@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.
c4 c \times 2/3 { b4 a g }
@end lilypond
+@cindex tuplet bracket placement
+
@funindex \tupletUp
@funindex tupletUp
@funindex \tupletDown
@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]
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
+@cindex grace notes within tuplet brackets
@knownissues
-@cindex grace notes within tuplet brackets
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
@code{s1*23}.
@cindex compressing music
+@cindex expanding music
@funindex \scaleDurations
@funindex scaleDurations
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,verbatim,relative=2]
a2 ~ a
@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
+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{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
+@code{\tieDashPattern},
+@code{\tieHalfDashed},
+@code{\tieHalfSolid},
@code{\tieSolid}.
@endpredefined
@rglos{tie},
@rglos{laissez vibrer}.
-Notation Reference: @ref{Automatic note splitting}.
+Notation Reference:
+@ref{Slurs},
+@ref{Automatic note splitting}.
Snippets:
@rlsr{Rhythms}.
@node Rests
@unnumberedsubsubsec Rests
+
@cindex rest
@cindex rest, entering durations
@cindex maxima rest
@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}
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},
@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
@cindex measure, partial
@cindex pickup measure
@cindex measure, change length
-@cindex measurePosition
+@funindex measurePosition
@funindex \partial
@funindex partial
@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
@cindex beams, setting rules for
@cindex beams, custom rules for
-@funindex measureLength
-@funindex beatLength
-@funindex beatGrouping
@funindex \autoBeamOn
@funindex autoBeamOn
@funindex \autoBeamOff
@end lilypond
If these automatic decisions are not satisfactory, beaming can be
-entered explicitly; see @ref{Manual beams}. Beams must also be
-entered manually in the same way if beams are to be extended over
-rests.
+entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
+entered manually if beams are to be extended over rests.
-It is possible
-to define beaming patterns that differ from the defaults. The
-default beaming rules for most common time signatures are defined
-in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
-defined for a particular beam's duration in the time signature being
-used, its beaming is controlled by the values of three context
-properties, @code{measureLength}, @code{beatLength} and
-@code{beatGrouping}. Both the beaming rules and the context
-properties can be overridden, see @ref{Setting automatic beam behavior}.
-
-
-@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.}
-
-
-@noindent
-Automatic beaming may be turned off and on with
-@code{\autoBeamOff} and @code{\autoBeamOn} commands:
+If automatic beaming is not required, it may be turned off with
+@code{\autoBeamOff} and on with @code{\autoBeamOn}:
@lilypond[quote,relative=1,verbatim]
c4 c8 c8. c16 c8. c16 c8
c16 c8
@end lilypond
+@cindex melismata, beams
+@cindex beams and melismata
+
+@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.}
+
+Beaming patterns that differ from the automatic defaults may be
+created, see @ref{Setting automatic beam behavior}.
+
@predefined
@code{\autoBeamOff},
@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
@funindex \set
@funindex set
-The placement of automatic beams is determined by the rules
-described in @ref{Automatic beams}. There are two mutually
-exclusive ways in which these rules may be modified. The
-first, modifying the grouping of beats, applies to uncommon time
-signatures, i.e. those for which there are no predefined rules
-defining the beam end points. The second method, modifying the
-specification of the beam end points, can be used for any time
-signature. This second method @strong{must} be used for those time
-signatures and beam durations combinations for which beam ending
-rules are pre-defined, unless these have all been reverted. There
-are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
-4/8, 4/16, 6/8, 9/8 and 12/8.
+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 the @code{\set}
-commands must be placed after all @code{\time} commands.
+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:
@end itemize
-@warning{These three properties become effective for a particular
-beam @strong{only} if there are no beam-ending rules predefined for
-that beam's duration in the time signature in use, or if these
-beam-ending rules have all been reverted.}
-
By default the @code{measureLength} and @code{beatLength} are
derived from the time signature set by the @code{\time} command.
The @code{measureLength} is set to be exactly the same length as
The default value of @code{beatGrouping} is taken from a table in
@file{scm/@/music@/-functions@/.scm}. To find this, see
@rlearning{Other sources of information}. It defines the beat
-grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
+grouping for 3/8, 4/8, 5/8, 8/8, and all the common compound time
+signatures.
Both @code{measureLength} and @code{beatLength} are @i{moments},
units of musical duration. A quantity of type @i{moment} is
@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}}
-In common time signatures, automatic beams can start on any note
-but can end at only a few positions within the measure, namely at
-durations specified by the properties in @code{autoBeamSettings}.
-These properties consist of a list of rules defining where beams can
-end. The default @code{autoBeamSettings} rules are defined in
-@file{scm/@/auto@/-beam@/.scm}. To find this, see
+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}.
-This method @strong{must} be used for the time signatures for which
-beam-ending rules are defined by default, unless these have all
-been reverted. It is also particularly suitable for many other time
-signatures if the time signature of the measures changes frequently,
-or if the beaming should be different for different beam durations.
-
In order to add a rule to the list, use
@example
only @code{end} is effective.
@item @code{beam-numerator/beam-denominator} is the beam 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.
+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}
-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.
+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{monent-numerator/moment-denominator} is the position
+@item @code{moment-numerator/moment-denominator} is the position
in the bar at which the beam should 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}.
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 auto-beam rules are removed by
-using
+your time signature(s). Existing default or user-defined
+beam-ending rules are removed by using
@example
#(revert-auto-beam-setting
@unnumberedsubsubsec Feathered beams
@cindex beams, feathered
+@cindex feathered beams
@funindex \featherDurations
@funindex featherDurations
@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
@cindex bar lines
@cindex measure lines
+@cindex closing bar lines
+@cindex bar lines, closing
+@cindex double bar lines
+@cindex bar lines, double
@cindex repeat bars
@funindex \bar
@end lilypond
+@cindex default bar lines, changing
+@cindex bar lines, default, changing
+
@snippets
@funindex whichBar
c1 c c c
@end lilypond
-
-@snippets
-
@cindex bar numbers, regular spacing
@funindex barNumberVisibility
-
-@c Uncomment this after next LSR update.
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-@c {printing-the-bar-number-for-the-first-measure.ly}
+@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
@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,quote,relative=1]
-\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,quote,relative=1]
-% 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,quote,relative=1]
-\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,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
@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,
+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
@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
@cindex segno
@cindex coda
-@cindex D.S al Fine
+@cindex D.S. al Fine
@cindex fermata
@cindex music glyphs
@cindex glyphs, music
\grace { c16[ d16] } c2
@end lilypond
-Lilypond also supports two special types of grace notes, the
+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
}
@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,verbatim,relative=2]
\new Voice {
@snippets
-The slash through the stem found in @emph{acciaccatura}s can be applied
-in other situations:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{using-grace-note-slashes-with-normal-heads.ly}
-@lilypond[quote,verbatim,relative=2]
-\relative c'' {
- \override Stem #'stroke-style = #"grace"
- c8( d2) e8( f4)
-}
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{tweaking-grace-layout-within-music.ly}
-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.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{redefining-grace-note-global-defaults.ly}
-@lilypond[quote,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
-
-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.
-
-Grace notes may be forced to align with regular notes
-in other staves:
-
-@lilypond[verbatim,quote]
-\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
@knownissues
+@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
@i{appoggiatura}.
staves without, for example,
@lilypond[quote,relative=2,verbatim]
-<< \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" d2. } >>
+<<
+ \new Staff { e4 \bar "|:" \grace c16 d2. }
+ \new Staff { c4 \bar "|:" d2. }
+>>
@end lilypond
@noindent
durations in the other staves. For the above example
@lilypond[quote,relative=2,verbatim]
-<< \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" \grace s16 d2. } >>
+<<
+ \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
projects / lilypond.git / blobdiff