version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.51"
-
-@ignore
-GDP TODO list
-
-1.2.3.1 Time signature
-Needs an example of beatLength, which is broken (see my recent
-mail
-to -bug). What to do? For now I've left a paragraph of text
-which really
-needs to be inserted with an example in a snippet.
-
-1.2.3.4 Polymetric notation
-Quite extensive changes. Could you please check through. Divided
-into three
-sections. Necessarily uses tweaks. I've also left an @lsr under
-@seealso
-Snippets - is this permitted or is @lsr now verboten? This
-snippet is too
-long to include, but seems relevant.
-A snippet "grouping beats" hasn't yet appeared (only sent to vv a
-couple of
-days ago). Text left in Snippets: with TODO.
-@end ignore
+@c \version "2.12.0"
@node Rhythms
@section Rhythms
@end menu
@node Durations
-@subsubsection Durations
+@unnumberedsubsubsec Durations
@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,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c64
+c4 c8 c16 c32 c64 c128 c128
@end lilypond
@noindent
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 8/1
\autoBeamOff
c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c64
+c4 c8 c16 c32 c64 c128 c128
@end lilypond
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}.
+@cindex duration, default
+@cindex default note duration
+@cindex note duration, default
+
If the duration is omitted, it is set to the previously
entered duration. The default for the first note is a quarter
note.
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+@lilypond[quote,verbatim,relative=2]
a a a2 a a4 a a1 a
@end lilypond
@cindex notes, dotted
@cindex dotted notes
+@cindex notes, double-dotted
+@cindex double-dotted notes
@funindex .
duration. Double-dotted notes are specified by appending two
dots, and so on.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
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}.
+polyphonic situations. Dots may be manually placed above or below
+the staff; see @ref{Direction and placement}.
-@predefined
+@predefined
+@code{\autoBeamOn},
@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}.
Notation Reference:
@ref{Automatic beams},
@ref{Ties},
+@ref{Stems},
@ref{Writing rhythms},
@ref{Writing rests},
@ref{Vocal music},
@node Tuplets
-@subsubsection Tuplets
+@unnumberedsubsubsec Tuplets
@cindex tuplets
@cindex triplets
+
@funindex \times
+@funindex times
Tuplets are made from a music expression by multiplying all the
durations with a fraction:
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]
+@lilypond[quote,verbatim,relative=2]
a2 \times 2/3 { b4 b b }
c4 c \times 2/3 { b4 a g }
@end lilypond
+@cindex tuplet bracket placement
+
@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
-details see @ref{Direction and placement}.
+Tuplet brackets may be manually placed above or below the staff;
+see @ref{Direction and placement}.
Tuplets may be nested:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\autoBeamOff
c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
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]
{entering-several-tuplets-using-only-one--times-command.ly}
+@cindex Tuplet number changes
+
@funindex TupletNumber
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{changing-the-tuplet-number.ly}
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{non-default-tuplet-numbers.ly}
+
@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
+
+@knownissues
When the first note on a staff is a grace note followed by a
tuplet the grace note must be placed before the @code{\times}
command to avoid errors. Anywhere else, grace notes may be
@node Scaling durations
-@subsubsection Scaling durations
+@unnumberedsubsubsec Scaling durations
@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{*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.
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Alter durations to triplets
a4*2/3 gis4*2/3 a4*2/3
@code{s1*23}.
@cindex compressing music
+@cindex expanding 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
required. Here is an example showing how music can be compressed
and expanded:
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+@lilypond[quote,relative=2,verbatim]
\time 2/4
% Normal durations
<c a>4 c8 a
@seealso
-
Notation Reference:
@ref{Tuplets},
@ref{Invisible rests},
@node Ties
-@subsubsection Ties
+@unnumberedsubsubsec Ties
@cindex tie
+
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
musical phrasing. A tie is just a way of extending a note
duration, similar to the augmentation dot.}
-A tie is entered using the tilde symbol @code{~}
+A tie is entered using the tilde symbol (@code{~}).
-@lilypond[quote,ragged-right,fragment,verbatim]
-e'2 ~ e'
+@lilypond[quote,verbatim,relative=2]
+a2 ~ a
@end lilypond
dots cannot be used to denote the rhythm. Ties should also be
used when note values cross larger subdivisions of the measure:
-@lilypond[fragment,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
r8 c8 ~ c2 r4 |
r8^"not" c2 ~ c8 r4
created. Chords may be partially tied by placing the tie inside
the chord.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c e g> ~ <c e g>
<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:
-@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
+@lilypond[quote,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
\alternative {
% First alternative: following note is tied normally
@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
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
<c f g>1\laissezVibrer
@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
+Ties may be manually placed above or below the staff; 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.
+Ties may be made dashed, dotted, or a combination of solid and
+dashed.
+@lilypond[quote, verbatim, relative=1]
+\tieDotted
+c2 ~ c
+\tieDashed
+c2 ~ c
+\tieHalfDashed
+c2 ~ c
+\tieHalfSolid
+c2 ~ c
+\tieSolid
+c2 ~ c
+@end lilypond
-@predefined
+Custom dash patterns can be specified:
+
+@lilypond[quote, verbatim, relative=1]
+\tieDashPattern #0.3 #0.75
+c2 ~ c
+\tieDashPattern #0.7 #1.5
+c2 ~ c
+\tieSolid
+c2 ~ c
+@end lilypond
+
+Dash pattern definitions for ties have the same structure as
+dash pattern definitions for slurs.
+For more information about complex dash patterns,
+see the snippets under @ref{Slurs}.
+@predefined
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
+@code{\tieDashPattern},
+@code{\tieHalfDashed},
+@code{\tieHalfSolid},
@code{\tieSolid}.
+@endpredefined
@snippets
@seealso
-
Music Glossary:
@rglos{tie},
@rglos{laissez vibrer}.
-Notation Reference: @ref{Automatic note splitting}.
+Notation Reference:
+@ref{Slurs},
+@ref{Automatic note splitting}.
Snippets:
@rlsr{Rhythms}.
-
-
@node Writing rests
@subsection Writing rests
@end menu
@node Rests
-@subsubsection 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
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[fragment,quote,ragged-right,verbatim]
+@lilypond[fragment,quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
allows for precise manual formatting of polyphonic music, since the
automatic rest collision formatter will not move these rests.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
@seealso
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
+@rglos{maxima}.
Notation Reference:
@ref{Full measure rests}.
@node Invisible rests
-@subsubsection Invisible rests
+@unnumberedsubsubsec Invisible rests
@cindex skip
@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}:
is used to skip a musical moment. @code{\skip} requires an
explicit duration.
-@lilypond[quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
<<
{
a2 \skip2 a2 a2
\skip 1 \skip1 \skip 1
@end lilypond
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@node Full measure rests
-@subsubsection Full measure rests
+@unnumberedsubsubsec Full measure rests
@cindex multi-measure rests
@cindex full-measure rests
@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
the note name uppercase @code{R}:
-@lilypond[quote,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Rest measures contracted to single measure
\compressFullBarRests
R1*4
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,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
\compressFullBarRests
\time 2/4
R1 | R2 |
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,ragged-right,fragment,verbatim]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
\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
-@lilypond[quote,ragged-right,fragment,verbatim]
+By default a multi-measure rest is expanded in the printed score to
+show all the rest measures explicitly. Alternatively, a multi-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
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
@cindex multi-measure rest, script
@cindex fermata on multi-measure rest
@cindex multi-measure rest, attaching fermata
+@cindex markup on multi-measure rest
+@cindex multi-measure rest with markup
+
+@funindex \fermataMarkup
+@funindex fermataMarkup
+@funindex MultiMeasureRestText
Markups can be added to multi-measure rests.
The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
\compressFullBarRests
\time 3/4
R2.*10^\markup { \italic "ad lib." }
object, or they will be ignored. See the following example.
}
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript #'padding = #5
R1^"wrong"
When a multi-measure rest immediately follows a @code{\partial}
setting, resulting bar-check warnings may not be displayed.
+
+@funindex \textLengthOn
+@funindex textLengthOn
+@funindex \textLengthOff
+@funindex textLenthOff
+@funindex \fermataMarkup
+@funindex fermataMarkup
+@funindex \compressFullBarRests
+@funindex compressFullBarRests
+@funindex \expandFullBarRests
+@funindex expandFullBarRests
+
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
@code{\compressFullBarRests},
@code{\expandFullBarRests}.
+@endpredefined
+
@snippets
@cindex kirchenpausen
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-form-of-multi--measure-rests.ly}
+{changing-form-of-multi-measure-rests.ly}
@cindex multi-measure rests, positioning
@cindex positioning multi-measure rests
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{positioning-multi--measure-rests.ly}
+{positioning-multi-measure-rests.ly}
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{multi--measure-rest-markup.ly}
+{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.,
@end menu
@node Time signature
-@subsubsection Time signature
+@unnumberedsubsubsec Time signature
@cindex time signature
@cindex meter
+
@funindex \time
+@funindex time
The time signature is set as follows:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c2
\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
at the end of a line a warning time signature sign is printed
there. This default behavior may be changed, see
-@c ref{Controlling visibility of objects}.
+@ref{Visibility of objects}.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
c2 c
\break
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:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
% Default style
\time 4/4 c1
\time 2/2 c1
@end lilypond
-Ancient time signatures are covered in
-@ref{Ancient time signatures}.
+Mensural time signatures are covered in
+@ref{Mensural time signatures}.
-@predefined
+@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
+@endpredefined
-@snippets
-
-@c TODO Send as snippet called "setting measure and beat lengths"
-@c when example is added
-@code{\time} 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. The property @code{measureLength} determines where
-bar lines should be inserted and, with @code{beatLength}
-and @code{beatGrouping}, how
-automatic beams should be generated.
-
-@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
-
-
-@c End of snippet
-@cindex measure groupings
-@cindex beats, grouping
-@cindex grouping beats
-@cindex measure sub-grouping
+@snippets
-@c TODO Sent as snippet called "grouping beats" 25 Mar 08
-Options to group beats within a bar are available through the
-Scheme function @code{set-time-signature}, which takes three
-arguments: the number of beats, the beat length, and the internal
-grouping of beats in the measure. If the
-@rinternals{Measure_grouping_engraver} is included, the function
-will also create @rinternals{MeasureGrouping} signs. Such signs
-ease reading rhythmically complex modern music. In the example,
-the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
-@code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
-
-@lilypond[quote,ragged-right,verbatim]
-\score {
- \relative c'' {
- #(set-time-signature 9 8 '(2 2 2 3))
- g8[ g] d[ d] g[ g] a8[( bes g]) |
- #(set-time-signature 5 8 '(3 2))
- a4. g4
- }
- \layout {
- \context {
- \Staff
- \consists "Measure_grouping_engraver"
- }
- }
-}
-@end lilypond
-@c TODO End of snippet called "grouping beats"
+@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}
Notation Reference:
-@ref{Ancient time signatures},
+@ref{Mensural time signatures},
@ref{Time administration}.
Snippets:
@node Upbeats
-@subsubsection Upbeats
+@unnumberedsubsubsec Upbeats
@cindex anacrusis
@cindex upbeat
@cindex measure, partial
@cindex pickup measure
@cindex measure, change length
-@cindex measurePosition
+
+@funindex 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
@example
-\partial @var{duration}
+\partial @var{duration}
@end example
where @code{duration} is the rhythmic length of the interval
before the start of the first complete measure:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\partial 4 e4 |
a2. c,4 |
@end lilypond
The partial measure can be any duration less than a full measure:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\partial 8*3 c8 d e |
a2. c,4 |
@end lilypond
command: i.e., @code{\partial 4} is internally translated to
@code{-4}, meaning @qq{there is a quarter note left in the measure.}
-@seealso
-Music Glossary:
+@seealso
+Music Glossary:
@rglos{anacrusis}.
-Notation Reference:
+Notation Reference:
@ref{Grace notes}.
Snippets:
Internal Reference:
@rinternals{Timing_translator}.
+
@knownissues
The @code{\partial} command is intended to be used only at the
odd warnings may occur.
@node Unmetered music
-@subsubsection 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,
-use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
+use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
to turn them on again.
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
Bar numbering is resumed at the end of the cadenza as if the
cadenza were not there:
-@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+@lilypond[verbatim,relative=2,fragment]
% Show all bar numbers
\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
d4 e d c
@end lilypond
-@predefined
+@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
+@endpredefined
-@seealso
+@seealso
Music Glossary:
@rglos{cadenza}.
Notation Reference:
-@c ref{Controlling visibility of objects}.
+@ref{Visibility of objects}.
Snippets:
@rlsr{Rhythms}.
+
+@cindex cadenza line breaks
+@cindex cadenza page breaks
+@cindex unmetered music, line breaks
+@cindex unmetered music, page breaks
+@cindex breaks in unmetered music
+@cindex line breaks in cadenzas
+@cindex page breaks in cadenzas
+@cindex line breaks in unmetered music
+@cindex page breaks in unmetered music
+
@knownissues
LilyPond will insert line breaks and page breaks only at a
@node Polymetric notation
-@subsubsection 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,ragged-right,verbatim,fragment]
-\relative c' { <<
+@lilypond[quote,verbatim,fragment]
+\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,ragged-right]
+@lilypond[quote,verbatim]
\layout {
\context {
\Score
@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
time signatures.
@node Automatic note splitting
-@subsubsection Automatic note splitting
+@unnumberedsubsubsec Automatic note splitting
@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
@code{Completion_heads_engraver}. In the following
example, notes crossing the bar lines are split and tied.
-@lilypond[quote,fragment,verbatim,relative=1,ragged-right]
+@lilypond[quote,verbatim,relative=1]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
measures are not entirely filled, then the ties show exactly how
much each measure is off.
-@seealso
+@seealso
Music Glossary: @rglos{tie}
Learning Manual:
@knownissues
Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the
+represented exactly with normal notes and dots, but the
@code{Completion_heads_engraver} will not insert tuplets.
The @code{Completion_heads_engraver} only affects notes; it does not
@node Showing melody rhythms
-@subsubsection 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
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
<<
\new RhythmicStaff {
\new Voice = "myRhythm" {
>>
@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}.
-
+
@lilypond[quote,verbatim]
<<
\new ChordNames {
>>
@end lilypond
+
@predefined
@code{\improvisationOn},
@code{\improvisationOff}.
+@endpredefined
-@snippets
-@c TODO -- Convert to snippet;
-@c tag for both Rhythms and Guitar? Move to @seealso?
-
-For guitar music, it is possible to show strum rhythms, along
-with melody notes, chord names, and fret diagrams.
-
-
-@lilypond[quote,verbatim]
-\include "predefined-guitar-fretboards.ly"
-<<
- \new ChordNames {
- \chordmode {
- c1 f g c
- }
- }
-
- \new FretBoards {
- \chordmode {
- c1 f g c
- }
- }
-
- \new Voice \with {
- \consists Pitch_squash_engraver
- } \relative c'' {
- \improvisationOn
- c4 c8 c c4 c8 c
- f4 f8 f f4 f8 f
- g4 g8 g g4 g8 g
- c4 c8 c c4 c8 c
- }
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{guitar-strum-rhythms.ly}
- \new Voice = "melody" {
- \relative c'' {
- \improvisationOff
- c2 e4 e4
- f2. r4
- g2. a4
- e4 c2.
- }
- }
-
- \new Lyrics {
- \lyricsto "melody" {
- This is my song.
- I like to sing.
- }
- }
->>
-@end lilypond
@seealso
-
Snippets:
@rlsr{Rhythms}.
@rinternals{RhythmicStaff},
@rinternals{Pitch_squash_engraver}.
+
@node Beams
@subsection Beams
@end menu
@node Automatic beams
-@subsubsection Automatic beams
+@unnumberedsubsubsec Automatic beams
By default, beams are inserted automatically:
@cindex beams, manual
@cindex manual beams
+@cindex beams, setting rules for
+@cindex beams, custom rules for
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@funindex \autoBeamOn
+@funindex autoBeamOn
+@funindex \autoBeamOff
+@funindex autoBeamOff
+
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c c c
\time 6/8 c c c c8. c16 c8
@end lilypond
If these automatic decisions are not satisfactory, beaming can be
-entered explicitly; see @ref{Manual beams}. It is also possible
-to define beaming patterns that differ from the defaults; see
-@ref{Setting automatic beam behavior}. The default beaming rules
-are defined in @file{scm/@/auto@/-beam@/.scm}.
+entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
+entered manually if beams are to be extended over rests.
-@cindex autoBeamOn
-@cindex autoBeamOff
+If automatic beaming is not required, it may be turned off with
+@code{\autoBeamOff} and on with @code{\autoBeamOn}:
-@noindent
-Automatic beaming may be turned off and on with
-@code{\autoBeamOff} and @code{\autoBeamOn} commands:
-
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
c4 c8 c8. c16 c8. c16 c8
\autoBeamOff
c4 c8 c8. c16 c8.
c16 c8
@end lilypond
-@predefined
-@code{\autoBeamOff},
-@code{\autoBeamOn}.
+@cindex melismata, beams
+@cindex beams and melismata
-@snippets
+@warning{If beams are used to indicate melismata in songs, then
+automatic beaming should be switched off with @code{\autoBeamOff}
+and the beams indicated manually.}
-@c TODO -- convert to snippet
-Beaming patterns may be altered with the @code{beatGrouping} property,
-
-@lilypond[quote,verbatim,relative=2,fragment,ragged-right]
-\time 5/16
-\set beatGrouping = #'(2 3)
-c8[^"(2+3)" c16 c8]
-\set beatGrouping = #'(3 2)
-c8[^"(3+2)" c16 c8]
-@end lilypond
-
-@c TODO convert to snippet
-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 behavior 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
-@funindex subdivideBeams
+Beaming patterns that differ from the automatic defaults may be
+created, see @ref{Setting automatic beam behavior}.
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-@funindex breakable
-@cindex break, line
-@cindex line breaks
+@predefined
+@code{\autoBeamOff},
+@code{\autoBeamOn}.
+@endpredefined
-@c TODO convert to snippet
-Line breaks are normally forbidden when beams cross bar lines.
-This behavior can be changed by setting the @code{breakable}
-property: @code{\override Beam #'breakable = ##t}.
-@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
-\override Beam #'breakable = ##t
-c8 \repeat unfold 15 { c[ c] } c
-@end lilypond
+@snippets
+@cindex line breaks and beams
@cindex beams and line breaks
-@cindex beams, kneed
-@cindex kneed beams
-@cindex auto-knee-gap
-@c TODO convert to snippet
-Kneed beams are inserted automatically when a large gap is
-detected between the note heads. This behavior can be tuned
-through the @code{auto-knee-gap} property. A kneed beam is
-drawn if the gap is larger than the value of
-@code{auto-knee-gap} plus the width of the beam object (which
-depends on the duration of the notes and the slope of the beam).
-By default @code{auto-knee-gap} is set to 5.5 staff spaces.
+@funindex breakable
-@lilypond[fragment,ragged-right,quote,verbatim]
-f8 f''8 f8 f''8
-\override Beam #'auto-knee-gap = #6
-f8 f''8 f8 f''8
-@end lilypond
+@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
-Notation Reference:
-@ref{Manual beams},
+@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}.
@knownissues
-Automatically kneed cross-staff beams cannot be used together with
-hidden staves. See @ref{Hiding staves}.
-
Beams can collide with note heads and accidentals in other voices
@node Setting automatic beam behavior
-@subsubsection Setting automatic beam behavior
+@unnumberedsubsubsec Setting automatic beam behavior
+
+
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
+@cindex automatic beam generation
+@cindex autobeam
+@cindex lyrics and beaming
+@funindex autoBeaming
@funindex autoBeamSettings
@funindex (end * * * *)
@funindex (begin * * * *)
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
+@funindex measureLength
+@funindex beatLength
+@funindex beatGrouping
+@funindex \time
+@funindex time
+@funindex \set
+@funindex set
+
+There are two types of beaming rules: @emph{beam-grouping}
+rules and @emph{beam-ending} rules. Beam-grouping rules are the
+simplest, but are over-ridden by any beam-ending rules which apply.
+
+The placement of automatic beams is determined by applying the
+following rules in order:
+
+@itemize
+
+@item If a manual beam is specified with @code{[..]} set the beam
+as specified, otherwise
+
+@item if @code{\autoBeamOff} is in force do not beam, otherwise
+
+@item if a beam-ending rule applies use it to determine the valid
+places where beams may end, otherwise
+
+@item if a valid (see below) beat-grouping rule applies use it to
+group notes with beams, otherwise
+
+@item use the value of @code{beatLength} to group notes with beams
+
+@end itemize
+
+@i{@strong{Modifying the grouping of beats}}
+
+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. The default values are set while processing
+@code{\time} commands, so any @code{\set} commands to modify their
+value must be placed after all @code{\time} commands.
+
+@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.}
+
+These determine the beaming as follows:
+
+Beams may begin anywhere (unless a beam is already active). Beams
+end at a time determined by the values of @code{beatGrouping} and
+@code{beatLength}, as follows:
+
+@itemize
+
+@item If @code{beatGrouping} and @code{beatLength} are consistent
+with @code{measureLength}, @code{beatGrouping} is used to determine
+the end points of beams.
+
+@item If @code{beatGrouping} and @code{beatLength} are inconsistent
+with @code{measureLength}, @code{beatLength} is used to determine
+the end points of beams.
+
+@end itemize
+
+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.
-@c [TODO: use \applyContext]
+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 3/8, 4/8, 5/8, 8/8, and all the common compound time
+signatures.
-In normal time signatures, automatic beams can start on any note
-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
-can begin and end. The default @code{autoBeamSettings} rules are
-defined in @file{scm/@/auto@/-beam@/.scm}.
+Both @code{measureLength} and @code{beatLength} are @i{moments},
+units of musical duration. A quantity of type @i{moment} is
+created by the scheme function @code{ly:make-moment}. For more
+information about this function, see @ref{Time administration}.
+
+@code{beatGrouping} is a list of integers giving the number of
+beats in each group.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{grouping-beats.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{specifying-context-with-beatgrouping.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-beatlength-and-beatgrouping.ly}
+
+@funindex subdivideBeams
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{sub-dividing-beams.ly}
+
+@cindex measure groupings
+@cindex beats, grouping
+@cindex grouping beats
+@cindex measure sub-grouping
+
+@funindex autoBeamSettings
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{conducting-signs,-measure-grouping-signs.ly}
+
+
+@strong{@i{Modifying the beam end points}}
+
+Beam-ending rules are required when beams of different durations are
+to end at different points within the measure. For example, it may
+be desirable for eighth-note beams in 4/4 time to end only at the
+end of the measure or half-way through it, but for sixteenth-note
+beams to end at quarter note positions to avoid overly long beamed
+runs. The rules work as follows:
+
+Automatic beams can start on any note but can end at only a few
+positions within the measure, namely at positions 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}. To find this file, see
+@rlearning{Other sources of information}.
In order to add a rule to the list, use
+
@example
-#(override-auto-beam-setting
- '(beam-limit beam-numerator beam-denominator
- time-signature-numerator time-signature-denominator)
+#(override-auto-beam-setting
+ '(beam-limit
+ beam-numerator beam-denominator
+ time-signature-numerator time-signature-denominator)
moment-numerator moment-denominator [context])
@end example
+@noindent
+where
+
@itemize
@item @code{beam-limit} is the type of automatic beam limit
-defined, either @code{begin} or @code{end}.
+defined. This can be either @code{begin} or @code{end} but
+only @code{end} is effective.
@item @code{beam-numerator/beam-denominator} is the beam duration
-for which you want to add a rule. A beam is considered to have
-the duration of its shortest note. Set @code{beam-numerator} and
-@code{beam-denominator} to @code{'*'} to
-have this rule apply beams of any duration.
+to which the rule is to apply. A beam is considered to have the
+duration of its shortest note. Set @code{beam-numerator} and
+@code{beam-denominator} to @code{'*'} to have this rule apply to beams
+of any duration.
@item @code{time-signature-numerator/time-signature-denominator}
-is the time signature to which
-this rule should apply. Set @code{time-signature-numerator} and
-@code{time-signature-denominator} to @code{'*'}
-to have this rule apply in any time signature.
+specifies the time signature to which this rule should apply. If
+@code{time-signature-numerator} and @code{time-signature-denominator}
+are set to @code{'*'} this rule will apply in any time signature.
+
+@item @code{moment-numerator/moment-denominator} is the position
+in the bar at which the beam should end.
-@item @code{monent-numerator/moment-denominator} is the position
-in the bar at which the beam should
-begin or end.
+@funindex score-override-auto-beam-setting
+@funindex override-auto-beam-setting
@item @code{context} is optional, and it specifies the context at which
the change should be made. The default is @code{'Voice}.
@end itemize
-TODO -- convert to music example
For example, if automatic beams should always end on the first quarter
-note, use
+note, whatever the time signature or beam duration, use
-@example
+@lilypond[quote,verbatim,relative=2]
+a8 a a a a a a a
#(override-auto-beam-setting '(end * * * *) 1 4)
-@end example
+a8 a a a a a a a
+@end lilypond
-You can force the beam settings to only take effect on beams whose shortest
+You can force the beam settings to take effect only on beams whose shortest
note is a certain duration
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4
% end 1/16 beams for all time signatures at the 1/16 moment
#(override-auto-beam-setting '(end 1 16 * *) 1 16)
a32 a a a a16 a a a a a |
@end lilypond
-You can force the beam settings to only take effect in certain time
+You can force the beam settings to take effect only in certain time
signatures
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 5/8
% end beams of all durations in 5/8 time signature at the 2/8 moment
#(override-auto-beam-setting '(end * * 5 8) 2 8)
c8 c d d d
@end lilypond
-Existing auto-beam rules are removed by using
+When multiple voices are used the @code{Staff} context must be
+specified if the beaming is to be applied to all voices in the
+staff:
+
+@lilypond[quote,verbatim,relative=2]
+\time 7/8
+% rhythm 3-1-1-2
+% Context not specified - does not work correctly
+#(override-auto-beam-setting '(end * * 7 8) 3 8)
+#(override-auto-beam-setting '(end * * 7 8) 4 8)
+#(override-auto-beam-setting '(end * * 7 8) 5 8)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+
+% Works correctly with context specified
+#(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
+#(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
+#(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
+<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+@end lilypond
+
+@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
+still apply in addition to your own.}
+
+@funindex revert-auto-beam-setting
+
+Any unwanted or conflicting default endings must be reverted for
+your time signature(s). Existing default or user-defined
+beam-ending rules are removed by using
@example
-#(revert-auto-beam-setting
- '(beam-limit beam-numerator beam-denominator
- time-signature-numerator time-signature-denominator)
+#(revert-auto-beam-setting
+ '(beam-limit
+ beam-numerator beam-denominator
+ time-signature-numerator time-signature-denominator)
moment-numerator moment-denominator [context])
@end example
@noindent
-@code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
+@code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
@code{time-signature-numerator}, @code{time-signature-denominator},
@code{moment-numerator}, @code{moment-denominator} and @code{context}
-are the same as above. Note that the default auto-beaming rules are
-specified in @file{scm/@/auto@/-beam@/.scm},
-so you can revert rules that you did not explicitly create.
+are the same as above.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 4/4
a16 a a a a a a a a a a a a a a a
% undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
match the original rule. That is, no wildcard expansion is taken into
account.
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 1/4
#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
a16 a a a
a a a a
@end lilypond
+@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-grouping-in-7-8-time.ly}
-@c TODO: old material -- not covered by above stuff, I think.
-If automatic beams should end on every quarter in 5/4 time, specify
-all endings
-@example
-#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
-#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
-#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
-@dots{}
-@end example
-
-The same syntax can be used to specify beam starting points. 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).
-
-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 still apply on top of your own overrides. Any
-unwanted endings in the default vales must be reverted for your time
-signature(s).
-
-For example, to typeset @code{(3 4 3 2)}-beam endings in 12/8, begin
-with
-
-@example
-%%% revert default values in scm/auto-beam.scm regarding 12/8 time
-#(revert-auto-beam-setting '(end * * 12 8) 3 8)
-#(revert-auto-beam-setting '(end * * 12 8) 3 4)
-#(revert-auto-beam-setting '(end * * 12 8) 9 8)
-
-%%% your new values
-#(override-auto-beam-setting '(end 1 8 12 8) 3 8)
-#(override-auto-beam-setting '(end 1 8 12 8) 7 8)
-#(override-auto-beam-setting '(end 1 8 12 8) 10 8)
-@end example
-
-@cindex automatic beam generation
-@cindex autobeam
-@funindex autoBeaming
-@cindex lyrics
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{reverting-default-beam-endings.ly}
-If beams are used to indicate melismata in songs, then automatic
-beaming should be switched off with @code{\autoBeamOff}.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{beam-endings-in-score-context.ly}
+@funindex \autoBeamOff
+@funindex autoBeamOff
+@funindex \autoBeamOn
+@funindex autoBeamOn
@predefined
-
-@funindex \autoBeamOff
@code{\autoBeamOff},
-@funindex \autoBeamOn
@code{\autoBeamOn}.
+@endpredefined
+
+@cindex beam, last in score
+@cindex beam, last in polyphonic voice
@knownissues
@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@node Manual beams
-@subsubsection Manual beams
+@unnumberedsubsubsec Manual beams
@cindex beams, manual
+@cindex manual beams
+
@funindex ]
@funindex [
notes. Such beams can be specified manually by
marking the begin and end point with @code{[} and @code{]}
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
{
r4 r8[ g' a r8] r8 g[ | a] r8
}
@end lilypond
+@funindex \noBeam
+@funindex noBeam
+
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c\noBeam c c
@end lilypond
with only one beam on the left side, i.e., the eighth-note beam of
the group as a whole.
-TODO -- no difference based on stemLeftBeamCount in this example
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-{
- f8[ r16 f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
-}
+@lilypond[quote,relative=2,verbatim]
+a8[ r16 f g a]
+a8[ r16
+\set stemLeftBeamCount = #2
+\set stemRightBeamCount = #1
+f
+\set stemLeftBeamCount = #1
+g a]
@end lilypond
@snippets
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{flat-flags-and-beam-nibs.ly}
+
@node Feathered beams
-@subsubsection Feathered beams
+@unnumberedsubsubsec Feathered beams
@cindex beams, feathered
-@funindex \featherDurations
+@cindex feathered beams
-TODO -- this section relies on overrides. We need to either add
-a predefined, move this to snippets (whole section), or violate
-policy for this section.
+@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{]}, and the beam feathering is turned on by specifying a
direction to the @code{Beam} property @code{grow-direction}.
-If the placement of the notes and the sound in the MIDI output
-is to reflect the ritardando or accelerando indicated by the
-feathered beam the notes must be grouped as a
-music expression delimited by braces and preceded by a
-@code{featheredDurations} command which specifies the ratio
-between the durations of the first and last notes in the group.
+If the placement of the notes and the sound in the MIDI output is to
+reflect the ritardando or accelerando indicated by the feathered beam
+the notes must be grouped as a music expression delimited by braces
+and preceded by a @code{featherDurations} 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.
-
-@c TODO -- eliminate "Talking through code"
+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
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]
+@lilypond[relative=1,verbatim,quote]
\override Beam #'grow-direction = #LEFT
\featherDurations #(ly:make-moment 2 1)
{ c16[ c c c c c c c] }
@noindent
The spacing in the printed output represents the
-note durations only approximately, but the midi output is exact.
-
-@c TODO -- resolve whether or not midi is capitalized -- policy
-@c decision needed
+note durations only approximately, but the MIDI output is exact.
@knownissues
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
@end menu
@node Bar lines
-@subsubsection Bar lines
+@unnumberedsubsubsec Bar lines
@cindex bar lines
-@funindex \bar
@cindex measure lines
+@cindex closing bar lines
+@cindex bar lines, closing
+@cindex double bar lines
+@cindex bar lines, double
@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
other types with the @code{\bar} command. For example, a closing
double bar line is usually placed at the end of a piece:
-@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
+@lilypond[quote,relative=1,verbatim]
e4 d c2 \bar "|."
@end lilypond
-@c TODO -- make this warning more clear. What does it mean?
-@warning{An incorrect duration can lead to poorly formatted
-music.}
-
-@c TODO -- check this. I think this behavior no longer happens
-@c with completion_heads_engraver, but it may with note_heads_engraver
-@c Make an example showing the problem
-
It is not invalid if the final note in a measure does not
end on the automatically entered bar line: the note is assumed
to carry over into the next measure. But if a long sequence
of such carry-over measures appears the music can appear compressed
or even flowing off the page. This is because automatic line
breaks happen only at the end of complete measures, i.e., where
-the end of a note coincides with the end of a measure.
+all notes end before the end of a measure.
+
+@warning{An incorrect duration can cause line breaks to be
+inhibited, leading to a line of highly compressed music or
+music which flows off the page.}
@cindex line breaks
@cindex bar lines, invisible
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.
-
-The simple bar line and four types of double bar line are available
+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.
+
+Two types of simple bar lines and five types of double bar lines are available
for manual insertion:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|." d
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|" f \bar "." g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
@end lilypond
@noindent
together with dotted and dashed bar lines:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[quote,relative=1,verbatim]
f1 \bar ":" g \bar "dashed" a
@end lilypond
@noindent
-and three types of repeat bar line:
+and five types of repeat bar line:
+
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
+@end lilypond
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-f1 \bar "|:" g \bar ":|:" a \bar ":|" b
+Additionally, a bar line can be printed as a simple tick:
+@lilypond[quote,relative=1,verbatim]
+f1 \bar "'"
@end lilypond
+However, as such ticks are typically used in Gregorian chant, it is preferable
+to use @code{\divisioMinima} there instead, described in the section
+@ref{Divisiones} in Gregorian chant.
+
@cindex repeats
line at the end of the line and a start repeat at the beginning of
the next line.
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
\bar "||:"
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,ragged-right,fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\new StaffGroup <<
\new Staff {
@end lilypond
+@cindex default bar lines, changing
+@cindex bar lines, default, changing
+
@snippets
@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
-Notation Reference: @ref{Line breaking}, @ref{Repeats},
-@c FIXME: node name changed, but is subject to further changes.
-@c @ref{System start delimiters}.
+@seealso
+Notation Reference:
+@ref{Line breaking},
+@ref{Repeats},
+@ref{Grouping staves}.
Snippets:
@rlsr{Rhythms}.
@node Bar numbers
-@subsubsection Bar numbers
+@unnumberedsubsubsec Bar numbers
@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
@code{currentBarNumber} property, which is normally updated
automatically for every measure. It may also be set manually:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,fragment,relative=1]
c1 c c c
\break
\set Score.currentBarNumber = #50
c1 c c c
@end lilypond
-
-@snippets
+@cindex bar numbers, regular spacing
@funindex barNumberVisibility
-@cindex bar numbers, regular spacing
+@funindex BarNumber
Bar numbers can be typeset at regular intervals instead of just at
the beginning of every line. To do this the default behavior
line visible}, @code{beginning of line visible}. In the following
example bar numbers are printed at all possible places:
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
+@lilypond[verbatim,quote,relative=1]
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\set Score.currentBarNumber = #11
-\bar "" % Permit first bar number to be printed
-c1 c c c
+% Permit first bar number to be printed
+\bar ""
+c1 | c | c | c
\break
-c c c c
+c1 | c | c | c
@end lilypond
-@c All the rest of these examples will be added to LSR
-@c and moved into the Snippets. -gp
-@noindent
-and here the bar numbers are printed every two measures
-except at the end of the line:
+@snippets
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\override Score.BarNumber #'break-visibility = #'#(#f #t #t)
-\set Score.currentBarNumber = #11
-\bar "" % Permit first bar number to be printed
-% Print a bar number every second measure
-\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
-c1 c c c c
-\break
-c c c c c
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-the-bar-number-for-the-first-measure.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-bar-numbers-at-regular-intervals.ly}
@cindex measure number, format
@cindex bar number, format
-The size of the bar number may be changed. This is illustrated
-in the following example, which also shows how to enclose bar
-numbers in boxes and circles, and shows an alternative way
-of specifying @code{#(#f #t #t)} for @code{break-visibility}.
-
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-% Prevent bar numbers at the end of a line and permit them elsewhere
-\override Score.BarNumber #'break-visibility
- = #end-of-line-invisible
-
-% Increase the size of the bar number by 2
-\override Score.BarNumber #'font-size = #2
-\repeat unfold 3 { c1 } \bar "|"
-
-% Draw a box round the following bar number(s)
-\override Score.BarNumber #'stencil
- = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
-\repeat unfold 3 { c1 } \bar "|"
-
-% Draw a circle round the following bar number(s)
-\override Score.BarNumber #'stencil
- = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
-\repeat unfold 4 { c1 } \bar "|."
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-bar-numbers-inside-boxes-or-circles.ly}
@cindex bar number alignment
-Bar numbers by default are left-aligned to their parent object.
-This is usually the left edge of a line or, if numbers are printed
-within a line, the left bar line of the measure. The numbers may also
-be positioned directly on the bar line or right-aligned to the
-bar line:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{aligning-bar-numbers.ly}
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\set Score.currentBarNumber = #111
-\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
-% Increase the size of the bar number by 2
-\override Score.BarNumber #'font-size = #2
-% Print a bar number every second measure
-\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
-c1 c1
-% Center-align bar numbers
-\override Score.BarNumber #'self-alignment-X = #0
-c1 c1
-% Right-align bar numbers
-\override Score.BarNumber #'self-alignment-X = #-1
-c1 c1
-@end lilypond
-
-Bar numbers can be removed entirely by removing the
-@code{Bar_number_engraver} from the @code{Score} context.
-
-@lilypond[verbatim,ragged-right,quote]
-\layout {
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
-}
-\relative c''{
- c4 c c c \break
- c4 c c c
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{removing-bar-numbers-from-a-score.ly}
@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
this, the @code{padding} property of @rinternals{BarNumber} can
be used to position the number correctly.
-Bar numbers may only be printed at bar lines; to print a bar
-number at the beginning of a piece, an empty bar line must be
-inserted there, and a value other than @code{1} must be placed
-in @code{currentBarNumber}:
-
-@lilypond[verbatim,ragged-right,quote,fragment,relative]
-\set Score.currentBarNumber = #50
-\bar ""
-c1 c c c
-c1 c c c
-\break
-@end lilypond
-
@node Bar and bar number checks
-@subsubsection Bar and bar number checks
+@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 |
line wherever it appears in the input, rather than checking
for end of bar.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,verbatim]
pipeSymbol = \bar "||"
{
c'2 c'2 |
}
@end lilypond
-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
-@code{\barNumberCheck}, for example,
+@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 @code{\barNumberCheck}, for
+example,
@verbatim
\barNumberCheck #123
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-@seealso
+@seealso
Snippets:
@rlsr{Rhythms}.
@node Rehearsal marks
-@subsubsection Rehearsal marks
+@unnumberedsubsubsec Rehearsal marks
@cindex rehearsal marks
@cindex mark, rehearsal
+
@funindex \mark
+@funindex mark
To print a rehearsal mark, use the @code{\mark} command
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
c1 \mark \default
c1 \mark \default
c1 \mark #8
@cindex format, rehearsal mark
@cindex mark, rehearsal, style
@cindex mark, rehearsal, format
+@cindex rehearsal mark, manual
+@cindex mark, rehearsal, manual
+@cindex custom rehearsal mark
+@cindex manual rehearsal mark
The style is defined by the property @code{markFormatter}. It is
a function taking the current mark (an integer) and the current
procedure. After a few measures, it is set to a procedure that
produces a boxed number.
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\set Score.markFormatter = #format-mark-numbers
c1 \mark \default
c1 \mark \default
\set Score.markFormatter = #format-mark-box-numbers
c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-numbers
c1 \mark \default
+\set Score.markFormatter = #format-mark-circle-letters
c1
@end lilypond
@cindex segno
@cindex coda
-@cindex D.S al Fine
+@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}
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
+@lilypond[quote,verbatim,relative=1]
c1 \mark \markup { \musicglyph #"scripts.segno" }
c1 \mark \markup { \musicglyph #"scripts.coda" }
c1 \mark \markup { \musicglyph #"scripts.ufermata" }
For common tweaks to the positioning of rehearsal marks, see
@ref{Formatting text}.
-@seealso
-This manual:
-@ref{The Feta font},
+@seealso
+Notation Reference:
+@ref{The Feta font},
@ref{Formatting text}.
-Installed Files:
+Installed Files:
@file{scm/@/translation@/-functions@/.scm} contains
the definition of @code{format-mark-numbers} and
@code{format-mark-letters}. They can be used as inspiration for
Internals Reference: @rinternals{RehearsalMark}.
-Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
@node Special rhythmic concerns
@subsection Special rhythmic concerns
@end menu
@node Grace notes
-@subsubsection 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
+are printed in a smaller font and take up no logical time
in a measure.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
c4 \grace c16 c4
\grace { c16[ d16] } c2
@end lilypond
-Lilypond also supports two special types of grace notes, the
-@emph{acciaccatura}--an unmeasured grace note indicated by a slurred
-small note with a slashed stem--and the @emph{appoggiatura}, which
-takes a fixed fraction of the main note and appears in small print
-without a slash.
+LilyPond also supports two special types of grace notes, the
+@emph{acciaccatura}--an unmeasured grace note indicated by a slurred
+small note with a slashed stem--and the @emph{appoggiatura}, which
+takes a fixed fraction of the main note and appears in small print
+without a slash.
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-\grace c8 b4
+@lilypond[quote,relative=2,verbatim]
+\grace c8 b4
\acciaccatura d8 c4
\appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
staves. In the following example, there are two sixteenth grace
notes for every eighth grace note
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+@lilypond[quote,relative=2,verbatim]
<< \new Staff { e2 \grace { c16[ d e f] } e2 }
\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.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
c1 \afterGrace d1 { c16[ d] } c1
@end lilypond
This will put the grace notes after a space lasting 3/4 of the
length of the main note. The default fraction 3/4 can be changed by
setting @code{afterGraceFraction}. The following example shows
-the results from setting the space at the default, at 15/16, and
+the results from setting the space at the default, at 15/16, and
finally at 1/2 of the main note.
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+@lilypond[quote,verbatim,relative=2]
<<
\new Staff {
c1 \afterGrace d1 { c16[ d] } c1
specified using spacers. The following example places the grace
note after a space lasting 7/8 of the main note.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
<< { d1^\trill_( }
{ s2 s4. \grace { c16[ d] } } >>
}
@end lilypond
+@cindex tweaking grace notes
+@cindex grace notes, tweaking
+@cindex grace notes, changing layout settings
+
A @code{\grace} music expression will introduce special
typesetting settings, for example, to produce smaller type, and
set directions. Hence, when introducing layout tweaks to
override the special settings, they should be placed inside
the grace expression. The overrides should also be reverted
inside the grace expression. Here, the grace note's default stem
-direction is overriden and then reverted.
+direction is overridden and then reverted.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[quote,verbatim,relative=2]
\new Voice {
\acciaccatura {
\stemDown
@snippets
-The slash through the stem found in @emph{acciaccatura}s can be applied
-in other situations:
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\relative c'' {
- \override Stem #'stroke-style = #"grace"
- c8( d2) e8( f4)
-}
-@end lilypond
-
-The layout of grace expressions can be changed throughout the
-music using the function @code{add-grace-property}. The following
-example undefines the @code{Stem} direction for this grace, so
-that stems do not always point up.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\relative c'' {
- \new Staff {
- #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
- #(remove-grace-property 'Voice 'Stem 'direction)
- \new Voice {
- \acciaccatura { f16 } g4
- \grace { d16[ e] } f4
- \appoggiatura { a,32[ b c d] } e2
- }
- }
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{using-grace-note-slashes-with-normal-heads.ly}
-Another option is to change the variables @code{startGraceMusic},
-@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
-@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
-@code{stopAppoggiaturaMusic}. The default values of these can be
-seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
-them other effects may be obtained.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{tweaking-grace-layout-within-music.ly}
-Grace notes may be forced to align with regular notes
-in other staves:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{redefining-grace-note-global-defaults.ly}
-@lilypond[verbatim,quote,ragged-right]
-\relative c'' {
- <<
- \override Score.SpacingSpanner #'strict-grace-spacing = ##t
- \new Staff {
- c4
- \afterGrace c4 { c16[ c8 c16] }
- c4 r
- }
- \new Staff {
- c16 c c c c c c c c4 r
- }
- >>
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{positioning-grace-notes-with-floating-space.ly}
@seealso
-
Music Glossary:
@rglos{grace notes},
@rglos{acciaccatura},
@knownissues
-A multi-note beamed @emph{acciaccatura} is printed without a slash,
+@cindex acciaccatura, multi-note
+@cindex multi-note acciaccatura
+@cindex grace-note synchronization
+
+A multi-note beamed @i{acciaccatura} is printed without a slash,
and looks exactly the same as a multi-note beamed
-@emph{appoggiatura}.
+@i{appoggiatura}.
+
@c TODO Add link to LSR snippet to add slash when available
Grace note synchronization can also lead to surprises. Staff
synchronized. Take care when you mix staves with grace notes and
staves without, for example,
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" d2. } >>
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" d2. }
+>>
@end lilypond
@noindent
This can be remedied by inserting grace skips of the corresponding
durations in the other staves. For the above example
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-<< \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" \grace s16 d2. } >>
+@lilypond[quote,relative=2,verbatim]
+<<
+ \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" \grace s16 d2. }
+>>
@end lilypond
Grace sections should only be used within sequential music
supported, and might produce crashes or other errors.
@node Aligning to cadenzas
-@subsubsection Aligning to cadenzas
+@unnumberedsubsubsec Aligning to cadenzas
@cindex cadenza
@cindex cadenza, aligning to
In an orchestral context, cadenzas present a special problem: when
constructing a score that includes a measured cadenza or other solo
-passage, all other instruments should skip just as many notes as the
-length of the cadenza, otherwise they will start too soon or too late.
+passage, all other instruments should skip just as many notes as the
+length of the cadenza, otherwise they will start too soon or too late.
One solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a defined piece of music as an argument and generate a
-multi-measure rest or @code{\skip} exactly as long as the piece.
+functions take a defined piece of music as an argument and generate a
+multi-measure rest or @code{\skip} exactly as long as the piece.
-@lilypond[verbatim,ragged-right,quote]
+@lilypond[verbatim,quote]
MyCadenza = \relative c' {
- c4 d8 e f g g4
+ c4 d8 e f g g4
f2 g4 g
}
\new GrandStaff <<
- \new Staff {
- \MyCadenza c'1
+ \new Staff {
+ \MyCadenza c'1
\MyCadenza c'1
}
\new Staff {
>>
@end lilypond
-@seealso
+@seealso
Music Glossary:
@rglos{cadenza}.
@node Time administration
-@subsubsection Time administration
+@unnumberedsubsubsec Time administration
@cindex time administration
@cindex timing (within the score)
advanced by 1/8 to 5/8, shortening that bar by 1/8.
The next bar line then falls at 9/8 rather than 5/4.
-@lilypond[quote,ragged-right,verbatim,relative,fragment]
+@lilypond[quote,verbatim,relative=1]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
@seealso
-
This manual: @ref{Bar numbers}, @ref{Unmetered music}
Snippets: