
-@refbugs
+@knownissues
If a score ends while an automatic beam has not been ended and is
still accepting notes, this last beam will not be typeset at all.
@end lilypond
-@commonprop
+@snippets
@node Feathered beams
@subsubsection Feathered beams
The spacing in the printed output represents the
note durations only approximately, but the midi output is exact.
-@refbugs
+@knownissues
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
@end lilypond
-@commonprop
+@snippets
@funindex whichBar
@funindex defaultBarType
@seealso
Notation Reference: @ref{Line breaking}, @ref{Repeats},
-@ref{System start delimiters}.
+@c FIXME: node name changed, but is subject to further changes.
+@c @ref{System start delimiters}.
Snippets: @lsrdir{Rhythms,Rhythms}
@end lilypond
-@commonprop
+@snippets
@funindex barNumberVisibility
@cindex bar numbers, regular spacing
Internals Reference: @internalsref{BarNumber}.
-@refbugs
+@knownissues
Bar numbers may collide with the top of the
@internalsref{StaffGroup} bracket, if there is one. To solve
#"grace"}.
-@commonprop
+@snippets
Grace notes may be forced to use align with regular notes
in other staves by setting @code{strict-grace-spacing} to
Internals Reference: @internalsref{GraceMusic}.
-@refbugs
+@knownissues
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
+
+
+
+
+
+
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