@node Rhythms
@section Rhythms
-@lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
-{rhythms-headword.ly}
+@lilypondfile[quote]{rhythms-headword.ly}
-This section discusses rhythms, durations, and bars.
+This section discusses rhythms, rests, durations, beaming and bars.
@menu
* Writing rhythms::
@end menu
@node Durations
-@unnumberedsubsubsec Durations
+@subsubsection Durations
+
+@cindex durations, of notes
+@cindex note durations
-@cindex duration
@funindex \longa
@funindex \breve
@funindex \maxima
-When entering notes, durations are designated by numbers and dots:
-durations are entered as their reciprocal values. For example, a
+Durations are designated by numbers and dots.
+Durations are entered as their reciprocal values. For example, a
quarter note is entered using a @code{4} (since it is a 1/4 note),
-while a half note is entered using a @code{2} (since it is a 1/2
+and a half note is entered using a @code{2} (since it is a 1/2
note). For notes longer than a whole you must use the
-@code{\longa} (a double breve) and @code{\breve} commands. Note
-durations as short as 64th notes may be specified. Shorter values
+@code{\longa} (a double breve) and @code{\breve} commands.
+Durations as short as 64th notes may be specified. Shorter values
are possible, but only as beamed notes.
@c Two 64th notes are needed to obtain beams
@end lilypond
@noindent
-and the same durations with automatic beaming turned off
-see @ref{Automatic beams}:
+Here are the same durations with automatic beaming turned off.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
c4 c8 c16 c32 c64 c64
@end lilypond
-If the duration is omitted then it is set to the previously
+A note with the duration of a quadruple breve may be entered with
+@code{\maxima}, but this is supported only within ancient music
+notation. For details, see @ref{Ancient notation}.
+
+If the duration is omitted, it is set to the previously
entered duration. The default for the first note is a quarter
note.
a a a2 a a4 a a1 a
@end lilypond
+@cindex notes, dotted
+@cindex dotted notes
@funindex .
-To obtain dotted note lengths, simply add a dot (@code{.}) to the
-number. Double-dotted notes are produced in a similar way.
+To obtain dotted note lengths, place a dot (@code{.}) after the
+duration. Double-dotted notes are specified by appending two
+dots, and so on.
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a4 b c4. b8 a4. b4.. c8.
@end lilypond
-Some durations cannot be entered using only binary durations
-and dots, and can only be represented by tying two or more
-notes together. Tied notes are covered in @ref{Ties}.
+Some durations cannot be represented with just binary durations
+and dots; they can be represented only by tying two or more
+notes together. For details, see @ref{Ties}.
-@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
-@code{\dotsNeutral}.
-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. Predefined commands are available to
+force a particular direction manually, for details
+see @ref{Controlling direction and placement}.
-A note with the duration of a quadruple breve may be entered with
-@code{\maxima}, but this is supported only within ancient music
-notation; see @ref{Ancient notation}.
+@predefined
-Optionally, notes can be spaced proportionately to their duration.
-For details of this and other settings which control proportional
-notation see @ref{Proportional notation}.
+@code{\autoBeamOff},
+@code{\dotsUp},
+@code{\dotsDown},
+@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{Writing rests}, @ref{Vocal music},
-@ref{Ancient notation}, @ref{Proportional notation}.
+Notation Reference:
+@ref{Automatic beams},
+@ref{Ties},
+@ref{Writing rhythms},
+@ref{Writing rests},
+@ref{Vocal music},
+@ref{Ancient notation},
+@ref{Proportional notation}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}.
-Internals Reference: @internalsref{Dots},
+Internals Reference:
+@internalsref{Dots},
@internalsref{DotColumn}.
-@refbugs
-
-@c duplicated in Durations and Rests. -gp
-There is no fundamental limit to note durations (both in terms of
-longest and shortest), but the number of glyphs is limited: there
-are flags up to 64th and rests up to 128th. At the other extreme,
-there are note heads up to longa (4x whole note) and rests up to
-maxima (8 x whole). Since beams can be stacked without needing
-extra glyphs, beamed notes can be arbitrarily short.
+@knownissues
+@c Deliberately duplicated in Durations and Rests. -gp
+There is no fundamental limit to rest durations (both in terms of
+longest and shortest), but the number of glyphs is limited:
+rests from 128th to maxima (8 x whole) may be printed.
@node Tuplets
-@unnumberedsubsubsec Tuplets
+@subsubsection Tuplets
@cindex tuplets
@cindex triplets
@funindex \times
-@c TODO Add Tuplet to glossary
-
-Tuplets are made out of a music expression by multiplying all
+Tuplets are made from a music expression by multiplying all the
durations with a fraction:
@example
-\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
-@end lilypond
+a2 \times 2/3 {b4 b b}
+c4 c \times 2/3 {b4 a g}
-Tuplets may be nested, for example,
-
-@lilypond[fragment,ragged-right,verbatim,relative=2]
-\times 2/3 {
- a4 a
- \times 3/5 { a a a a a }
-}
@end lilypond
-@refcommands
-
@funindex \tupletUp
-@code{\tupletUp},
@funindex \tupletDown
-@code{\tupletDown},
@funindex \tupletNeutral
-@code{\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}.
-@commonprop
+Tuplets may be nested:
-@funindex tupletNumberFormatFunction
-@cindex tuplet 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 }
+@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
-@noindent
-For more information about @code{make-moment}, see
-@ref{Time administration}.
+Modifying nested tuplets which begin at the same musical moment
+must be done with @code{\tweak}.
-The format of the number is determined by the property @code{text}
-in @code{TupletNumber}. The default prints only the denominator,
-but if the property is set with @code{\override
-TupletNumber #'text = #tuplet-number::calc-fraction-text},
-@var{num}:@var{den} will be printed instead.
+To modify the duration of notes without printing a tuplet bracket,
+see @ref{Scaling durations}.
-To print tuplets without tuplet numbers, use
-@code{\override TupletNumber #'transparent = ##t}:
+@predefined
-@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
+@code{\tupletUp},
+@code{\tupletDown},
+@code{\tupletNeutral}.
-To change the appearance of nested tuplets beginning at the same
-music moment individually, the @code{\tweak} function must be used
-(see @ref{Objects connected to the input}). In the following
-example, @code{\tweak} specifies fraction text for the outer
-@code{TupletNumber} and denominator text for the
-@code{TupletNumber} of the first of the three inner tuplets.
-@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
+@snippets
-@c TODO: after LM 6 Tweaks includes \tweak info, look at this.-gp
-@c It *should* be explained why \tweak must be used here, and why
-@c \override doesn't work. I've made an attempt, but I'm not sure
-@c if it is factually correct to say that \tweak must be used.
-In the next example, @code{\tweak} and @code{\override} work
-together to specify @code{TupletBracket} direction. The first
-@code{\tweak} positions the @code{TupletBracket} of the outer
-tuplet above the staff. The second @code{\tweak} positions the
-@code{TupletBracket} of the first of the three inner tuplets below
-the staff. Note that the @code{\tweak} function affects only
-events that begin at the same music moment: the outer tuplet and
-the first of the three inner tuplets. To position the
-@code{TupletBrackets} of the second and third of the inner tuplets
-below the staff, we use @code{\override} in the usual way.
+@cindex tuplet formatting
+@cindex triplet formatting
-@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
+@funindex tupletNumberFormatFunction
+@funindex tupletSpannerDuration
-Tuplet brackets can be made to run to prefatory matter or the next
-note:
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{entering-several-tuplets-using-only-one--times-command.ly}
-@lilypond[ragged-right,verbatim,quote]
-\new RhythmicStaff {
- \set tupletFullLength = ##t
- \set tupletFullLengthNote = ##t
- \time 2/4
- \times 2/3 { c4 c c }
- \set tupletFullLengthNote = ##f
- \time 4/4
- \times 4/5 { c4 c1 }
- \time 3/4
- c4
-}
-@end lilypond
+@funindex TupletNumber
-@refbugs
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{changing-the-tuplet-number.ly}
-Tuplets which cross bar lines will prevent a line break at that
-point.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{permitting-line-breaks-within-beamed-tuplets.ly}
@seealso
-@code{\compressMusic} works similarly to \times, but does not
-create a tuplet bracket; see @ref{Polymetric notation}.
+Music Glossary:
+@rglos{triplet},
+@rglos{tuplet},
+@rglos{polymetric}.
+
+Learning Manual: @rlearning{Tweaking methods}.
-FIXME: totally irrelevant link to real-music for
-discussion/demonstration purposes.
+Notation Reference:
+@ref{Time administration},
+@ref{Scaling durations},
+@ref{Objects connected to the input},
+@ref{Polymetric notation}.
-Snippets: @lsrdir{rhythms},
-@lsr{real-music,creating-music-with-scheme.ly}.
+Snippets: @lsrdir{Rhythms,Rhythms}.
-Internals Reference: @internalsref{TupletBracket},
-@internalsref{TupletNumber}, and @internalsref{TimeScaledMusic}.
+Internals Reference:
+@internalsref{TupletBracket},
+@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
-@unnumberedsubsubsec Scaling durations
+@subsubsection Scaling durations
+
+@cindex scaling durations
+@cindex durations, scaling
-You can alter the length of a duration by a fraction @var{N/M}
-by appending @code{*@var{N/M}} (or @code{*@var{N}} if @var{M=1}).
+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.
This will not affect the appearance of the notes or rests
produced, but the altered duration will be used in calculating the
position within the measure and setting the duration in the MIDI
-output. Multiplying factors may be combined
-such as @code{*M*N}.
+output. Multiplying factors may be combined such as @code{*L*M/N}.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\time 2/4
+% Alter durations to triplets
a4*2/3 gis4*2/3 a4*2/3
-a4 a4 a4*2
+% Normal durations
+a4 a4
+% Double the duration of chord
+<a d>4*2
+% Duration of quarter, appears like 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 measures, e.g.,
+a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
+@cindex compressing music
+@funindex \compressMusic
+
+Longer stretches of music may be compressed by a fraction in
+the same way, as if every note, chord or rest had the fraction
+as a multiplier. The general syntax of the command to do this
+is:
+
+@example
+\compressMusic #'(@emph{num} . @emph{den}) @{ @emph{music} @}
+@end example
+
+@noindent
+This will leave the appearance of @emph{music} unchanged but
+the internal duration of the notes will be multiplied by the
+fraction @emph{num}/@emph{den}. The spaces around the dot
+are required. Here is an example showing how music can be
+compressed and expanded:
+
+@lilypond[quote,fragment,relative=2,ragged-right,verbatim]
+\time 2/4
+% Normal durations
+<c a>4 c8 a
+% Scale music by *2/3
+\compressMusic #'(2 . 3) {
+ <c a f>4. c8 a f
+}
+% Scale music by *2
+\compressMusic #'(2 . 1) {
+ <c' a>4 c8 b
+}
+@end lilypond
+
+@noindent
+One application of this command is in polymetric
+notation, see @ref{Polymetric notation}.
+
+
@seealso
-This manual: @ref{Tuplets}, @ref{Skips}, @ref{Polymetric notation}.
+Notation Reference:
+@ref{Tuplets},
+@ref{Skips},
+@ref{Polymetric notation}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
-Snippets: @lsrdir{rhythms}
@node Ties
-@unnumberedsubsubsec Ties
+@subsubsection Ties
@cindex tie
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
-in effect extends the length of a note.
+in effect extends the duration of a note.
@warning{Ties should not be confused with @emph{slurs}, which
indicate articulation, or @emph{phrasing slurs}, which indicate
-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{~}
@end lilypond
If you need to tie a lot of notes across bar lines, it may be
-easier to use automatic note splitting (see @ref{Automatic note
-splitting}). This mechanism automatically splits long notes, and
+easier to use automatic note splitting, see @ref{Automatic note
+splitting}. This mechanism automatically splits long notes, and
ties them across bar lines.
-@funindex \repeatTie
-@cindex repeating ties
-@cindex volta brackets and ties
+@cindex ties and chords
+@cindex chords and ties
When a tie is applied to a chord, all note heads whose pitches
match are connected. When no note heads match, no ties will be
<c~ e g~ b> <c e g b>
@end lilypond
+@funindex \repeatTie
+@cindex repeating ties
+@cindex ties, repeating
+@cindex volta brackets and ties
+@cindex ties and volta brackets
+
When a second alternative of a repeat starts with a tied note, you
-have to repeat the tie. This can be achieved with
-@code{\repeatTie},
+have to specify the repeated tie as follows:
@lilypond[fragment,quote,ragged-right,relative=2,verbatim]
\repeat volta 2 { c g <c e>2 ~ }
-\alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
+\alternative {
+ % 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
+@cindex laissez vibrer
+@cindex ties, laissez vibrer
+@funindex \laissezVibrer
@notation{L.v.} ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
piano, harp and other string and percussion instruments. They can
-be entered using @code{\laissezVibrer}:
+be entered as follows:
@lilypond[fragment,ragged-right,verbatim,relative=1]
<c f g>\laissezVibrer
@end lilypond
-The direction of a tie can be specified with @code{\tieUp} or
-@code{\tieDown} (see example below). @code{\tieNeutral} reverts
-to the default behaviour again.
-
-However, as with other music elements of this kind, there is a
-convenient shorthand for forcing tie directions. By adding
-@code{_} or @code{^} before the tilde, the direction is also set:
-
-@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
-c4_~ c c^~ c)
-@end lilypond
-
-
-@seealso
-
-Snippets: @lsrdir{rhythms}
-
-Internals Reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
-
-Example files:
-@lsr{connecting,laissez-vibrer-ties.ly}
-
-
-@commonprop
-
-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
+@cindex ties, placement
+@funindex \tieUp
+@funindex \tieDown
+@funindex \tieNeutral
-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).
+The vertical placement of ties may be controlled, see
+Predefined commands, or for details, see
+@ref{Controlling direction and placement}.
-@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
+@cindex ties, appearance
+@funindex \tieDotted
+@funindex \tieDashed
+@funindex \tieSolid
+Solid, dotted or dashed ties may be specified, see Predefined
+commands.
-@refcommands
+@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}.
-@seealso
+@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: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{Tie}.
+Internals Reference:
+@internalsref{LaissezVibrerTie},
+@internalsref{LaissezVibrerTieColumn},
+@internalsref{TieColumn},
+@internalsref{Tie}.
-@refbugs
+@knownissues
Switching staves when a tie is active will not produce a slanted
tie.
@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 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{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
a4\rest d4\rest
@end lilypond
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{rest-styles.ly}
+
@seealso
-Snippets: @lsrdir{rhythms}
+Notation Reference: @ref{Full measure rests}
-Internals Reference: @internalsref{Rest}.
+Snippets: @lsrdir{Rhythms,Rhythms}
+Internals Reference: @internalsref{Rest}
-@refbugs
-@c duplicated in Durations and Rests. -gp
-There is no fundamental limit to note durations (both in terms of
-longest and shortest), but the number of glyphs is limited: there
-are flags up 64th and rests up to 128th. At the other extreme,
-there are note heads up to longa (4x whole note) and rests up to
-maxima (8 x whole). Since beams can be stacked without needing
-extra glyphs, beamed notes can be arbitrarily short.
+@knownissues
+@c Deliberately duplicated in Durations and Rests. -gp
+There is no fundamental limit to rest durations (both in terms of
+longest and shortest), but the number of glyphs is limited: 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 @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 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 if necessary, barlines.
+For example, the following results in a complete staff with three
+short empty bars:
-@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}
+Snippets: @lsrdir{Rhythms,Rhythms}
-Internals Reference: @internalsref{SkipMusic}.
+Internals Reference: @internalsref{SkipMusic}
-@node Multi measure rests
-@unnumberedsubsubsec Multi measure rests
+@node Full measure rests
+@subsubsection Full measure rests
-@cindex multi measure rests
-@cindex full measure rests
-@cindex Rests, multi measure
-@cindex Rests, full measure
-@cindex whole rests for a full measure
+@cindex 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. 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 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.
-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 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{\fatText} (turn off again with
-@code{\emptyText}), 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
-\fatText
+\compressFullBarRests
+\textLengthOn
s1*0^\markup {[MAJOR GENERAL]}
R1*19
s1*0^\markup {[MABEL] }
s1*0_\markup {\italic {Cue: ... it is yours}}
R1*30
+\textLengthOff
c4^\markup {CHORUS} d f c
@end lilypond
+@noindent
+Text attached to a skip note in this way is left-aligned to the
+position where the note would be placed in the bar, and placed
+above the bar count numeral, but 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
+the longer text, and the shorter text is then clearly
+left-aligned, as shown in the second bar above. If the shorter
+text of two marks is short enough to fit it will be placed
+alongside and to the left of the bar count numeral.
+
+@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}, @ref{Text scripts}.
-
-Snippets: @lsrdir{rhythms}
+Music Glossary:
+@rglos{multi-measure rest},
+@rglos{church rests}.
-Internals Reference:
+Notation Reference:
+@ref{Durations},
+@ref{Text},
+@ref{Text markup},
+@ref{Text scripts}.
-@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}.
-@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.
-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.
+@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
@end menu
@node Time signature
-@unnumberedsubsubsec Time signature
+@subsubsection Time signature
-@cindex Time signature
+@cindex time signature
@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
-@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 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.
-
-@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)}:
+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
+@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}
+Music Glossary:
+@rglos{time signature}
-Internals Reference: @internalsref{TimeSignature}, and
-@internalsref{Timing_translator}.
+Notation Reference:
+@ruser{Ancient time signatures},
+@ruser{Time administration}.
-Examples: @lsr{contemporary,compound-time-signature.ly}.
+Snippets:
+@lsrdir{Rhythms,Rhythms}
+Internals Reference:
+@internalsref{TimeSignature},
+@internalsref{Timing_translator}.
-@refbugs
+
+@knownissues
Automatic beaming does not use the measure grouping specified with
@code{set-time-signature}.
@node Upbeats
-@unnumberedsubsubsec Upbeats
+@subsubsection Upbeats
@cindex anacrusis
@cindex upbeat
@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}
-@refbugs
+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}
+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
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
d4 e d c
@end lilypond
+Bar numbering is resumed at the end of the cadenza as if the
+cadenza were not there:
+
+@lilypond[verbatim,quote,ragged-right,relative=2,fragment]
+% 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
+
+@code{\cadenzaOn},
+@code{\cadenzaOff}.
+
+@seealso
+
+Music Glossary: @rglos{cadenza}
+
+Notation Reference: @ref{Controlling visibility of objects}
-@refbugs
+Snippets: @lsrdir{Rhythms,Rhythms}
-LilyPond will only insert line breaks and page breaks at a
+@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
@noindent
to indicate where breaks can occur.
-@seealso
-
-Snippets: @lsrdir{rhythms}
-
@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
+% 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}.
-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.
+Notation Reference: @ref{Scaling durations}
-@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}.
-@refbugs
+@knownissues
When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.
-@seealso
-
-Snippets: @lsrdir{rhythms}
-
@node Automatic note splitting
-@unnumberedsubsubsec 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.
-@refbugs
-
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the engraver
-will not insert tuplets.
+@seealso
-@code{Completion_heads_engraver} only affects notes; it does not
-split rests.
+Music Glossary: @rglos{tie}
+Learning Manual:
+@rlearning{Engravers explained},
+@rlearning{Adding and removing engravers}.
-@seealso
+Snippets: @lsrdir{Rhythms,Rhythms}
-Snippets: @lsrdir{rhythms}
-
-Internals Reference: @internalsref{Completion_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
* Automatic beams::
* Setting automatic beam behavior::
* Manual beams::
+* Feathered beams::
@end menu
@node Automatic beams
-@unnumberedsubsubsec Automatic beams
+@subsubsection Automatic beams
-By default beams are inserted automatically:
+By default, beams are inserted automatically:
+
+@cindex beams, manual
+@cindex manual beams
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\time 2/4 c8 c c c
@end lilypond
-@commonprop
+@snippets
Beaming patterns may be altered with the @code{beatGrouping} property,
c8[^"(3+2)" c16 c8]
@end lilypond
-The property @code{subdivideBeams} can be set in order to
-subdivide all 16th or shorter beams. When set, multiple beams
-will be sub-divided at beat positions, defined by the current
-value of @code{beatLength} (defaults to a quarter note), by
-drawing only one beam over the beat.
+The beams of consecutive 16th (or shorter) notes are, by default,
+not sub-divided. That is, the three (or more) beams stretch
+unbroken over entire groups of notes. This behavior can
+be modified to sub-divide the beams into sub-groups by setting
+the property @code{subdivideBeams}. When set, multiple beams
+will be sub-divided at intervals defined by the current value of
+@code{beatLength} by reducing the multiple beams to just one beam
+between the sub-groups. Note that @code{beatLength} lives in the
+@code{Score} context and defaults to a quarter note. It must be
+set to a fraction giving the duration of the beam sub-group
+using the @code{make-moment} function, as shown here:
@lilypond[fragment,ragged-right,quote,relative=2,verbatim]
c32[ c c c c c c c]
\set subdivideBeams = ##t
c32[ c c c c c c c]
+% Set beam sub-group length to an eighth note
\set Score.beatLength = #(ly:make-moment 1 8)
c32[ c c c c c c c]
+% Set beam sub-group length to a sixteenth note
\set Score.beatLength = #(ly:make-moment 1 16)
c32[ c c c c c c c]
@end lilypond
@ref{Time administration}.
@funindex breakable
+@cindex break, line
+@cindex line breaks
Line breaks are normally forbidden when beams cross bar lines.
This behavior can be changed by setting the @code{breakable}
@seealso
-Snippets: @lsrdir{rhythms}
+Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
+
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{Beam}.
-@refbugs
+@knownissues
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
-Beams can collide with noteheads and accidentals in other voices
+Beams can collide with note heads and accidentals in other voices
@node Setting automatic beam behavior
-@unnumberedsubsubsec Setting automatic beam behavior
+@subsubsection Setting automatic beam behavior
@funindex autoBeamSettings
@funindex (end * * * *)
@c [TODO: use \applyContext]
In normal time signatures, automatic beams can start on any note
-but can only end in a few positions within the measure: beams can
+but can end in only a few positions within the measure: beams can
end on a beat, or at durations specified by the properties in
@code{autoBeamSettings}. The properties in
@code{autoBeamSettings} consist of a list of rules for where beams
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},
@code{\autoBeamOn}.
-@refbugs
+@knownissues
If a score ends while an automatic beam has not been ended and is
still accepting notes, this last beam will not be typeset at all.
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Manual beams
-@unnumberedsubsubsec Manual beams
+@subsubsection Manual beams
@cindex beams, manual
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]
@end lilypond
-@commonprop
+@snippets
+
+@node Feathered beams
+@subsubsection Feathered beams
@cindex beams, feathered
@funindex \featherDurations
these would delimit the same group of notes, but this is not
required: the two commands are independent.
-In the following example the eight 16th notes occupy exactly
-the same time as a half note, but the first note is twice
-as short as the last one, with the intermediate notes gradually
-lengthening. The first four 32nd notes gradually speed up,
-while the last four 32nd notes are at a constant tempo.
+In the following example the eight 16th notes occupy exactly the
+same time as a half note, but the first note is one half as long
+as the last one, with the intermediate notes gradually
+lengthening. The first four 32nd notes gradually speed up, while
+the last four 32nd notes are at a constant tempo.
@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
\override Beam #'grow-direction = #LEFT
The spacing in the printed output represents the
note durations only approximately, but the midi output is exact.
-@refbugs
+@knownissues
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@end menu
@node Bar lines
-@unnumberedsubsubsec Bar lines
+@subsubsection Bar lines
-@cindex Bar lines
+@cindex bar lines
@funindex \bar
@cindex measure lines
@cindex repeat bars
breaks happen only at the end of complete bars, i.e. where
the end of a note coincides with the end of a bar.
+@cindex line breaks
+@cindex bar lines, invisible
+@cindex measure lines, invisible
+
Line breaks are also permitted at manually inserted bar lines
even within incomplete bars. To allow a line break without
printing a bar line, use
f1 \bar "|:" g \bar ":|:" a \bar ":|" b
@end lilypond
+@cindex repeats
+
Although the bar line types signifying repeats may be inserted
-manually they do not in themselves cause LilyPond to recognise
+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.
@end lilypond
-@commonprop
+@snippets
@funindex whichBar
@funindex defaultBarType
@seealso
-Notation Reference: @ref{Repeats}, @ref{System start delimiters}.
+Notation Reference: @ref{Line breaking}, @ref{Repeats},
+@c FIXME: node name changed, but is subject to further changes.
+@c @ref{System start delimiters}.
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{BarLine} (created at
@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+staves), @internalsref{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]
c1 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
+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
c c c c c
@end lilypond
+@cindex measure number, format
+@cindex bar number, format
+
The size of the bar number may be changed. This is illustrated
in the following example, which also shows how to enclose bar
numbers in boxes and circles, and shows an alternative way
\repeat unfold 4 { c1 } \bar "|."
@end lilypond
-@cindex Bar number alignment
+@cindex bar number alignment
Bar numbers by default are left-aligned to their parent object.
This is usually the left edge of a line or, if numbers are printed
% 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
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{BarNumber}.
-Examples: @lsrdir{bar number}
-
-@refbugs
+@knownissues
Bar numbers may collide with the top of the
@internalsref{StaffGroup} bracket, if there is one. To solve
@node Bar and bar number checks
-@unnumberedsubsubsec Bar and bar number checks
+@subsubsection Bar and bar number checks
-@cindex Bar check
+@cindex bar check
@funindex barCheckSynchronize
@funindex |
a list of warnings is printed in the log file,
showing the line numbers and lines
in which the bar checks failed. In the next
-example, the second bar check will signal an error
+example, the second bar check will signal an error.
@example
\time 3/4 c2 e4 | g2 |
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Rehearsal marks
-@unnumberedsubsubsec Rehearsal marks
+@subsubsection Rehearsal marks
-@cindex Rehearsal marks
+@cindex rehearsal marks
+@cindex mark, rehearsal
@funindex \mark
To print a rehearsal mark, use the @code{\mark} command
mark manually. The value to use is stored in the property
@code{rehearsalMark}.
+@cindex rehearsal mark format
+@cindex rehearsal mark style
+@cindex style, rehearsal mark
+@cindex format, rehearsal mark
+@cindex mark, rehearsal, style
+@cindex mark, rehearsal, format
+
The style is defined by the property @code{markFormatter}. It is
a function taking the current mark (an integer) and the current
context as argument. It should return a markup object. In the
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
-This manual: @ref{Text marks}.
+This manual: @ref{The Feta font}, @ref{Text marks}.
Internals Reference: @internalsref{RehearsalMark}.
@code{format-mark-letters}. They can be used as inspiration for
other formatting functions.
-Examples: @lsr{parts,rehearsal-mark-numbers.ly}
+Examples: @c @lsr{parts,rehearsal-mark-numbers.ly}
@node Special rhythmic concerns
@end menu
@node Grace notes
-@unnumberedsubsubsec Grace notes
+@subsubsection Grace notes
@funindex \grace
@cindex ornaments
@funindex \afterGrace
+@cindex grace notes, following
+
If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
notes following the main note.
seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
them other effects may be obtained.
+@cindex stem, with slash
+
@noindent
The slash through the stem in @emph{acciaccatura}s can be obtained in
other situations by @code{\override Stem #'stroke-style =
#"grace"}.
-@commonprop
+@snippets
Grace notes may be forced to use align with regular notes
in other staves by setting @code{strict-grace-spacing} to
@seealso
-Snippets: @lsrdir{rhythms}
+Music Glossary:
+@rglos{grace notes},
+@rglos{acciaccatura},
+@rglos{appoggiatura}
+
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{GraceMusic}.
-@refbugs
+@knownissues
A multi-note beamed @emph{acciaccatura} is printed without a slash,
and looks exactly the same as a multi-note beamed
@emph{appoggiatura}.
-@c TODO Add link to LSR snippet to add slash when available
+@c TODO Add link to LSR snippet to add slash when available
Grace note synchronization can also lead to surprises. Staff
notation, such as key signatures, bar lines, etc., are also
supported, and might produce crashes or other errors.
@node Aligning to cadenzas
-@unnumberedsubsubsec Aligning to cadenzas
+@subsubsection Aligning to cadenzas
+
+@cindex cadenza
+@cindex cadenza, aligning to
+@cindex aligning to cadenza
In an orchestral context, cadenzas present a special problem: when
constructing a score that includes a cadenza, all other
instruments should skip just as many notes as the length of the
cadenza, otherwise they will start too soon or too late.
-A solution to this problem are the functions
+A solution to this problem is to use the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
-functions take a piece of music as argument, and generate a
-multi-rest or @code{\skip}, exactly as long as the piece. The use
-of @code{mmrest-of-length} is demonstrated in the following
-example.
+functions take a piece of music as argument, and generate a multi-rest
+or @code{\skip}, exactly as long as the piece. The use of
+@code{mmrest-of-length} is demonstrated in the following example.
@lilypond[verbatim,ragged-right,quote]
cadenza = \relative c' {
@seealso
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
@node Time administration
-@unnumberedsubsubsec Time administration
+@subsubsection Time administration
-@cindex Time administration
+@cindex time administration
+@cindex timing (within the score)
+@cindex music, unmetered
+@cindex unmetered music
@funindex currentBarNumber
@funindex measurePosition
The following properties of @code{Timing} are used
to keep track of timing within the score.
+@cindex bar number
+@cindex measure number
+
@table @code
@item currentBarNumber
The current measure number. For an example showing the
This manual: @ref{Bar numbers}, @ref{Unmetered music}
-Snippets: @lsrdir{rhythms}
+Snippets: @lsrdir{Rhythms,Rhythms}
Internals Reference: @internalsref{Timing_translator},
@internalsref{Score}
+
+
+
+
+
+
+
+
+
+
+
+
projects / lilypond.git / blobdiff