version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@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::
* Durations::
* Tuplets::
* Scaling durations::
+* Ties::
@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.
+@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
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
@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
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\time 8/1
\autoBeamOff
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 (@samp{.}) 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}.
-@refcommands
+For ways of specifying durations for the syllables of lyrics and
+ways of aligning lyrics to notes, see @ref{Vocal music}.
-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
+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}.
@funindex \dotsUp
-@code{\dotsUp},
@funindex \dotsDown
-@code{\dotsDown},
@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{Controlling direction and placement}.
+
+@predefined
+
+@code{\autoBeamOff},
+@code{\dotsUp},
+@code{\dotsDown},
@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
-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}.
+
+Notation Reference:
+@ref{Automatic beams},
+@ref{Ties},
+@ref{Writing rhythms},
+@ref{Writing rests},
+@ref{Vocal music},
+@ref{Ancient notation},
+@ref{Proportional notation}.
-For a description of how to enter rests see @ref{Writing rests}
+Snippets:
+@rlsr{Rhythms}.
-A note with the duration of a quadruple breve may be
-entered with \maxima, but this is supported only within
-ancient music notation. See @ref{Ancient notation}
+Internals Reference:
+@rinternals{Dots},
+@rinternals{DotColumn}.
-Optionally, notes can be spaced proportionately to their duration.
-For details of this and other settings which control
-proportional notation see @ref{Proportional notation}.
-Program reference: @internalsref{Dots}, and
-@internalsref{DotColumn}.
+@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
-durations with a fraction
+Tuplets are made from a music expression by multiplying all the
+durations with a fraction:
@example
-\times @var{fraction} @var{musicexpr}
+\times @var{fraction} @{ @var{music} @}
@end example
@noindent
-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
+The duration of @var{music} 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 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,
+@funindex \tupletUp
+@funindex \tupletDown
+@funindex \tupletNeutral
-@lilypond[fragment,ragged-right,verbatim,relative=2]
-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
-\times 4/6 {
- a4 a
- \times 3/5 { a a a a a }
-}
+The automatic placement of the tuplet bracket above or below the
+notes may be overridden manually with predefined commands, for
+details see @ref{Controlling direction and placement}.
+
+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},
-@funindex \tupletDown
@code{\tupletDown},
-@funindex \tupletNeutral
@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
-
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
-\set tupletSpannerDuration = #(ly:make-moment 1 4)
-\times 2/3 { c8 c c c c c }
-@end lilypond
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
+@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
-The format of the number is determined by the property @code{text}
-in @code{TupletNumber}. The default prints only the denominator,
-but if it is set to the function
-@code{tuplet-number::calc-fraction-text}, @var{num}:@var{den} will
-be printed instead.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{entering-several-tuplets-using-only-one--times-command.ly}
-To avoid printing tuplet numbers, use
+@funindex TupletNumber
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
-\times 2/3 { c8 c c } \times 2/3 { c8 c c }
-\override TupletNumber #'transparent = ##t
-\times 2/3 { c8 c c } \times 2/3 { c8 c c }
-@end lilypond
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{changing-the-tuplet-number.ly}
-Use the @code{\tweak} function to override nested tuplets
-beginning at the same music moment. In this 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.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{permitting-line-breaks-within-beamed-tuplets.ly}
-@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
+@seealso
-Here @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 this
-pair of @code{\tweak} functions affects only the outer tuplet and
-the first of the three inner tuplets because only those two
-tuplets begin at the same music moment. We use @code{\override}
-in the usual way to position the @code{TupletBrackets} of the
-second and third of the inner tuplets below the staff.
+Music Glossary:
+@rglos{triplet},
+@rglos{tuplet},
+@rglos{polymetric}.
-@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] }
-}
-@end lilypond
+Learning Manual: @rlearning{Tweaking methods}.
-Tuplet brackets can be made to run to prefatory matter or the next
-note
+Notation Reference:
+@ref{Time administration},
+@ref{Scaling durations},
+@ref{Objects connected to the input},
+@ref{Polymetric notation}.
-@lilypond[ragged-right]
-\new RhythmicStaff {
- \set tupletFullLength = ##t
- \time 4/4
- \times 4/5 {
- c4 c1
- }
- \set tupletFullLengthNote = ##t
- \time 2/4
- \times 2/3 {
- c4 c c
- }
- \time 3/4
- c4
-}
-@end lilypond
+Snippets:
+@rlsr{Rhythms}.
-Tuplets which cross barlines will prevent a line break at that
-point.
+Internals Reference:
+@rinternals{TupletBracket},
+@rinternals{TupletNumber},
+@rinternals{TimeScaledMusic}.
-@seealso
+@knownissues
+@cindex grace notes within tuplet brackets
+When the very 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
+placed within tuplet brackets.
-Program reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
+@node Scaling durations
+@subsubsection Scaling durations
+@cindex scaling durations
+@cindex durations, scaling
-@node Scaling durations
-@unnumberedsubsubsec Scaling durations
+TODO Change \compressMusic to \scaleDurations when implemented.
-You can alter the length of a duration by a fraction @var{N/M}
-by appending @samp{*@var{N/M}} (or @samp{*@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 bar and setting the duration in the MIDI
-output. Multiplying factors may be combined
-such as @samp{*M*N}.
+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]
\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 sixteenth
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 bars, e.g.,
-@samp{s1*23}.
+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}.
+Notation Reference:
+@ref{Tuplets},
+@ref{Skips},
+@ref{Polymetric notation}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+
+@node Ties
+@subsubsection Ties
+
+@cindex tie
+@funindex ~
+
+A tie connects two adjacent note heads of the same pitch. The tie
+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
+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{~}
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+e' ~ e'
+@end lilypond
+
+
+@noindent
+Ties are used either when the note crosses a bar line, or when
+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]
+\relative c' {
+ r8 c8 ~ c2 r4 |
+ r8^"not" c2 ~ c8 r4
+}
+@end lilypond
+
+If you need to tie many 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
+ties them across bar lines.
+
+@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
+created. Chords may be partially tied by placing the tie inside
+the chord.
+
+@lilypond[quote,ragged-right,fragment,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
+
+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]
+\repeat volta 2 { c g <c e>2 ~ }
+\alternative {
+ % First alternative: following note is tied normally
+ { <c e>2. r4 }
+ % Second alternative: following note has a repeated tie
+ { <c e>2\repeatTie d4 c } }
+@end lilypond
+
+@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 as follows:
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+<c f g>\laissezVibrer
+@end lilypond
+
+@cindex ties, placement
+@funindex \tieUp
+@funindex \tieDown
+@funindex \tieNeutral
+
+The vertical placement of ties may be controlled, see
+Predefined commands, or for details, see
+@ref{Controlling direction and placement}.
+
+@cindex ties, appearance
+@funindex \tieDotted
+@funindex \tieDashed
+@funindex \tieSolid
+
+Solid, dotted or dashed ties may be specified, see Predefined
+commands.
+
+
+@predefined
+
+@code{\tieUp},
+@code{\tieDown},
+@code{\tieNeutral},
+@code{\tieDotted},
+@code{\tieDashed},
+@code{\tieSolid}.
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{using-ties-with-arpeggios.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{engraving-ties-manually.ly}
+
+
+@seealso
+
+Music Glossary:
+@rglos{tie},
+@rglos{laissez vibrer}.
+
+Notation Reference: @ref{Automatic note splitting}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{LaissezVibrerTie},
+@rinternals{LaissezVibrerTieColumn},
+@rinternals{TieColumn},
+@rinternals{Tie}.
+
+
+@knownissues
+
+Switching staves when a tie is active will not produce a slanted
+tie.
+
+Changing clefs or octavations during a tie is not really
+well-defined. In these cases, a slur may be preferable.
+
@menu
* Rests::
* Skips::
-* Multi measure rests::
+* 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}
+Rests are entered like notes with the note name @code{r};
+longer rests with the predefined commands shown:
-@c \time 16/1 is used to avoid spurious barlines
-@c and long tracts of empty bars
+@c \time 16/1 is used to avoid spurious bar lines
+@c and long tracts of empty measures
@lilypond[fragment,quote,ragged-right,verbatim]
\new Staff {
+ % These two lines are just to prettify this example
\time 16/1
\override Staff.TimeSignature #'stencil = ##f
+ % Print a maxima rest, equal to four breves
r\maxima
- r\longa r\breve r1 r2
- r4 r8 r16 r32 r64
+ % Print a longa rest, equal to two breves
+ r\longa
+ % Print a breve rest
+ r\breve
+ r1 r2 r4 r8 r16 r32 r64
}
@end lilypond
-Whole bar rests, centered in middle of the bar, must be entered as
-multi-measure rests. They can be used for a single bar as well as
-many bars, and are discussed in @ref{Multi measure rests}.
+Whole measure rests, centered in the 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{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
-where the note would appear,
+where the note would appear. This allows for precise manual
+formatting of polyphonic music, since the automatic rest collision
+formatter will leave these rests alone.
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
-@noindent
-This makes manual formatting of polyphonic music much easier,
-since the automatic rest collision formatter will leave these
-rests alone.
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{rest-styles.ly}
+
@seealso
-Program reference: @internalsref{Rest}.
+Notation Reference: @ref{Full measure rests}
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference: @rinternals{Rest}
+@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: there
+are rests from 128th to maxima (8 x whole).
+
@node Skips
-@unnumberedsubsubsec Skips
+@subsubsection Skips
+
+@cindex skip
+@cindex invisible rest
+@cindex rest, invisible
+@cindex spacer note
-@cindex Skip
-@cindex Invisible rest
-@cindex Space note
@funindex \skip
@funindex s
-An invisible rest (also called a @q{skip}) can be entered like a
-note with note name @samp{s} or with @code{\skip @var{duration}}
+An invisible rest (also called a @q{skip rest}) can be entered like a
+note with note name @code{s} or with the predefined skip command
+followed by the required duration, as shown here:
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-a4 a4 s4 a4 \skip 1 a4
+% Skip the third beat in the first measure
+a4 a4 s4 a4
+% Use skip command to skip a whole note (measure)
+\skip 1
+a2 a2
@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, you should
-use the @code{\skip} command
+In other situations, for example, when entering lyrics, one must
+use the predefined skip command:
@lilypond[quote,ragged-right,verbatim,relative=2]
<<
>>
@end lilypond
-The skip command is merely an empty musical placeholder. It does
-not produce any output, not even transparent output.
-
-The @code{s} skip command does create @internalsref{Staff} and
-@internalsref{Voice} when necessary, similar to note and rest
-commands. For example, the following results in an empty staff.
+The @code{s} skip rest implicitly causes @code{Staff} and
+@code{Voice} contexts to be created if none exist, just
+like notes and rests do. These in turn cause a staff with default
+clef and time signature to be printed, with bar lines if necessary.
+For example, the following results in a complete staff with three
+short empty measures:
-@lilypond[quote,ragged-right,verbatim]
-{ s4 }
+@lilypond[quote,verbatim,fragment,ragged-right]
+{ s1 s s }
@end lilypond
-The fragment @code{@{ \skip 4 @} } would produce an empty page.
+However, the predefined skip command behaves differently: it is
+merely an empty musical placeholder. It does not create any
+contexts and does not cause anything to be printed, not even
+transparently. On its own it does not even print an
+empty page:
+
+@example
+% This is valid input, but does nothing
+@{ \skip 1 @}
+@end example
@seealso
-Program reference: @internalsref{SkipMusic}.
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference: @rinternals{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 multi-measure rests
+@cindex full-measure rests
+@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 bars, 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:
+Rests for one or more full measures are entered like notes with
+the note name uppercase @code{R}:
@lilypond[quote,fragment,verbatim,relative=2]
-\set Score.skipBars = ##t
+% Rest bars contracted to single bar
+\compressFullBarRests
R1*4
R1*24
R1*4
b2^"Tutti" b4 a4
@end lilypond
-A multi-measure rest can be expanded in the printed score
-to show all the rest bars explicitly, or, as above, it can be
-condensed to a single bar
-containing a multi-measure rest symbol, with the number of
-bars of rest printed above the bar. This expansion
-is controlled by the property @code{Score.skipBars}. If this is
-set to true, empty measures will condensed to a single bar.
+@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 or (as in the example
+above) it can be contracted to a single measure containing a
+multi-measure rest symbol, with the number of measures of rest
+printed above the measure:
@lilypond[quote,ragged-right,fragment,verbatim]
-\time 4/4 r1 | R1 | R1*2 |
-\time 2/4 R2 |
+% Default behavior
+\time 3/4 r2. | R2.*2 |
+\time 2/4 R2 |
\time 4/4
-\set Score.skipBars = ##t
-R1*17 | R1*4 |
+% Rest measures contracted to single measure
+\compressFullBarRests
+r1 | R1*17 | R1*4 |
+% Rest measures expanded
+\expandFullBarRests
+\time 3/4
+R2.*2 |
@end lilypond
-The @code{1} in @code{R1} is similar to the duration notation
-used for notes and is the length of a bar in 2/2 or 4/4 time.
+The @code{1} in @code{R1} is similar to the duration notation
+used for notes and is the length of a measure in 2/2 or 4/4 time.
The duration in a multi-measure rest must always be an integral
-number of bar-lengths, so in other time signatures augmentation
+number of measure-lengths, so in other time signatures augmentation
dots or fractions must be used:
@lilypond[quote,ragged-right,fragment,verbatim]
-\set Score.skipBars = ##t
+\compressFullBarRests
\time 3/4
R2. | R2.*2
\time 13/8
R1*13/8 | R1*13/8*12 |
-\time 10/8
+\time 10/8
R4*5*4 |
@end lilypond
or breve rest, centered in the measure, regardless of the time
signature.
-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
-prints a simple line otherwise. This default number of 10
-may be changed by overriding
-@code{MultiMeasureRest.expand-limit}.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\set Score.skipBars = ##t
-R1*2 | R1*5 | R1*9
-\override MultiMeasureRest #'expand-limit = 3
-R1*2 | R1*5 | R1*9
-@end lilypond
-
-Note that the vertical position on the staff of the multi-measure
-rest symbol of either form cannot be changed.
@cindex text on multi-measure rest
+@cindex multi-measure rest, attaching text
@cindex script on multi-measure rest
+@cindex multi-measure rest, script
@cindex fermata on multi-measure rest
+@cindex multi-measure rest, attaching fermata
Text can be added to multi-measure rests by using the
-@var{note}-@code{markup} syntax @ref{Text markup}. A variable
-(@code{\fermataMarkup}) is provided for adding fermatas
+@var{note} - @code{\markup} syntax described in
+@ref{Formatting text}. The predefined command @code{\fermataMarkup}
+is provided for adding fermatas.
@lilypond[quote,ragged-right,verbatim,fragment]
-\set Score.skipBars = ##t
+\compressFullBarRests
\time 3/4
R2.*10^\markup { \italic "ad lib." }
R2.^\fermataMarkup
@end lilypond
-@warning{Text attached to a multi-measure rest is created
+@warning{Text attached to a multi-measure rest is created
by @code{MultiMeasureRestText}, not
@code{TextScript}. Overrides must be directed to the correct
object, or they will be ignored. See the following example.}
@lilypond[quote,ragged-right,verbatim,fragment]
+% This fails, as the wrong object name is specified
\override TextScript #'padding = #5
-R1^"low"
+R1^"wrong"
+% This is correct and works
\override MultiMeasureRestText #'padding = #5
-R1^"high"
+R1^"right"
@end lilypond
-Text attached to a multi-measure rest will be centered above
-(or below) it. Long text attached in this way does not cause
-the bar to expand, and may collide with text in adjacent bars.
-Long text is better attached to a zero-length skip note preceding
-the rest, preceded by @code{\fatText}, since this will cause the
-bar to expand to accommodate the length of the text:
+Text attached to a multi-measure rest will be centered above or
+below it. Long text attached in this way does not cause the
+measure to expand, and may collide with text in adjacent measures.
+This behavior may be changed with the predefined command
+@code{\textLengthOn}, which will cause following bars to expand
+as necessary to accommodate text. @code{\textLengthOff} returns
+to the default behavior. To left-align text within a bar attach
+it to a zero-length skip note preceding the rest.
-@lilypond[quote,ragged-right,verbatim,fragment]
-\set Score.skipBars = ##t
-\fatText
-s1*0^\markup {[MAJOR GENERAL]}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\compressFullBarRests
+\textLengthOn
+s1*0^\markup { [MAJOR GENERAL] }
R1*19
-s1*0^\markup {[MABEL] }
-s1*0_\markup {\italic {Cue: ... it is yours}}
+s1*0^\markup { [MABEL] }
+s1*0_\markup { \italic { Cue: ... it is yours } }
R1*30
-s1^\markup {CHORUS} % Chorus notes would go here
+\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 measure, and placed
+above the measure count numeral, but if the measure 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 measure the measure length is determined by
+the longer text, and the shorter text is then clearly
+left-aligned, as shown in the second measure above. If the shorter
+text of two marks is short enough to fit it will be placed
+alongside and to the left of the measure count numeral.
+
+@predefined
+@code{\textLengthOn},
+@code{\textLengthOff},
+@code{\fermataMarkup},
+@code{\compressFullBarRests},
+@code{\expandFullBarRests}.
+
+@snippets
+
+@cindex church rest
+@cindex rest, church
+@cindex kirchenpausen
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{changing-form-of-multi--measure-rests.ly}
+
+@cindex multi-measure rests, positioning
+@cindex positioning multi-measure rests
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{positioning-multi--measure-rests.ly}
@seealso
-This manual: @ref{Text}
+Music Glossary:
+@rglos{multi-measure rest},
+@rglos{church rests}.
-Program reference:
+Notation Reference:
+@ref{Durations},
+@ref{Text},
+@ref{Formatting text},
+@ref{Text scripts}.
-@internalsref{MultiMeasureRest}.
+Snippets:
+@rlsr{Rhythms}.
-The layout object @internalsref{MultiMeasureRestNumber} is for the
-default number, and @internalsref{MultiMeasureRestText} for user
-specified texts.
+Internals Reference:
+@rinternals{MultiMeasureRest},
+@rinternals{MultiMeasureRestNumber},
+@rinternals{MultiMeasureRestText}.
-@refbugs
+@knownissues
-If an attempt is made to use fingerings (e.g.,
+If an attempt is made to use fingerings (e.g.,
@code{R1*10-4}) to put numbers over multi-measure rests, the
-fingering numeral (4) may collide with the bar counter
-numeral (10).
+fingering numeral (4) may collide with the bar counter
+numeral (10).
@cindex condensing rests
+@cindex rests, condensing ordinary
+
+There is no way to automatically condense multiple ordinary rests
+into a single multi-measure rest.
+
+@cindex rests, collisions of
-There is no way to automatically condense multiple rests into a
-single multi-measure rest. Multi-measure rests do not take part
-in rest collisions.
+Multi-measure rests do not take part in rest collisions.
Be careful when entering multi-measure rests followed by whole
notes. The following will enter two notes lasting four measures
-each
+each:
@example
R1*4 cis cis
* Unmetered music::
* Polymetric notation::
* Automatic note splitting::
-* Setting automatic beam behavior::
+* Showing melody rhythms::
@end menu
@node Time signature
-@unnumberedsubsubsec Time signature
+@subsubsection Time signature
-@cindex Time signature
+@cindex time signature
@cindex meter
@funindex \time
-Time signature indicates the meter of a piece: a regular pattern
-of strong and weak beats. It is denoted by a fraction at the
-start of the staff.
-
-The time signature is set with the @code{\time} command
+The time signature is set as follows:
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\time 2/4 c2 \time 3/4 c2.
+\time 2/4 c2
+\time 3/4 c2.
@end lilypond
-@commonprop
+@cindex Time signature, visibility of
-The symbol that is printed can be customized with the @code{style}
-property. Setting it to @code{#'()} uses fraction style for 4/4
-and 2/2 time,
+Time signatures by default are printed at the start of every line
+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
+@ref{Controlling visibility of objects}.
+
+@funindex \numericTimeSignature
+@funindex \defaultTimeSignature
+@cindex time signature style
+
+The symbol that is printed in 2/2 and 4/4 time can be customized
+to use a numeric style:
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+% Default style
\time 4/4 c1
\time 2/2 c1
-\override Staff.TimeSignature #'style = #'()
+% Change to numeric style
+\numericTimeSignature
\time 4/4 c1
\time 2/2 c1
-@end lilypond
-
-A time signature is normally printed whenever the time signature
-changes. If this takes place at the end of a line a warning time
-signature sign is printed at the end of the line and again at the
-start of a new line. This default behaviour can be modified by
-setting the value of the @code{break-visibility} property. This
-takes three values which may be set to @code{#t} or @code{#f} to
-specify whether the corresponding time signature is visible or not.
-The order of the three values is @code{end of line visible},
-@code{middle of line visible}, @code{beginning of line visible}.
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-% Do not print any time signatures at end of line
-\override Staff.TimeSignature #'break-visibility = ##(#f #t #t)
+% Revert to default style
+\defaultTimeSignature
\time 4/4 c1
-\time 3/4 c2.
-% Do not print the following 9/8 time signature
-\once \override Staff.TimeSignature #'break-visibility = ##(#t #f #t)
-\time 9/8 c4. c c
\time 2/2 c1
-\break
-\time 9/8 c4. c c
-\time 12/8 c2. c2.
@end lilypond
-There are many more options for its layout. See @ref{Ancient time
-signatures}, for more examples.
-@code{\time} sets the property @code{timeSignatureFraction},
-@code{beatLength} and @code{measureLength} in the @code{Timing}
-context, which is normally aliased to @internalsref{Score}. The
-property @code{measureLength} determines where barlines should be
-inserted, and how automatic beams should be generated. Changing
-the value of @code{timeSignatureFraction} also causes the symbol
-to be printed.
+Ancient time signatures are covered in
+@ref{Ancient time signatures}.
-@cindex Measure groupings
-
-More options are available through the Scheme function
-@code{set-time-signature}. In combination with the
-@internalsref{Measure_grouping_engraver}, it will create
-@internalsref{MeasureGrouping} signs. Such signs ease reading
-rhythmically complex modern music. In the following 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)}
+@predefined
+
+@code{\numericTimeSignature},
+@code{\defaultTimeSignature}.
+
+@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}, how
+automatic beams should be generated.
+
+TODO Add example of using beatLength.
+@c beatLength is broken - see bug 511
+
+@c End of snippet
+
+@cindex measure groupings
+@cindex beats, grouping
+@cindex grouping beats
+@cindex measure sub-grouping
+
+@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 {
}
}
@end lilypond
+@c TODO End of snippet called "grouping beats"
+
+@cindex compound time signatures
+@cindex time signature, compound
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{compound-time-signatures.ly}
@seealso
-Program reference: @internalsref{TimeSignature}, and
-@internalsref{Timing_translator}.
+Music Glossary:
+@rglos{time signature}
-Examples: @lsr{contemporary,compound-time-signature.ly}.
+Notation Reference:
+@ruser{Ancient time signatures},
+@ruser{Time administration}.
+Snippets:
+@rlsr{Rhythms}.
-@refbugs
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing_translator}.
+
+
+@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
@cindex partial measure
@cindex measure, partial
-@cindex shorten measures
+@cindex pickup measure
+@cindex measure, change length
+@cindex measurePosition
@funindex \partial
-Partial measures, such as an anacrusis or upbeat, are entered
-using the
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\partial 16*5 c16 cis d dis e | a2. c,4 | b2
-@end lilypond
-
-The syntax for this command is
+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} @emph{notes}
@end example
-where @code{duration} is the rhythmic length to be added before
-the next bar.
+where @code{duration} is the rhythmic length of the @emph{notes}
+which are to be placed before the first complete measure:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\partial 16*5 c16 cis d dis e |
+a2. c,4 |
+b2
+@end lilypond
-This is internally translated into
+Internally, this is translated into
@example
-\set Timing.measurePosition = -@var{length of duration}
+\set Timing.measurePosition = -@var{duration}
@end example
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point. Note
-that this is a negative number; @code{\partial 4} is internally
-translated to mean @qq{there is a quarter note left in the bar.}
+that this is set to a negative number by the @code{\partial}
+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: @rglos{anacrusis}
+
+Notation Reference: @ref{Grace notes}
+Snippets:
+@rlsr{Rhythms}.
-@refbugs
+Internal Reference: @rinternals{Timing_translator}
+
+@knownissues
+
+@cindex grace notes, in anacruses
This command does not take into account grace notes at the start
-of the music. When a piece starts with graces notes in the
-pickup, then the @code{\partial} should follow the grace notes
+of the music. If the pick-up starts with one or more grace
+notes, then the @code{\partial} should follow the grace note(s):
@lilypond[verbatim,quote,ragged-right,relative,fragment]
\grace f16
a2 g2
@end lilypond
-@code{\partial} is only intended to be used at the beginning of a
-piece. If you use it after the beginning, some odd warnings may
-occur.
-
+The @code{\partial} command is intended to be used only at the
+beginning of a piece. If you use it after the beginning, some
+odd warnings may occur.
@node Unmetered music
-@unnumberedsubsubsec Unmetered music
+@subsubsection Unmetered music
-@cindex cadenza
@funindex \cadenzaOn
@funindex \cadenzaOff
+@cindex bar lines, turning off
+@cindex bar numbering, turning off
+@cindex cadenza
+@cindex unmetered music
-Barlines and bar numbers are calculated automatically. For
+Bar lines and bar numbers are calculated automatically. For
unmetered music (cadenzas, for example), this is not desirable.
-To turn off automatic barlines and bar numbers, use the commands
-@code{\cadenzaOn} and @code{\cadenzaOff}.
+To turn off automatic bar lines and bar numbers, use the command
+@code{\cadenzaOn}, and use @code{\cadenzaOff} to turn them on
+again.
@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
c4 d e d
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]
+% Show all bar numbers
+\override Score.BarNumber #'break-visibility = #all-visible
+c4 d e d
+\cadenzaOn
+c4 c d8 d d f4 g4.
+\cadenzaOff
+\bar "|"
+d4 e d c
+@end lilypond
+
+@predefined
-LilyPond will only insert line breaks and page breaks at a
-barline. Unless the unmetered music ends before the end of the
-staff line, you will need to insert invisible barlines
+@code{\cadenzaOn},
+@code{\cadenzaOff}.
+
+@seealso
+
+Music Glossary: @rglos{cadenza}
+
+Notation Reference: @ref{Controlling visibility of objects}
+
+Snippets:
+@rlsr{Rhythms}.
+
+@knownissues
+
+LilyPond will insert line breaks and page breaks only at a
+bar line. Unless the unmetered music ends before the end of the
+staff line, you will need to insert invisible bar lines with
@example
\bar ""
@node Polymetric notation
-@unnumberedsubsubsec Polymetric notation
+@subsubsection Polymetric notation
@cindex double time signatures
@cindex signatures, polymetric
@cindex polymetric signatures
@cindex meter, polymetric
-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}.
+@strong{Alternating time signatures}
+
+Regularly alternating double time signatures are not supported
+explicitly, but they can be faked. In the next example, the
+double time signature is created with markup text, while the
+real time signature is set in the usual way with @code{\time}.
@lilypond[verbatim,ragged-right]
-% create 2/4 + 5/8
-tsMarkup =\markup {
+% Create 9/8 split into 2/4 + 5/8
+tsMarkup = \markup {
\override #'(baseline-skip . 2) \number {
\column { "2" "4" }
\vcenter "+"
\override Staff.TimeSignature #'stencil =
#ly:text-interface::print
\override Staff.TimeSignature #'text = #tsMarkup
- \time 3/2
+ \time 9/8
+ c'2 \bar ":" c'4 c'4.
c'2 \bar ":" c'4 c'4.
}
@end lilypond
-Each staff can also have its own time signature. This is done by
-moving the @internalsref{Timing_translator} to the
-@internalsref{Staff} context.
+@strong{Staves with different time signatures, equal measure lengths}
-@example
-\layout @{
- \context @{ \Score
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
- @}
- \context @{
- \Staff
- \consists "Timing_translator"
- \consists "Default_bar_line_engraver"
- @}
+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 done with @code{\compressMusic}, which
+is used in a similar way to @code{\times}, but does not create
+a tuplet bracket, see @ref{Scaling durations}.
-@}
-@end example
+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.
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' { <<
+ \new Staff {
+ \time 3/4
+ c4 c c |
+ c c c |
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(9 . 8)
+ \compressMusic #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(10 . 8)
+ \compressMusic #'(3 . 5) {
+ \repeat unfold 2 { c8[ c c] }
+ \repeat unfold 2 { c8[ c] } |
+ c4. c4. \times 2/3 { c8 c c } c4
+ }
+ }
+>> }
+@end lilypond
-Now, each staff has its own time signature.
+@strong{Staves with different time signatures, unequal bar lengths}
-@example
-<<
- \new Staff @{
- \time 3/4
- c4 c c | c c c |
- @}
- \new Staff @{
- \time 2/4
- c4 c | c c | c c
- @}
- \new Staff @{
- \time 3/8
- c4. c8 c c c4. c8 c c
- @}
->>
-@end example
+Each staff can be given its own independent time signature by
+moving the @code{Timing_translator} to the @code{Staff} context.
-@lilypond[quote,ragged-right]
-\layout{
- \context{
- \Score
- \remove "Timing_translator"
- \remove "Default_bar_line_engraver"
- }
- \context{ \Staff
+@lilypond[quote,verbatim,ragged-right]
+\layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ \context {
+ \Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
}
+% Now each staff has its own time signature.
+
\relative c' <<
\new Staff {
\time 3/4
- c4 c c | c c c |
+ c4 c c |
+ c c c |
}
\new Staff {
\time 2/4
- c4 c | c c | c c
+ c4 c |
+ c c |
+ c c |
}
\new Staff {
\time 3/8
- c4. c8 c c c4. c8 c c
+ c4. |
+ c8 c c |
+ c4. |
+ c8 c c |
}
>>
@end lilypond
-A different form of polymetric notation is where note lengths have
-different values across staves, but the bars are all the same
-length.
+@seealso
-This notation can be created by setting a common time signature
-for each staff but replacing it manually using
-@code{timeSignatureFraction} to the desired fraction. Then the
-printed durations in each staff are scaled to the common time
-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
-
-@example
-\compressMusic
-#'(@var{numerator} . @var{denominator}) @var{musicexpr}
-@end example
+Music Glossary:
+@rglos{polymetric},
+@rglos{polymetric time signature},
+@rglos{meter}.
+
+Notation Reference: @ref{Scaling durations}
+
+Snippets:
+@rlsr{Rhythms}.
+@c Is this still permitted?
+@c @lsr{contemporary,compound-time-signature}
+
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing-translator},
+@rinternals{Staff}.
+
+@knownissues
+
+When using different time signatures in parallel, the spacing is
+aligned vertically, but bar lines distort the regular spacing.
+
+
+@node Automatic note splitting
+@subsubsection Automatic note splitting
+
+@cindex notes, splitting
+@cindex splitting notes
+
+Long notes which overrun bar lines can be converted automatically
+to tied notes. This is done by replacing the
+@code{Note_heads_engraver} by 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]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+}
+
+{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
+@end lilypond
+
+This engraver splits all running notes at the bar line, and
+inserts ties. One of its uses is to debug complex scores: if the
+measures are not entirely filled, then the ties show exactly how
+much each measure is off.
+
+To allow line breaking on the bar lines where the
+@code{Completion_heads_engraver} has inserted a split note, remove
+the @code{Forbid_line_break_engraver} too.
+
+
+@seealso
+
+Music Glossary: @rglos{tie}
+
+Learning Manual:
+@rlearning{Engravers explained},
+@rlearning{Adding and removing engravers}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Note_heads_engraver},
+@rinternals{Completion_heads_engraver},
+@rinternals{Forbid_line_break_engraver}.
+
+
+@knownissues
+
+Not all durations (especially those containing tuplets) can be
+represented exactly with normal notes and dots, but the engraver
+will not insert tuplets.
+
+The @code{Completion_heads_engraver} only affects notes; it does not
+split rests.
+
+
+@node Showing melody rhythms
+@subsubsection Showing melody rhythms
+
+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
+
+@c TODO Devise a more realistic example, perhaps with lyrics -td
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1 | r1 |
+}
+@end lilypond
+
+
+@node Beams
+@subsection Beams
+
+@menu
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+* Feathered beams::
+@end menu
+
+@node Automatic beams
+@subsubsection Automatic beams
+
+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
+\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}.
+
+@cindex autoBeamOn
+@cindex autoBeamOff
+
+@noindent
+Automatic beaming may be turned off and on with
+@code{\autoBeamOff} and @code{\autoBeamOn} commands:
+
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+c4 c8 c8. c16 c8. c16 c8
+\autoBeamOff
+c4 c8 c8. c16 c8.
+\autoBeamOn
+c16 c8
+@end lilypond
+
+
+@snippets
+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
-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, so that 2/3 * 9/8 = 3/4, and in the third
-staff, shown durations are multiplied by 3/5, so that 3/5 * 10/8 =
-3/4.
+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[quote,ragged-right,verbatim,fragment]
-\relative c' { <<
- \new Staff {
- \time 3/4
- c4 c c | c c c |
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(9 . 8)
- \compressMusic #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
- }
- \new Staff {
- \time 3/4
- \set Staff.timeSignatureFraction = #'(10 . 8)
- \compressMusic #'(3 . 5) {
- \repeat unfold 2 { c8[ c c] }
- \repeat unfold 2 { c8[ c] }
- | c4. c4. \times 2/3 { c8 c c } c4
- }
- }
->> }
+@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
+@noindent
+For more information about @code{make-moment}, see
+@ref{Time administration}.
-@refbugs
+@funindex breakable
+@cindex break, line
+@cindex line breaks
-When using different time signatures in parallel, the spacing is
-aligned vertically, but barlines distort the regular spacing.
+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
-@node Automatic note splitting
-@unnumberedsubsubsec Automatic note splitting
+@cindex beams and line breaks
+@cindex beams, kneed
+@cindex kneed beams
+@cindex auto-knee-gap
-Long notes which overrun barlines can be converted
-automatically to tied notes. This is
-done by replacing the @internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}. In the following
-examples, notes crossing the barline are split and tied.
+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.
-@lilypond[quote,fragment,verbatim,relative=1,line-width=12\cm]
-\new Voice \with {
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
-} {
- c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
-}
+@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
-This engraver splits all running notes at the barline, and
-inserts ties. One of its uses is to debug complex scores: if the
-measures are not entirely filled, then the ties exactly show how
-much each measure is off.
-If you want to allow line breaking on the barlines where
-@internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_break_engraver}.
+@seealso
+Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
-@refbugs
+Snippets:
+@rlsr{Rhythms}.
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
+Internals Reference: @rinternals{Beam}.
-@code{Completion_heads_engraver} only affects notes; it does not
-split rests.
+@knownissues
-@seealso
+Automatically kneed cross-staff beams cannot be used together with
+hidden staves. See @ref{Hiding staves}.
-Program reference: @internalsref{Completion_heads_engraver}.
+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 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}.
+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}.
In order to add a rule to the list, use
@example
@itemize
-@item @code{be} is either "begin" or "end".
+@item @code{be} is either @code{begin} or @code{end}.
@item @code{p/q} is the duration of the note for which you want
to add a rule. A beam is considered to have the duration of its
@item @code{context} is optional, and it specifies the context at which
the change should be made. The default is @code{'Voice}.
+
@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
@end example
@noindent
-be, p, q, n, m, a, b and context are the same as above. Note that the
+@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
+@code{b} and @code{context} are the same as above. Note that the
default rules are specified in @file{scm/@/auto@/-beam@/.scm},
so you can revert rules that you did not explicitly create.
a16 a a a a a a a a a a a a a a a
@end lilypond
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
+The rule in a @code{revert-auto-beam-setting} statement must exactly
+match the original rule. That is, no wildcard expansion is taken into
+account.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 1/4
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 behaviour occurs, check the default automatic beam
+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
beaming should be switched off with @code{\autoBeamOff}.
-@refcommands
+@predefined
@funindex \autoBeamOff
@code{\autoBeamOff},
@funindex \autoBeamOn
@code{\autoBeamOn}.
-@commonprop
-
-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
-
-@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. The
-same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
->>}. If a polyphonic voice ends while an automatic beam is still
-accepting notes, it is not typeset.
-
-
-
-
-@node Beams
-@subsection Beams
-
-@menu
-* Automatic beams::
-* Manual beams::
-@end menu
+still accepting notes, this last beam will not be typeset at all.
+The same holds for polyphonic voices, entered with @code{<<
+@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
+automatic beam is still accepting notes, it is not typeset.
-@node Automatic beams
-@unnumberedsubsubsec Automatic beams
-
-By default beams are inserted automatically
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c c c c8. c16 c8
-@end lilypond
-
-When these automatic decisions are not good enough, beaming
-can be entered explicitly. It is also possible to define beaming
-patterns that differ from the defaults. See @ref{Manual beams}
-and @ref{Setting automatic beam behavior}.
-
-@cindex autoBeamOn
-@cindex autoBeamOff
-
-@noindent
-Automatic beaming may be turned off and on with
-@code{\autoBeamOff} and @code{\autoBeamOn} commands:
+@seealso
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
-@end lilypond
+Snippets:
+@rlsr{Rhythms}.
-@commonprop
+@node Manual beams
+@subsubsection Manual beams
-@funindex stemLeftBeamCount
-@funindex stemRightBeamCount
+@cindex beams, manual
-LilyPond can automatically determine beaming patterns within a
-beam, but this automatic behavior can sometimes produce odd
-results; therefore the @code{stemLeftBeamCount} and
-@code{stemRightBeamCount} properties can be used to override the
-defaults. If either property is set, its value will be used only
-once, and then it is erased.
+In some cases it may be necessary to override the automatic
+beaming algorithm. For example, the autobeamer will not put beams
+over rests or bar lines, and in choral scores the beaming is
+often set to follow the meter of the lyrics rather than the
+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]
{
- f8[ r16
- f g a]
- f8[ r16
- \set stemLeftBeamCount = #1
- f g a]
+ r4 r8[ g' a r8] r8 g[ | a] r8
}
@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},
-by drawing only one beam over the beat.
-
-@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
-c16[ c c c c c c c]
-\set subdivideBeams = ##t
-c16[ c c c c c c c]
-\set Score.beatLength = #(ly:make-moment 1 8)
-c16[ c c c c c c c]
-@end lilypond
-@funindex subdivideBeams
-
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
-
-@c TODO Consider whether the section Setting automatic
-@c beam behavior should all be moved here. For now
-@c here's a link to it.
-
-For details about modifying the automatic beam behaviour
-see @ref{Setting automatic beam behavior}
-
-@funindex breakable
-
-Line breaks are normally forbidden when beams cross barlines.
-This behavior can be changed by setting the @code{breakable}
-property: @code{\override Beam #'breakable = ##t}.
-
-@cindex beams and line breaks
-@cindex beams, kneed
-@cindex kneed beams
-@cindex auto-knee-gap
-
-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.
-
-@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
-
-
-@seealso
-
-Program reference: @internalsref{Beam}.
-
-
-@refbugs
-
-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
-
-@node Manual beams
-@unnumberedsubsubsec Manual beams
-
-@cindex beams, manual
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
@funindex ]
@funindex [
-In some cases it may be necessary to override the automatic
-beaming algorithm. For example, the autobeamer will not put beams
-over rests or barlines, and in choral scores the beaming is
-often set to follow the meter of the lyrics rather than the
-notes. Such beams can be specified manually by
-marking the begin and end point with @code{[} and @code{]}
+@funindex stemLeftBeamCount
+@funindex stemRightBeamCount
+
+Even more strict manual control with the beams can be achieved by
+setting the properties @code{stemLeftBeamCount} and
+@code{stemRightBeamCount}. They specify the number of beams to
+draw on the left and right side, respectively, of the next note.
+If either property is set, its value will be used only once, and
+then it is erased. In this example, the last @code{f} is printed
+with only one beam on the left side, i.e., the eighth-note beam of
+the group as a whole.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
{
- r4 r8[ g' a r8] r8 g[ | a] r8
+ f8[ r16 f g a]
+ f8[ r16
+ \set stemLeftBeamCount = #1
+ f g a]
}
@end lilypond
+
+@snippets
+
+@node Feathered beams
+@subsubsection Feathered beams
+
@cindex beams, feathered
@funindex \featherDurations
changing the overall tempo of the piece. The extent of the
feathered beam must be indicated manually using @code{[} and
@code{]}, and the beam feathering is turned on by specifying a
-direction to the Beam property @code{grow-direction}.
+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
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.
+@knownissues
-@commonprop
-
-Line breaking is prevented by beams which straddle barlines. The
-@samp{breakable} property of @code{Beam} allows this behaviour
-to be overridden:
-
-@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
-\override Beam #'breakable = ##t
-c8 \repeat unfold 15 {c[ c] } c
-@end lilypond
+The @code{\featherDurations} command only works with very short
+music snippets, and when numbers in the fraction are small.
+@seealso
-@refbugs
+Snippets:
+@rlsr{Rhythms}.
-The @code{\featherDurations} command only works with very short
-music snippets, and when numbers in the fraction are small.
@node Bars
@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
-Barlines delimit measures, and are also used to indicate
-repeats. Normally, simple barlines are automatically inserted
+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
signature.
-The simple barlines inserted automatically can be changed to
+The simple bar lines inserted automatically can be changed to
other types with the @code{\bar} command. For example, a closing
-double barline is usually placed at the end of a piece:
+double bar line is usually placed at the end of a piece:
@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
-e4 d c2 \bar "||"
+e4 d c2 \bar "|."
@end lilypond
@warning{An incorrect duration can lead to poorly formatted
music.}
-It is not invalid if the final note in a bar does not
-end on the automatically entered barline: the note is assumed
-to carry over into the next bar. But if a long sequence
-of such carry-over bars appears the music can appear compressed
+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 bars, i.e. where
-the end of a note coincides with the end of a bar.
+breaks happen only at the end of complete measures, i.e., where
+the end of a note coincides with the end of a measure.
+
+@cindex line breaks
+@cindex bar lines, invisible
+@cindex measure lines, invisible
-Line breaks are also permitted at manually inserted barlines
-even within incomplete bars. To allow a line break without
-printing a barline, use
+Line breaks are also permitted at manually inserted bar lines
+even within incomplete measures. To allow a line break without
+printing a bar line, use
@example
\bar ""
@end example
@noindent
-This will insert an invisible barline and allow (but not
+This will insert an invisible bar line and allow (but not
force) a line break to occur at this point. The bar number
counter is not increased. To force a line break see
@ref{Line breaking}.
-This and other special barlines may be inserted manually at any
-point. When they coincide with the end of a bar they replace
-the simple barline which would have been inserted there
+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 bar the specified barline is inserted at that
+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 barlines.
+the calculation and placement of subsequent automatic bar lines.
-The simple barline and four types of double barline are available
+The simple bar line and four types of double bar line are available
for manual insertion:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
@end lilypond
@noindent
-together with dotted and dashed barlines:
+together with dotted and dashed bar lines:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
f1 \bar ":" g \bar "dashed" a
@end lilypond
@noindent
-and three types of repeat barline:
+and three types of repeat bar line:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
f1 \bar "|:" g \bar ":|:" a \bar ":|" b
@end lilypond
-Although the barline types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
+@cindex repeats
+
+Although the bar line types signifying repeats may be inserted
+manually they do not in themselves cause LilyPond to recognize
a repeated section. Such repeated sections are better entered
using the various repeat commands (see @ref{Repeats}), which
-automatically print the appropriate barlines.
+automatically print the appropriate bar lines.
In addition, you can specify @code{"||:"}, which is equivalent to
@code{"|:"} except at line breaks, where it gives a double bar
@end lilypond
In scores with many staves, a @code{\bar} command in one staff is
-automatically applied to all staves. The resulting barlines are
+automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
@code{PianoStaff}, or @code{GrandStaff}.
@end lilypond
-@commonprop
+@snippets
@funindex whichBar
@funindex defaultBarType
-The command @code{\bar }@var{bartype} is a short cut for
-@code{\set Timing.whichBar = }@var{bartype}. A barline is
+The command @code{\bar }@var{bartype} is a shortcut for
+@code{\set Timing.whichBar = }@var{bartype}. A bar line is
created whenever the @code{whichBar} property is
set.
-The default bar type used for automatically inserted barlines is
+The default bar type used for automatically inserted bar lines is
@code{"|"}. This may be changed at any time
with @code{\set Timing.defaultBarType = }@var{bartype}.
@seealso
-In this manual: @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:
+@rlsr{Rhythms}.
-Program reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+Internals Reference: @rinternals{BarLine} (created at
+@rinternals{Staff} level), @rinternals{SpanBar} (across
+staves), @rinternals{Timing_translator} (for Timing
properties).
@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]
-\repeat unfold 4 {c4 c c c} \break
+c1 c c c
+\break
\set Score.currentBarNumber = #50
-\repeat unfold 4 {c4 c c c}
+c1 c c c
@end lilypond
-Bar numbers may only be printed at barlines; to print a bar
-number at the beginning of a piece, an empty barline 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 ""
-\repeat unfold 4 {c4 c c c} \break
-\repeat unfold 4 {c4 c c c}
-@end lilypond
-@commonprop
+@snippets
@funindex barNumberVisibility
@cindex bar numbers, regular spacing
-Bar numbers can be typeset at regular intervals instead of just
-at the beginning of every line. To do this the default
-behaviour must be overridden to permit bar numbers to be
-printed at places other than the start of a line.
-This is controlled by the
-@code{break-visibility} property of @code{BarNumber}. This
-takes three values which may be set to @samp{#t} or @samp{#f} to
-specify whether the corresponding bar number is visible or not.
-The order of the three values is @samp{end of line visible, middle
-of line visible, beginning of line visible}. In the following
+Bar numbers can be typeset at regular intervals instead of just at
+the beginning of every line. To do this the default behavior
+must be overridden to permit bar numbers to be printed at places
+other than the start of a line. This is controlled by the
+@code{break-visibility} property of @code{BarNumber}. This takes
+three values which may be set to @code{#t} or @code{#f} to specify
+whether the corresponding bar number is visible or not. The order
+of the three values is @code{end of line visible}, @code{middle of
+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]
\override Score.BarNumber #'break-visibility = ##(#t #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
-c1 c c c c
+c1 c c c
\break
-c c c c c
+c 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 bars
+and here the bar numbers are printed every two measures
except at the end of the line:
@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 2nd bar
+% 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
+@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 @samp{#(#f #t #t)} for @code{break-visibility}.
+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
\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
-within a line, the left barline of the bar. The numbers may also
-be positioned directly on the barline or right-aligned to the
-barline:
+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:
@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 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c1
-% Centre-align bar numbers
+% Center-align bar numbers
\override Score.BarNumber #'self-alignment-X = #0
c1 c1
% Right-align bar numbers
c1 c1
@end lilypond
-Bar numbers can be removed entirely by removing the Bar number
-engraver from the score context.
+Bar numbers can be removed entirely by removing the
+@code{Bar_number_engraver} from the @code{Score} context.
@lilypond[verbatim,ragged-right,quote]
\layout {
@seealso
-Program reference: @internalsref{BarNumber}.
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference: @rinternals{BarNumber}.
+
+
+@knownissues
-Examples: @lsrdir{bar number}
+Bar numbers may collide with the top of the
+@rinternals{StaffGroup} bracket, if there is one. To solve
+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}:
-@refbugs
+@lilypond[verbatim,ragged-right,quote,fragment,relative]
+\set Score.currentBarNumber = #50
+\bar ""
+c1 c c c
+c1 c c c
+\break
+@end lilypond
-Bar numbers can collide with the top of the
-@internalsref{StaffGroup} bracket, if there is one.
-To solve this, the @code{padding} property of
-@internalsref{BarNumber} can be used to
-position the number correctly.
@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 |
Bar checks help detect errors in the entered durations.
-A bar check may be entered using the bar symbol, @samp{|},
-at any place where a barline is expected to fall.
+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, the second bar check will signal an error.
@example
\time 3/4 c2 e4 | g2 |
@funindex pipeSymbol
It is also possible to redefine the action taken when a bar check
-or pipe symbol, @samp{|}, is encountered in the input, so that
+or pipe symbol, @code{|}, is encountered in the input, so that
it does something other than a bar check. This is done by
assigning a music expression to @code{pipeSymbol}.
-In the following example @samp{|} is set to insert a double bar
+In the following example @code{|} is set to insert a double bar
line wherever it appears in the input, rather than checking
for end of bar.
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
+@seealso
+
+Snippets:
+@rlsr{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
printed with @code{\musicglyph}.
For common tweaks to the positioning of rehearsal marks, see
-@ref{Text marks}.
+@ref{Formatting text}.
@seealso
-This manual: @ref{Text marks}.
+Snippets:
+@rlsr{Rhythms}.
+
+This manual: @ref{The Feta font}, @ref{Formatting text}.
-Program reference: @internalsref{RehearsalMark}.
+Internals Reference: @rinternals{RehearsalMark}.
Init 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
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
@cindex appoggiatura
@cindex acciaccatura
-Grace notes are ornaments that are written out. The most common
-ones are acciaccatura, which should be played as very short. It
+Grace notes are ornaments that are written out. They are made with
+the @code{\grace} command. By prefixing this keyword to a music
+expression, a new one is formed, which will be printed in a
+smaller font and takes up no logical time in a measure.
+
+@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
+c4 \grace c16 c4
+\grace { c16[ d16] } c2 c4
+@end lilypond
+
+Two special forms of the @code{\grace} command exist.
+An @emph{acciaccatura}, which should be played as very short,
is denoted by a slurred small note with a slashed stem. The
-appoggiatura is a grace note that takes a fixed fraction of the
-main note, and is denoted as a slurred note in small print without
+@emph{appoggiatura}, a grace note that takes a fixed fraction of the
+main note, is denoted as a slurred note in small print without
a slash. They are entered with the commands @code{\acciaccatura}
-and @code{\appoggiatura}, as demonstrated in the following example
+and @code{\appoggiatura}, as demonstrated in the following
+example:
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
b4 \acciaccatura d8 c4
\acciaccatura { g16[ f] } e4
@end lilypond
-Both are special forms of the @code{\grace} command. By prefixing
-this keyword to a music expression, a new one is formed, which
-will be printed in a smaller font and takes up no logical time in
-a measure.
-
-@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2 c4
-@end lilypond
-
@noindent
-Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
-@code{\grace} command does not start a slur.
+@code{\acciaccatura} and @code{\appoggiatura} start a slur,
+@code{\grace} does not.
The placement of grace notes is synchronized between different
staves. In the following example, there are two sixteenth grace
@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.
-@lilypond[ragged-right, verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
This will put the grace notes after a @q{space} lasting 3/4 of the
length of the main note. The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, ie.
+setting @code{afterGraceFraction}, i.e.,
@example
#(define afterGraceFraction (cons 7 8))
@noindent
By adjusting the duration of the skip note (here it is a
-half-note), the space between the main-note and the grace
+half-note), the space between the main note and the grace
may be adjusted.
A @code{\grace} music expression will introduce special
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 acciaccaturas can be obtained in
+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
-Program reference: @internalsref{GraceMusic}.
+Music Glossary:
+@rglos{grace notes},
+@rglos{acciaccatura},
+@rglos{appoggiatura}
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference: @rinternals{GraceMusic}.
-@refbugs
+@knownissues
-A multi-note beamed acciaccatura is printed without a slash,
-and looks exactly the same as a multi-note beamed appoggiatura.
-@c TODO Add link to LSR snippet to add slash when available
+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
Grace note synchronization can also lead to surprises. Staff
-notation, such as key signatures, barlines, etc., are also
+notation, such as key signatures, bar lines, etc., are also
synchronized. Take care when you mix staves with grace notes and
staves without, for example,
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-measure
+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' {
>>
@end lilypond
+@seealso
+
+Snippets:
+@rlsr{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
@funindex measureLength
-Time is administered by the
-@code{Timing_translator}, which by default is
-to be found in the @code{Score} context. An
-alias, @code{Timing}, is added to the context in which
-the @code{Timing_translator} is placed.
+Time is administered by the @code{Timing_translator}, which by
+default is to be found in the @code{Score} context. An alias,
+@code{Timing}, is added to the context in which the
+@code{Timing_translator} is placed.
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
@item measureLength
The length of the measures in the current time signature. For a
4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
-determines when barlines are inserted and how automatic beams
+determines when bar lines are inserted and how automatic beams
should be generated.
@item measurePosition
Timing can be changed by setting any of these variables
explicitly. In the next example, the default 4/4 time
signature is printed, but @code{measureLength} is set to 5/4.
-At 4/8 though the third bar, the @code{measurePosition} is
+At 4/8 through the third measure, the @code{measurePosition} is
advanced by 1/8 to 5/8, shortening that bar by 1/8.
-The next barline then falls at 9/8 rather than 5/4.
+The next bar line then falls at 9/8 rather than 5/4.
@lilypond[quote,ragged-right,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
@code{ly:make-moment 7 16} is the duration of seven sixteenths
notes.
+
@seealso
This manual: @ref{Bar numbers}, @ref{Unmetered music}
-Program Reference: @internalsref{Timing_translator},
-@internalsref{Score}
-
+Snippets:
+@rlsr{Rhythms}.
+Internals Reference: @rinternals{Timing_translator},
+@rinternals{Score}
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