quarter note is entered using a @code{4} (since it is a 1/4 note),
and a half note is entered using a @code{2} (since it is a 1/2
note). For notes longer than a whole you must use the
-@code{\longa} (a double breve) and @code{\breve} commands.
+@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.
duration. For details of this and other settings which control
proportional notation, see @ref{Proportional notation}.
+@funindex \dotsUp
+@funindex \dotsDown
+@funindex \dotsNeutral
+
Dots are normally moved up to avoid staff lines, except in
-polyphonic situations. To force a particular direction manually,
+polyphonic situations. Predefined commands are available to
+force a particular direction manually, for details
see @ref{Controlling direction and placement}.
@predefined
-@funindex \dotsUp
+@code{\autoBeamOff},
@code{\dotsUp},
-@funindex \dotsDown
@code{\dotsDown},
-@funindex \dotsNeutral
@code{\dotsNeutral}.
@seealso
-Music Glossary:
-@rglos{breve},
-@rglos{longa},
+Music Glossary:
+@rglos{breve},
+@rglos{longa},
@rglos{note value},
@rglos{Duration names notes and rests}.
-Notation Reference:
-@ref{Automatic beams},
+Notation Reference:
+@ref{Automatic beams},
@ref{Ties},
-@ref{Writing rhythms},
-@ref{Writing rests},
+@ref{Writing rhythms},
+@ref{Writing rests},
@ref{Vocal music},
-@ref{Ancient notation},
+@ref{Ancient notation},
@ref{Proportional notation}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}.
-Internals Reference:
+Internals Reference:
@internalsref{Dots},
@internalsref{DotColumn}.
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
+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.
@end lilypond
-The automatic placement of the tuplet bracket above or below the
-notes may be overridden manually, for details see
-@ref{Controlling direction and placement}.
+@funindex \tupletUp
+@funindex \tupletDown
+@funindex \tupletNeutral
+
+The automatic placement of the tuplet bracket above or below the
+notes may be overridden manually with predefined commands, for
+details see @ref{Controlling direction and placement}.
Tuplets may be nested:
@predefined
-@funindex \tupletUp
@code{\tupletUp},
-@funindex \tupletDown
@code{\tupletDown},
-@funindex \tupletNeutral
@code{\tupletNeutral}.
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
{entering-several-tuplets-using-only-one--times-command.ly}
@funindex TupletNumber
-@c Sent to VV on 12 Feb - replace with @lilypondfile when available
-@c TODO and delete from here ...
-By default, only the numerator of the tuplet number
-is printed over the tuplet bracket, i.e. the denominator
-of the argument to the @code{\times} command. Alternatively,
-@var{num}:@var{den} of the tuplet number may be printed, or
-the tuplet number may be suppressed altogether.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{changing-the-tuplet-number.ly}
-
-@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
-\times 2/3 { c8 c c } \times 2/3 { c8 c c }
-\override TupletNumber #'text = #tuplet-number::calc-fraction-text
-\times 2/3 { c8 c c }
-\override TupletNumber #'transparent = ##t
-\times 2/3 { c8 c c }
-@end lilypond
-
-@c ... to here
-
-
-@c Sent to VV on 12 Feb - replace with @lilypondfile when available
-@c TODO and delete from here ...
-This artificial example shows how both manual and automatic line
-breaks may be permitted within a beamed tuplet. Note that such
-off-beat tuplets have to be beamed manually.
-
-@lilypond[quote,ragged-right,verbatim]
-\relative c'' {
- a8
- \repeat unfold 8 {\times 2/3 { c[ b a]}}
- % Insert a manual line break within a tuplet
- \times 2/3 { c[ b \bar "" \break a]}
- \repeat unfold 2 {\times 2/3 { c[ b a]}}
- c8
-}
-\layout {
- \context {
- \Voice
- % Permit line breaks within tuplets
- \remove "Forbid_line_break_engraver"
- % Allow beams to be broken at line breaks
- \override Beam #'breakable = ##t
- }
-}
-@end lilypond
-
-@c .. to here
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{permitting-line-breaks-within-beamed-tuplets.ly}
@seealso
-Music Glossary:
-@rglos{triplet},
+Music Glossary:
+@rglos{triplet},
@rglos{tuplet},
@rglos{polymetric}.
+Learning Manual: @rlearning{Tweaking methods}.
+
Notation Reference:
@ref{Time administration},
@ref{Scaling durations},
Snippets: @lsrdir{Rhythms,Rhythms}.
-Internals Reference:
+Internals Reference:
@internalsref{TupletBracket},
-@internalsref{TupletNumber},
+@internalsref{TupletNumber},
@internalsref{TimeScaledMusic}.
+@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.
+
@node Scaling durations
@subsubsection Scaling durations
@cindex scaling durations
@cindex durations, scaling
+TODO Change \compressMusic to \scaleDurations when implemented.
+
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.
a4 a4
% Double the duration of chord
<a d>4*2
-% Duration of quarter, appears like sixteeth
+% Duration of quarter, appears like sixteenth
b16*4 c4
@end lilypond
@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
+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:
Snippets: @lsrdir{Rhythms,Rhythms}
+
@node Ties
@subsubsection Ties
@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
+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[fragment,quote,ragged-right,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
\alternative {
- % Following note is tied normally in first alternative
+ % First alternative: following note is tied normally
{ <c e>2. r4 }
- % Following note has a repeated tie in second alternative
+ % Second alternative: following note has a repeated tie
{<c e>2\repeatTie d4 c }}
@end lilypond
@funindex \tieDown
@funindex \tieNeutral
-The vertical placement of ties may be controlled, see the
-predefined commands. For details, see
+The vertical placement of ties may be controlled, see
+Predefined commands, or for details, see
@ref{Controlling direction and placement}.
@cindex ties, appearance
@funindex \tieDashed
@funindex \tieSolid
-Solid, dotted or dashed ties may be specified, see predefined
+Solid, dotted or dashed ties may be specified, see Predefined
commands.
@predefined
-@funindex \tieUp
@code{\tieUp},
-@funindex \tieDown
@code{\tieDown},
-@funindex \tieNeutral
@code{\tieNeutral},
-@funindex \tieDotted
@code{\tieDotted},
-@funindex \tieDashed
@code{\tieDashed},
-@funindex \tieSolid
@code{\tieSolid}.
@snippets
-@c TODO Remove when snippet available - sent 15 Mar 08
-Ties are sometimes used to write out arpeggios. In this case, two
-tied notes need not be consecutive. This can be achieved by
-setting the @code{tieWaitForNote} property to true. The same
-feature is also useful, for example, to tie a tremolo to a chord,
-but in principle, it can also be used for ordinary, consecutive
-notes:
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>2
-\repeat tremolo 8 { c32~ c'~ } <c c,>1
-e8~ c~ a~ f~ <e' c a f>2
-\tieUp c8~ a \tieDown \tieDotted g~ c g2
-@end lilypond
-
-@c end of section to be removed
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{using-ties-with-arpeggios.ly}
-@c TODO Remove when snippet available - sent 15 Mar 08
-Ties may be engraved manually by changing the
-@code{tie-configuration} property of the @code{TieColumn} object.
-The first number indicates the distance from the center of the
-staff in staff-spaces, and the second number indicates the
-direction (1=up, -1=down).
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-<c e g>2~ <c e g> |
-\override TieColumn #'tie-configuration =
- #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
-<c e g>~ <c e g> |
-@end lilypond
-
-@c end of section to be removed
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{engraving-ties-manually.ly}
@seealso
Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
-@internalsref{TieColumn}
+@internalsref{LaissezVibrerTie},
+@internalsref{LaissezVibrerTieColumn},
+@internalsref{TieColumn},
@internalsref{Tie}.
@subsection Writing rests
@menu
-* Rests::
-* Skips::
-* Full measure rests::
+* Rests::
+* Skips::
+* Full measure rests::
@end menu
@node Rests
@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 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 measure rests, centered in middle of the measure, must be entered as
-multi-measure rests. They can be used for a single measure as well as
-many measures and are discussed in @ref{Full 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
a4\rest d4\rest
@end lilypond
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{rest-styles.ly}
+
@seealso
-Notation Reference: @ref{Full measure rests}.
+Notation Reference: @ref{Full measure rests}
-Snippets: @lsrdir{Rhythms,Rhythms}.
+Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{Rest}.
+Internals Reference: @internalsref{Rest}
@knownissues
@cindex skip
@cindex invisible rest
-@cindex space note
+@cindex rest, invisible
+@cindex spacer note
+
@funindex \skip
@funindex s
-An invisible rest (also called a @q{skip}) can be entered like a
-note with note name @code{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 bar
+a4 a4 s4 a4
+% Use skip command to skip a whole note (bar)
+\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, one must
-use the @code{\skip} command:
+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 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 if necessary, barlines.
+For example, the following results in a complete staff with three
+short empty bars:
-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.
-
-@lilypond[quote,verbatim]
-{ s4 }
+@lilypond[quote,verbatim,fragment,ragged-right]
+{ s1 s s }
@end lilypond
-@c with ragged-right, the staff lines are cut BEFORE the time
-@c signature, which makes for a VERY empty staff
-@c The fragment @code{@{ \skip 4 @} } would produce an empty page.
-@c Misleading -- it doesn't produce anything, not even an empty page.
-@c Ppl who want to make empty sheets will see this and wonder what's
-@c happening. -eo
+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
Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{SkipMusic}.
+Internals Reference: @internalsref{SkipMusic}
@node Full measure rests
@subsubsection Full measure rests
-@cindex multi measure rests
-@cindex full measure rests
-@cindex rest, multi measure
-@cindex rest, 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 measures, otherwise a barcheck
-warning is printed. A @rglos{multi-measure rest} is used
-principally 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 measures explicitly, or, as above, it can be
-condensed to a single measure
-containing a multi-measure rest symbol, with the number of
-measures of rest printed above the measure. This expansion
-is controlled by the property @code{Score.skipBars}. If this is
-set to true, empty measures will be condensed to a single measure.
+@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 bars contracted to single bar
+\compressFullBarRests
+r1 | R1*17 | R1*4 |
+% Rest bars expanded
+\expandFullBarRests
+\time 3/4
+R2.*2 |
@end lilypond
-The @code{1} in @code{R1} is similar to the duration notation
+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 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.
-@cindex church rest
-@cindex rest, church
-@cindex kirchenpausen
-
-If there are 10 or fewer measures of rest, LilyPond prints
-a series of longa and breve rests (called in German
-Kirchenpausen - @q{church rests}) within the staff and
-prints a simple line otherwise. This default number of 10
-may be changed by overriding
-@code{MultiMeasureRest.expand-limit}.
-
-@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 unlike ordinary rests, 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 described in @ref{Text markup}.
-The variable @code{\fermataMarkup} is provided for adding
-fermatas.
+@var{note} - @code{\markup} syntax described in
+@ref{Text markup}. 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
measure to expand, and may collide with text in adjacent measures.
-Long text is better attached to a zero-length skip note preceding
-the rest, preceded by @code{\textLengthOn} (turn off again with
-@code{\textLengthOff}), since this will cause the measure to expand to
-accommodate the length of the text:
+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,relative=2]
-\set Score.skipBars = ##t
+\compressFullBarRests
\textLengthOn
s1*0^\markup {[MAJOR GENERAL]}
R1*19
@noindent
Text attached to a skip note in this way is left-aligned to the
position where the note would be placed in the bar, and placed
-above the bar count numeral, but because the bar length is
+above the bar count numeral, but if the bar length is
determined by the length of the text, the text will appear to be
centered. If two (or more) texts are
attached to skip notes in a bar the bar length is determined by
text of two marks is short enough to fit it will be placed
alongside and to the left of the bar 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
-Notation Reference: @ref{Durations}, @ref{Text},
-@ref{Text markup}, @ref{Text scripts}.
+Music Glossary:
+@rglos{multi-measure rest},
+@rglos{church rests}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Notation Reference:
+@ref{Durations},
+@ref{Text},
+@ref{Text markup},
+@ref{Text scripts}.
-Internals Reference: @internalsref{MultiMeasureRest}.
+Snippets: @lsrdir{Rhythms,Rhythms}
-The layout object @internalsref{MultiMeasureRestNumber} is for the
-default number, and @internalsref{MultiMeasureRestText} for user
-specified texts.
+Internals Reference:
+@internalsref{MultiMeasureRest},
+@internalsref{MultiMeasureRestNumber},
+@internalsref{MultiMeasureRestText}.
@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 rests into a
-single multi-measure rest. Multi-measure rests do not take part
-in rest collisions.
+There is no way to automatically condense multiple ordinary rests
+into a single multi-measure rest.
+
+@cindex rests, collisions of
+
+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
@cindex meter
@funindex \time
-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
-@snippets
+@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 symbol 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.
+Ancient time signatures are covered in
+@ref{Ancient time signatures}.
+
+@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 @internalsref{Score}. The
-property @code{measureLength} determines where bar lines should be
-inserted, and how automatic beams should be generated. Changing
-the value of @code{timeSignatureFraction} also causes the symbol
-to be printed.
+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
-
-More options 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 @internalsref{Measure_grouping_engraver} is
-included, the function will also 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)}:
+@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
+@internalsref{Measure_grouping_engraver} is included, the function
+will also create @internalsref{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
-Snippets: @lsrdir{Rhythms,Rhythms}
+Music Glossary:
+@rglos{time signature}
-Internals Reference: @internalsref{TimeSignature}, and
-@internalsref{Timing_translator}.
+Notation Reference:
+@ruser{Ancient time signatures},
+@ruser{Time administration}.
-Examples: @c @lsr{contemporary,compound-time-signature.ly}.
+Snippets:
+@lsrdir{Rhythms,Rhythms}
+
+Internals Reference:
+@internalsref{TimeSignature},
+@internalsref{Timing_translator}.
@knownissues
@cindex partial measure
@cindex measure, partial
@cindex pickup measure
-@cindex shorten measures
+@cindex measure, change length
+@cindex measurePosition
@funindex \partial
-Partial or pickup measures, such as an anacrusis or upbeat, are
+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 measure:
+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
+\partial 16*5 c16 cis d dis e |
+a2. c,4 |
+b2
@end lilypond
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 bar.}
+
+
+@seealso
+
+Music Glossary: @rglos{anacrusis}
+
+Notation Reference: @ref{Grace notes}
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+Internal Reference: @internalsref{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 grace 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.
-
-@seealso
-
-Snippets: @lsrdir{Rhythms,Rhythms}
+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
@subsubsection Unmetered music
-@cindex cadenza
@funindex \cadenzaOn
@funindex \cadenzaOff
+@cindex bar lines, turning off
+@cindex bar numbering, turning off
+@cindex cadenza
+@cindex unmetered music
Bar lines and bar numbers are calculated automatically. For
unmetered music (cadenzas, for example), this is not desirable.
-To turn off automatic bar lines 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
cadenza were not there:
@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
-\override Score.BarNumber #'break-visibility = ##( #t #t #t )
+% Show all bar numbers
+\override Score.BarNumber #'break-visibility = #all-visible
c4 d e d
\cadenzaOn
c4 c d8 d d f4 g4.
d4 e d c
@end lilypond
+@predefined
+
+@code{\cadenzaOn},
+@code{\cadenzaOff}.
+
+@seealso
+
+Music Glossary: @rglos{cadenza}
+
+Notation Reference: @ref{Controlling visibility of objects}
+
+Snippets: @lsrdir{Rhythms,Rhythms}
+
@knownissues
-LilyPond will only insert line breaks and page breaks at a
+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
@noindent
to indicate where breaks can occur.
-@seealso
-
-Snippets: @lsrdir{Rhythms,Rhythms}
-
@node Polymetric notation
@subsubsection Polymetric notation
-@c TODO Work this example into the main text
-@c @lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
-@c {printing-music-with-different-time-signatures.ly}
-
@cindex double time signatures
@cindex signatures, polymetric
@cindex polymetric signatures
@cindex meter, polymetric
-Music Glossary:
-@rglos{polymetric}
-@rglos{polymetric time signature}
-@rglos{meter}
+@strong{Alternating time signatures}
-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
-@c @lsr{contemporary,compound-time-signature}.
+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
+% Create 9/8 split into 2/4 + 5/8
tsMarkup = \markup {
\override #'(baseline-skip . 2) \number {
\column { "2" "4" }
\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 bar lengths}
+
+This notation can be created by setting a common time signature
+for each staff but replacing the symbol manually by setting
+@code{timeSignatureFraction} to the desired fraction and scaling
+the printed durations in each staff to the common time
+signature. This 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}.
+
+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
+
+@strong{Staves with different time signatures, unequal bar lengths}
+
+Each staff can be given its own independent time signature by
+moving the Timing_translator to the Staff context.
@lilypond[quote,verbatim,ragged-right]
\layout {
\consists "Default_bar_line_engraver"
}
}
-%Now, each staff has its own time signature.
+
+% Now each staff has its own time signature.
\relative c' <<
\new Staff {
@end lilypond
-A different form of polymetric notation is where note lengths have
-different values across staves, but the measures are all the same
-length.
-
-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
-
-@funindex \compressMusic
-
-@example
-\compressMusic
-#'(@var{numerator} . @var{denominator}) @var{musicexpr}
-@end example
+@seealso
+Music Glossary:
+@rglos{polymetric},
+@rglos{polymetric time signature},
+@rglos{meter}.
+Notation Reference: @ref{Scaling durations}
-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.
-
-@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
+Snippets:
+@lsrdir{Rhythms,Rhythms}
+@c Is this still permitted?
+@c @lsr{contemporary,compound-time-signature}
+Internals Reference:
+@internalsref{TimeSignature},
+@internalsref{Timing-translator},
+@internalsref{Staff}.
@knownissues
When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.
-@seealso
-
-Snippets: @lsrdir{Rhythms,Rhythms}, @c @lsr{contemporary,compound-time-signature}.
-
-Internals Reference: @internalsref{TimeSignature}, @internalsref{Timing-translator}, @internalsref{Staff}.
-
@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
-@internalsref{Note_heads_engraver} by the
-@internalsref{Completion_heads_engraver}. In the following
-examples, notes crossing the bar line are split and tied.
+@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,line-width=12\cm]
+@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
}
+
+{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 exactly show how
+measures are not entirely filled, then the ties show exactly how
much each measure is off.
-If you want to allow line breaking on the bar lines where
-@internalsref{Completion_heads_engraver} splits notes, you must
-also remove @internalsref{Forbid_line_break_engraver}.
+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.
-@knownissues
-
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
-
-@code{Completion_heads_engraver} only affects notes; it does not
-split rests.
+@seealso
+Music Glossary: @rglos{tie}
-@seealso
+Learning Manual:
+@rlearning{Engravers explained},
+@rlearning{Adding and removing engravers}.
Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{Note_heads_engraver},
+Internals Reference:
+@internalsref{Note_heads_engraver},
@internalsref{Completion_heads_engraver},
@internalsref{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 Beams
The beams of consecutive 16th (or shorter) notes are, by default,
not sub-divided. That is, the three (or more) beams stretch
-unbroken over entire groups of notes. This behaviour can
+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
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
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 eigth-note beam of
+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]
@cindex repeats
Although the bar line types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
+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 bar lines.
Internals Reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+staves), @internalsref{Timing_translator} (for Timing
properties).
@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
+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
% Print a bar number every 2nd bar
\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
+
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