@node Rhythms
@section Rhythms
-@lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
-{rhythms-headword.ly}
+@lilypondfile[quote]{rhythms-headword.ly}
-This section discusses rhythms, durations, and bars.
+This section discusses rhythms, rests, durations, beaming and bars.
@menu
* Writing rhythms::
@end menu
@node Durations
-@unnumberedsubsubsec Durations
+@subsubsection Durations
+
+@cindex durations, of notes
+@cindex note durations
-@cindex duration
@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}.
-@refcommands
+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}.
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:
+polyphonic situations. To force a particular direction manually,
+see @ref{Controlling direction and placement}.
+
+@predefined
@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}.
@seealso
-Notation Reference:
-@itemize
-@item
-For ways of specifying durations for the syllables of lyrics and
-ways of aligning lyrics to notes see @ref{Vocal music}.
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{note value},
+@rglos{Duration names notes and rests}.
-@item
-For a description of how to enter rests see @ref{Writing rests}.
+Notation Reference:
+@ref{Automatic beams},
+@ref{Ties},
+@ref{Writing rhythms},
+@ref{Writing rests},
+@ref{Vocal music},
+@ref{Ancient notation},
+@ref{Proportional notation}.
-@item
-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}.
-
-@item
-Optionally, notes can be spaced proportionately to their duration.
-For details of this and other settings which control proportional
-notation see @ref{Proportional notation}.
-
-@end itemize
-
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{Dots},
+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
-longest and shortest), but the number of glyphs is limited: there
-are flags up to 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 stacked without needing
-extra glyphs, beamed notes can be arbitrarily short.
+@knownissues
+@c Deliberately duplicated in Durations and Rests. -gp
+There is no fundamental limit to rest durations (both in terms of
+longest and shortest), but the number of glyphs is limited:
+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
+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
-@funindex tupletNumberFormatFunction
@cindex tuplet formatting
+@cindex triplet 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.
+@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
-@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
+@lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
+{entering-several-tuplets-using-only-one--times-command.ly}
-@noindent
-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 the property is set with @code{\override
-TupletNumber #'text = #tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
+@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,
+@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 ... to here
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak #'text #tuplet-number::calc-fraction-text
-\times 4/3 {
- \tweak #'text #tuplet-number::calc-denominator-text
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
-}
-@end lilypond
-@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.
+@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
-
-Tuplet brackets can be made to run to prefatory matter or the next
-note:
-
-@lilypond[ragged-right,verbatim,quote]
-\new RhythmicStaff {
- \set tupletFullLength = ##t
- \set tupletFullLengthNote = ##t
- \time 2/4
- \times 2/3 { c4 c c }
- \set tupletFullLengthNote = ##f
- \time 4/4
- \times 4/5 { c4 c1 }
- \time 3/4
- c4
+\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
-@refbugs
-
-Tuplets which cross bar lines will prevent a line break at that
-point.
+@c .. to here
@seealso
-@code{\compressMusic} works similarly to \times, but does not
-create a tuplet bracket; see @ref{Polymetric notation}.
-
-FIXME: totally irrelevant link to real-music for
-discussion/demonstration purposes.
+Music Glossary:
+@rglos{triplet},
+@rglos{tuplet},
+@rglos{polymetric}.
-Snippets: @lsrdir{rhythms},
-@lsr{real-music,creating-music-with-scheme.ly}.
+Notation Reference:
+@ref{Time administration},
+@ref{Scaling durations},
+@ref{Objects connected to the input},
+@ref{Polymetric notation}.
-Internals Reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
+Snippets: @lsrdir{Rhythms,Rhythms}.
+Internals Reference:
+@internalsref{TupletBracket},
+@internalsref{TupletNumber},
+@internalsref{TimeScaledMusic}.
@node Scaling durations
-@unnumberedsubsubsec Scaling durations
+@subsubsection Scaling durations
+
+@cindex scaling durations
+@cindex durations, scaling
-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}).
+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
-This manual: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
+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 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
+@cindex laissez vibrer
+@cindex ties, laissez vibrer
+@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
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:
+@cindex ties, placement
+@funindex \tieUp
+@funindex \tieDown
+@funindex \tieNeutral
-@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
-c4_~ c c^~ c)
-@end lilypond
+The vertical placement of ties may be controlled, see the
+predefined commands. For details, see
+@ref{Controlling direction and placement}.
+@cindex ties, appearance
+@funindex \tieDotted
+@funindex \tieDashed
+@funindex \tieSolid
-@seealso
+Solid, dotted or dashed ties may be specified, see predefined
+commands.
-Snippets: @lsrdir{rhythms}
-Internals Reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
+@predefined
-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
+@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}
+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::
-* Multi measure rests::
+* Rests::
+* Skips::
+* Full measure rests::
@end menu
@node Rests
-@unnumberedsubsubsec Rests
-@cindex Rests
+@subsubsection 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}:
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
-Snippets: @lsrdir{rhythms}
+Notation Reference: @ref{Full measure rests}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}.
Internals Reference: @internalsref{Rest}.
-@refbugs
+@knownissues
-@c duplicated in Durations and Rests. -gp
-There is no fundamental limit to note durations (both in terms of
+@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 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 stacked without needing
-extra glyphs, beamed notes can be arbitrarily short.
-
+are rests from 128th to maxima (8 x whole).
@node Skips
-@unnumberedsubsubsec Skips
+@subsubsection Skips
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
+@cindex skip
+@cindex invisible rest
+@cindex space note
@funindex \skip
@funindex s
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, one must
use the @code{\skip} command:
@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
-@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 measures, 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:
+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
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}.
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
-This manual: @ref{Text}, @ref{Text scripts}.
-
-Snippets: @lsrdir{rhythms}
+Notation Reference: @ref{Durations}, @ref{Text},
+@ref{Text markup}, @ref{Text scripts}.
-Internals Reference:
+Snippets: @lsrdir{Rhythms,Rhythms}
-@internalsref{MultiMeasureRest}.
+Internals Reference: @internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
default number, and @internalsref{MultiMeasureRestText} for user
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
@end menu
@node Time signature
-@unnumberedsubsubsec Time signature
+@subsubsection Time signature
-@cindex Time signature
+@cindex time signature
@cindex meter
@funindex \time
\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
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}, which takes three arguments: the number
@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
+@knownissues
Automatic beaming does not use the measure grouping specified with
@code{set-time-signature}.
@node Upbeats
-@unnumberedsubsubsec Upbeats
+@subsubsection Upbeats
@cindex anacrusis
@cindex upbeat
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
@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:
-@refbugs
+@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
+
+@knownissues
LilyPond will only insert line breaks and page breaks at a
bar line. Unless the unmetered music ends before the end of the
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Polymetric notation
-@unnumberedsubsubsec 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
@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
@end lilypond
-@refbugs
+@knownissues
When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.
@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
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
@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
@end lilypond
-@commonprop
+@snippets
Beaming patterns may be altered with the @code{beatGrouping} property,
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}.
-@refbugs
+@knownissues
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
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.
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Manual beams
-@unnumberedsubsubsec Manual beams
+@subsubsection Manual beams
@cindex beams, manual
@end lilypond
-@commonprop
+@snippets
+
+@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
The spacing in the printed output represents the
note durations only approximately, but the midi output is exact.
-@refbugs
+@knownissues
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@end menu
@node Bar lines
-@unnumberedsubsubsec Bar lines
+@subsubsection Bar lines
-@cindex Bar lines
-@cindex Barlines
+@cindex bar lines
@funindex \bar
@cindex measure lines
@cindex repeat bars
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
@end lilypond
-@commonprop
+@snippets
@funindex whichBar
@funindex defaultBarType
@seealso
-Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
+Notation Reference: @ref{Line breaking}, @ref{Repeats},
+@c FIXME: node name changed, but is subject to further changes.
+@c @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 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
@end lilypond
-@commonprop
+@snippets
@funindex barNumberVisibility
@cindex bar numbers, regular spacing
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
\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
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{BarNumber}.
-Examples: @lsrdir{bar number}
-
-@refbugs
+@knownissues
Bar numbers may collide with the top of the
@internalsref{StaffGroup} bracket, if there is one. To solve
@node Bar and bar number checks
-@unnumberedsubsubsec Bar and bar number checks
+@subsubsection Bar and bar number checks
-@cindex Bar check
+@cindex bar check
@funindex barCheckSynchronize
@funindex |
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 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 =
#"grace"}.
-@commonprop
+@snippets
Grace notes may be forced to use align with regular notes
in other staves by setting @code{strict-grace-spacing} to
@seealso
-Snippets: @lsrdir{rhythms}
+Music Glossary:
+@rglos{grace notes},
+@rglos{acciaccatura},
+@rglos{appoggiatura}
+
+Snippets: @lsrdir{Rhythms,Rhythms}
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
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 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