version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.51"
+
+@ignore
+GDP TODO list
+
+1.2.3.1 Time signature
+Needs an example of beatLength, which is broken (see my recent
+mail
+to -bug). What to do? For now I've left a paragraph of text
+which really
+needs to be inserted with an example in a snippet.
+
+1.2.3.4 Polymetric notation
+Quite extensive changes. Could you please check through. Divided
+into three
+sections. Necessarily uses tweaks. I've also left an @lsr under
+@seealso
+Snippets - is this permitted or is @lsr now verboten? This
+snippet is too
+long to include, but seems relevant.
+A snippet "grouping beats" hasn't yet appeared (only sent to vv a
+couple of
+days ago). Text left in Snippets: with TODO.
+@end ignore
+
@node Rhythms
@section Rhythms
This section discusses rhythms, rests, durations, beaming and bars.
@menu
-* Writing rhythms::
-* Writing rests::
-* Displaying rhythms::
-* Beams::
-* Bars::
-* Special rhythmic concerns::
+* Writing rhythms::
+* Writing rests::
+* Displaying rhythms::
+* Beams::
+* Bars::
+* Special rhythmic concerns::
@end menu
@subsection Writing rhythms
@menu
-* Durations::
-* Tuplets::
-* Scaling durations::
-* Ties::
+* Durations::
+* Tuplets::
+* Scaling durations::
+* Ties::
@end menu
@node Durations
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.
@funindex \dotsNeutral
Dots are normally moved up to avoid staff lines, except in
-polyphonic situations. To force a particular direction manually,
-see @ref{Controlling direction and placement}.
+polyphonic situations. Predefined commands are available to
+force a particular direction manually, for details
+see @ref{Direction and placement}.
@predefined
-@code{\breve},
-@code{\longa},
-@code{\maxima},
+@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{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:
+@rlsr{Rhythms}.
-Internals Reference:
-@internalsref{Dots},
-@internalsref{DotColumn}.
+Internals Reference:
+@rinternals{Dots},
+@rinternals{DotColumn}.
@knownissues
@noindent
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
+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]
-a2 \times 2/3 {b4 b b}
-c4 c \times 2/3 {b4 a g}
-
+a2 \times 2/3 { b4 b b }
+c4 c \times 2/3 { b4 a g }
@end lilypond
@funindex \tupletUp
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}.
+details see @ref{Direction and placement}.
Tuplets may be nested:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\autoBeamOff
-c4 \times 4/5 { f8 e f \times 2/3 {e[ f g] } } f4 |
+c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
@end lilypond
Modifying nested tuplets which begin at the same musical moment
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{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.
-
-
-@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.
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-the-tuplet-number.ly}
-@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,doctitle]
+{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},
@ref{Objects connected to the input},
@ref{Polymetric notation}.
-Snippets: @lsrdir{Rhythms,Rhythms}.
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{TupletBracket},
+@rinternals{TupletNumber},
+@rinternals{TimeScaledMusic}.
-Internals Reference:
-@internalsref{TupletBracket},
-@internalsref{TupletNumber},
-@internalsref{TimeScaledMusic}.
+@knownissues
+@cindex grace notes within tuplet brackets
+When the first note on a staff is a grace note followed by a
+tuplet the grace note must be placed before the @code{\times}
+command to avoid errors. Anywhere else, grace notes may be
+placed within tuplet brackets.
@node Scaling durations
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
@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
+@funindex \scaleDurations
-@noindent
-This will leave the appearance of @emph{music} unchanged but
+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. This leaves the appearance of the 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:
+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) {
+\scaleDurations #'(2 . 3) {
<c a f>4. c8 a f
}
% Scale music by *2
-\compressMusic #'(2 . 1) {
+\scaleDurations #'(2 . 1) {
<c' a>4 c8 b
}
@end lilypond
@ref{Skips},
@ref{Polymetric notation}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{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[quote,ragged-right,fragment,verbatim]
-e' ~ e'
+e'2 ~ e'
@end lilypond
used when note values cross larger subdivisions of the measure:
@lilypond[fragment,quote,ragged-right]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
+\relative c' {
+ r8 c8 ~ c2 r4 |
+ r8^"not" c2 ~ c8 r4
}
@end lilypond
-If you need to tie a lot of notes across bar lines, it may be
+If you need to tie many notes across bar lines, it may be
easier to use automatic note splitting, see @ref{Automatic note
splitting}. This mechanism automatically splits long notes, and
ties them across bar lines.
the chord.
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
- <c e g> ~ <c e g>
+<c e g> ~ <c e g>
<c~ e g~ b> <c e g b>
@end lilypond
% 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 }}
+ { <c e>2\repeatTie d4 c } }
@end lilypond
@cindex laissez vibrer
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[fragment,ragged-right,verbatim,relative=1]
-<c f g>\laissezVibrer
+@lilypond[fragment,quote,ragged-right,verbatim,relative=1]
+<c f g>1\laissezVibrer
@end lilypond
@cindex ties, placement
The vertical placement of ties may be controlled, see
Predefined commands, or for details, see
-@ref{Controlling direction and placement}.
+@ref{Direction and placement}.
@cindex ties, appearance
@funindex \tieDotted
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
-@code{\tieSolid},
-@code{\repeatTie}.
+@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:
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{using-ties-with-arpeggios.ly}
-@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
-
-@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,doctitle]
+{engraving-ties-manually.ly}
@seealso
Notation Reference: @ref{Automatic note splitting}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
Internals Reference:
-@internalsref{LaissezVibrerTie},
-@internalsref{LaissezVibrerTieColumn},
-@internalsref{TieColumn},
-@internalsref{Tie}.
+@rinternals{LaissezVibrerTie},
+@rinternals{LaissezVibrerTieColumn},
+@rinternals{TieColumn},
+@rinternals{Tie}.
@knownissues
@node Writing rests
@subsection Writing rests
+Rests are entered as part of the music in music expressions.
+
@menu
* Rests::
* Skips::
@node Rests
@subsubsection Rests
@cindex rest
+@cindex rest, entering durations
@cindex maxima
@cindex longa
@cindex breve
@funindex \longa
@funindex \breve
-Rests are entered like notes with the note name @code{r};
-longer rests with the predefined commands shown:
+Rests are entered like notes with the note name @code{r}.
+Durations longer than a whole rest use the predefined
+commands shown:
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
}
@end lilypond
-Whole measure rests, centered in middle of the measure, must be
+@cindex rest, multi-measure
+@cindex rest, whole-measure
+
+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}.
+measure as well as many measures and are discussed in @ref{Full
+measure rests}.
+
+@cindex rest, specifying vertical position
To explicitly specify a rest's vertical position, write a note
-followed by @code{\rest}. A rest will be placed in the position
-where the note would appear. This allows for precise manual
-formatting of polyphonic music, since the automatic rest collision
-formatter will leave these rests alone.
+followed by @code{\rest}. A rest of the duration of the note will
+be placed at the staff position where the note would appear. This
+allows for precise manual formatting of polyphonic music, since the
+automatic rest collision formatter will not move these rests.
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a4\rest d4\rest
@end lilypond
-@predefined
-
-@code{\rest},
-@code{\maxima},
-@code{\longa},
-@code{\breve}.
-
@snippets
-@lilypondfile [verbatim,lilyquote,ragged-right,texidoc]
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
@seealso
-Notation Reference: @ref{Full measure rests}
+Notation Reference:
+@ref{Full measure rests}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{Rest}
+Internals Reference:
+@rinternals{Rest}.
@knownissues
longest and shortest), but the number of glyphs is limited: there
are rests from 128th to maxima (8 x whole).
+
@node Skips
@subsubsection Skips
@cindex invisible rest
@cindex rest, invisible
@cindex spacer note
-
-@funindex \skip
@funindex s
-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:
+An invisible rest (also called a @q{spacer rest}) can be entered
+like a note with the note name@tie{}@code{s}:
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-% Skip the third beat in the first bar
-a4 a4 s4 a4
-% Use predefined command to skip a whole note (bar)
-\skip 1
-a2 a2
+@lilypond[verbatim,quote,relative=2]
+c4 c s c
+s2 c
@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 predefined skip command:
+Spacer rests are available only in note mode and chord mode. In
+other situations, for example, when entering lyrics, @code{\skip}
+is used to skip a musical moment. @code{\skip} requires an
+explicit duration.
@lilypond[quote,ragged-right,verbatim,relative=2]
<<
- { a2 a2 }
- \new Lyrics \lyricmode { \skip 2 bla2 }
+ {
+ a2 \skip2 a2 a2
+ }
+ \new Lyrics {
+ \lyricmode {
+ foo2 \skip 1 bla2
+ }
+ }
>>
@end lilypond
-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:
+A spacer rest implicitly causes @code{Staff} and @code{Voice}
+contexts to be created if none exist, just like notes and rests
+do:
-@lilypond[quote,verbatim,fragment,ragged-right]
-{ s1 s s }
+@lilypond[quote,verbatim,fragment]
+s1 s s
@end lilypond
-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:
+@code{\skip} simply skips musical time; it creates no output of
+any kind.
-@example
+@lilypond[quote,verbatim,fragment]
% This is valid input, but does nothing
-@{ \skip 1 @}
-@end example
-
-@predefined
-@code{\skip}
+\skip 1 \skip1 \skip 1
+@end lilypond
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{SkipMusic}
+Internals Reference: @rinternals{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}, in
-uppercase, followed by a duration. The duration should
-correspond to an integral number of measures, otherwise a barcheck
-warning is printed. A 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
-By default, a multi-measure rest is 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:
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-% Default behaviour
-\time 4/4 r1 | R1 | R1*2 |
-\time 2/4 R2 |
-\time 4/4
-% Rest bars condensed to a single bar
-\set Score.skipBars = ##t
-R1*17 | R1*4 |
-@end lilypond
-
-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:
+The duration of full-measure rests is identical to the duration notation
+used for notes. The duration in a multi-measure rest must always be an
+integral number of measure-lengths, so augmentation
+dots or fractions must often be used:
@lilypond[quote,ragged-right,fragment,verbatim]
-\set Score.skipBars = ##t
+\compressFullBarRests
+\time 2/4
+R1 | R2 |
\time 3/4
-R2. | R2.*2
+R2. | R2.*2 |
\time 13/8
R1*13/8 | R1*13/8*12 |
-\time 10/8
+\time 10/8
R4*5*4 |
@end lilypond
-An @code{R} spanning a single measure is printed as either a whole
-or breve rest, centered in the measure, regardless of the time
+A full-measure rest is printed as either a whole
+or breve rest, centered in the measure, depending on the time
signature.
+@lilypond[quote,ragged-right,fragment,verbatim]
+\time 4/4
+R1 |
+\time 6/4
+R1*3/2 |
+\time 8/4
+R1*2 |
+@end lilypond
+@funindex \expandFullBarRests
+@funindex \compressFullBarRests
+@cindex multi-measure rest, expanding
+@cindex multi-measure rest, contracting
+
+By default a multi-measure rest is expanded in the printed score
+to show all the rest measures explicitly.
+Alternatively, a mult-measure rest can be shown as a single measure
+containing a multi-measure rest symbol, with the number of measures of rest
+printed above the measure:
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+% Default behavior
+\time 3/4 r2. | R2.*2 |
+\time 2/4 R2 |
+\time 4/4
+% Rest measures contracted to single measure
+\compressFullBarRests
+r1 | R1*17 | R1*4 |
+% Rest measures expanded
+\expandFullBarRests
+\time 3/4
+R2.*2 |
+@end lilypond
+
@cindex text on multi-measure rest
@cindex multi-measure rest, attaching text
@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.
+Markups can be added to multi-measure rests.
+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
-by @code{MultiMeasureRestText}, not
+@warning{
+Markups attached to a multi-measure rest are
+objects of type @code{MultiMeasureRestText}, not
@code{TextScript}. Overrides must be directed to the correct
-object, or they will be ignored. See the following example.}
+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
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:
-
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\set Score.skipBars = ##t
-\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 because 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{\fermataMarkup},
+@code{\compressFullBarRests},
+@code{\expandFullBarRests}.
@snippets
@cindex rest, church
@cindex kirchenpausen
-@c TODO Send as snippet "changing form of multi-measure rests"
-If there are 10 or fewer measures of rest, LilyPond prints
-a series of longa and breve rests (called in German
-Kirchenpausen - church rests) within the staff and
-prints a simple line otherwise. This default number of 10
-may be changed by an override:
-
-@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
-@c TODO End of snippet "changing form of multi-measure rests"
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{changing-form-of-multi--measure-rests.ly}
@cindex multi-measure rests, positioning
@cindex positioning multi-measure rests
-@c TODO Send as snippet "positioning multi-measure rests"
-Note that, unlike ordinary rests, there is no predefined command
-to change the vertical position on the staff of a multi-measure
-rest symbol of either form by attaching it to a note. However,
-in polyphonic music multi-measure rests in odd-numbered and
-even-numbered voices are vertically separated. The positioning
-of multi-measure rests can be controlled as follows:
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{positioning-multi--measure-rests.ly}
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-% Multi-measure rests by default are set under the 2nd line
-R1
-% They can be moved with an override
-\override MultiMeasureRest #'staff-position = #-2
-R1
-% A value of 0 is the default position;
-% the following trick moves the rest to the center line
-\override MultiMeasureRest #'staff-position = #-0.01
-R1
-% Multimeasure rests in odd-numbered voices are under the top line
-<< {R1} \\ {a1} >>
-% Multi-measure rests in even-numbered voices are under the bottom line
-<< {c1} \\ {R1} >>
-% They remain separated even in empty bars
-<< {R1} \\ {R1} >>
-% This brings them together even though there are two voices
-\set Score.skipBars = ##t
-<<
- \revert MultiMeasureRest #'staff-position
- {R1*3}
-\\
- \revert MultiMeasureRest #'staff-position
- {R1*3}
->>
+@c TODO -- convert to snippet
+Markups attached to a multi-measure rest will be centered above or
+below it. Long markups attached to multi-measure rests do not cause
+the measure to expand. To expand a multi-measure rest to fit the markup,
+use a spacer rest with an attached markup before the multi-measure rest:
+
+@c -- music is somewhat compressed vertically. I thought it
+@c was good because the emphasis is not on the content
+@c of the markup, but on the place the markup was attached -cs
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\compressFullBarRests
+\textLengthOn
+s1*0^\markup { [MAJOR GENERAL] }
+R1*19
+s1*0_\markup { \italic { Cue: ... it is yours } }
+s1*0^\markup { A }
+R1*30^\markup { [MABEL] }
+\textLengthOff
+c4^\markup { CHORUS } d f c
@end lilypond
-@c End snippet "positioning multi-measure rests"
+
+@noindent
+Note that the spacer rest causes a bar to be inserted.
+Text attached to a spacer rest in this way is left-aligned to the
+position where the note would be placed in the measure, but if the
+measure length is determined by the length of the text, the text will
+appear to be centered.
+
@seealso
Music Glossary:
-@rglos{multi-measure rest},
-@rglos{church rests}.
+@rglos{multi-measure rest}.
-Notation Reference:
-@ref{Durations},
+Notation Reference:
+@ref{Durations},
@ref{Text},
-@ref{Text markup},
+@ref{Formatting text},
@ref{Text scripts}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference:
-@internalsref{MultiMeasureRest},
-@internalsref{MultiMeasureRestNumber},
-@internalsref{MultiMeasureRestText}.
+Internals Reference:
+@rinternals{MultiMeasureRest},
+@rinternals{MultiMeasureRestNumber},
+@rinternals{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 rest, condensing ordinary
-There is no way to automatically condense multiple ordinary rests
+There is no way to automatically condense multiple ordinary rests
into a single multi-measure rest.
-Multi-measure rests do not take part in rest collisions.
-
-Be careful when entering multi-measure rests followed by whole
-notes. The following will enter two notes lasting four measures
-each:
-
-@example
-R1*4 cis cis
-@end example
+@cindex rest, collisions of
+Multi-measure rests do not take part in rest collisions.
@node Displaying rhythms
@subsection Displaying rhythms
@menu
-* Time signature::
-* Upbeats::
-* Unmetered music::
-* Polymetric notation::
-* Automatic note splitting::
+* Time signature::
+* Upbeats::
+* Unmetered music::
+* Polymetric notation::
+* Automatic note splitting::
+* Showing melody rhythms::
@end menu
@node 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
-@snippets
+@cindex Time signature, visibility of
+
+Time signatures are printed at the beginning of a piece
+and whenever the time signature changes. If a change takes place
+at the end of a line a warning time signature sign is printed
+there. This default behavior may be changed, see
+@ref{Controlling visibility of objects}.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4
+c2 c
+\break
+c c
+\break
+\time 4/4
+c c c c
+@end lilypond
-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,
+@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
+@rinternals{Measure_grouping_engraver} is included, the function
+will also create @rinternals{MeasureGrouping} signs. Such signs
+ease reading rhythmically complex modern music. In the example,
+the 9/8 measure is subdivided in 2, 2, 2 and 3. This is passed to
+@code{set-time-signature} as the third argument: @code{'(2 2 2 3)}:
@lilypond[quote,ragged-right,verbatim]
\score {
}
}
@end lilypond
+@c TODO End of snippet called "grouping beats"
+
+@cindex compound time signatures
+@cindex time signature, compound
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{compound-time-signatures.ly}
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Music Glossary:
+@rglos{time signature}
-Internals Reference: @internalsref{TimeSignature}, and
-@internalsref{Timing_translator}.
+Notation Reference:
+@ref{Ancient time signatures},
+@ref{Time administration}.
+
+Snippets:
+@rlsr{Rhythms}.
-Examples: @c @lsr{contemporary,compound-time-signature.ly}.
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{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 4 e4 |
+a2. c,4 |
+@end lilypond
+
+The partial measure can be any duration less than a full measure:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\partial 8*3 c8 d e |
+a2. c,4 |
@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 measure.}
+
+@seealso
+
+Music Glossary: @rglos{anacrusis}
+
+Notation Reference: @ref{Grace notes}
+
+Snippets:
+@rlsr{Rhythms}.
+Internal Reference:
+@rinternals{Timing_translator}
@knownissues
+@cindex grace notes, in anacruses
+
This command does not take into account grace notes at the start
-of the music. When a piece starts with 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:
+@rlsr{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 measure lengths}
+
+This notation can be created by setting a common time signature
+for each staff but replacing the symbol manually by setting
+@code{timeSignatureFraction} to the desired fraction and scaling
+the printed durations in each staff to the common time
+signature. This done with @code{\scaleDurations}, which
+is used in a similar way to @code{\times}, but does not create
+a tuplet bracket, see @ref{Scaling durations}.
+
+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)
+ \scaleDurations #'(2 . 3)
+ \repeat unfold 6 { c8[ c c] }
+ }
+ \new Staff {
+ \time 3/4
+ \set Staff.timeSignatureFraction = #'(10 . 8)
+ \scaleDurations #'(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 @code{Timing_translator} to the @code{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 {
\time 3/4
- c4 c c | c c c |
+ c4 c c |
+ c c c |
}
\new Staff {
\time 2/4
- c4 c | c c | c c
+ c4 c |
+ c c |
+ c c |
}
\new Staff {
\time 3/8
- c4. c8 c c c4. c8 c c
+ c4. |
+ c8 c c |
+ c4. |
+ c8 c c |
}
>>
@end lilypond
-A different form of polymetric notation is where note lengths have
-different values across staves, but the 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:
+@rlsr{Rhythms}.
+@c Is this still permitted?
+@c @lsr{contemporary,compound-time-signature}
+Internals Reference:
+@rinternals{TimeSignature},
+@rinternals{Timing-translator},
+@rinternals{Staff}.
@knownissues
When using different time signatures in parallel, the spacing is
aligned vertically, but bar lines distort the regular spacing.
-@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.
+
+
+@seealso
+
+Music Glossary: @rglos{tie}
+
+Learning Manual:
+@rlearning{Engravers explained},
+@rlearning{Adding and removing engravers}.
+
+Snippets:
+@rlsr{Rhythms}.
+
+Internals Reference:
+@rinternals{Note_heads_engraver},
+@rinternals{Completion_heads_engraver},
+@rinternals{Forbid_line_break_engraver}.
@knownissues
represented exactly with normal notes and dots, but the engraver
will not insert tuplets.
-@code{Completion_heads_engraver} only affects notes; it does not
+The @code{Completion_heads_engraver} only affects notes; it does not
split rests.
-@seealso
-
-Snippets: @lsrdir{Rhythms,Rhythms}
-
-Internals Reference: @internalsref{Note_heads_engraver},
-@internalsref{Completion_heads_engraver},
-@internalsref{Forbid_line_break_engraver}.
-
+@node Showing melody rhythms
+@subsubsection Showing melody rhythms
+Sometimes you might want to show only the rhythm of a melody. This
+can be done with the rhythmic staff. All pitches of notes on such a
+staff are squashed, and the staff itself has a single line
+@c TODO Devise a more realistic example, perhaps with lyrics -td
+@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+\new RhythmicStaff {
+ \time 4/4
+ c4 e8 f g2 | r4 g r2 | g1 | r1 |
+}
+@end lilypond
@node Beams
@subsection Beams
@menu
-* Automatic beams::
-* Setting automatic beam behavior::
-* Manual beams::
-* Feathered beams::
+* Automatic beams::
+* Setting automatic beam behavior::
+* Manual beams::
+* Feathered beams::
@end menu
@node Automatic 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
-be modified to sub-divide the beams into sub-groups by setting
-the property @code{subdivideBeams}. When set, multiple beams
+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
@cindex line breaks
Line breaks are normally forbidden when beams cross bar lines.
-This behavior can be changed by setting the @code{breakable}
+This behavior can be changed by setting the @code{breakable}
property: @code{\override Beam #'breakable = ##t}.
@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
\override Beam #'breakable = ##t
-c8 \repeat unfold 15 {c[ c] } c
+c8 \repeat unfold 15 { c[ c] } c
@end lilypond
@cindex beams and line breaks
Kneed beams are inserted automatically when a large gap is
detected between the note heads. This behavior can be tuned
through the @code{auto-knee-gap} property. A kneed beam is
-drawn if the gap is larger than the value of
+drawn if the gap is larger than the value of
@code{auto-knee-gap} plus the width of the beam object (which
depends on the duration of the notes and the slope of the beam).
By default @code{auto-knee-gap} is set to 5.5 staff spaces.
Notation Reference: @ref{Manual beams}, @ref{Setting automatic beam behavior}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{Beam}.
+Internals Reference: @rinternals{Beam}.
@knownissues
@end example
@noindent
-be, p, q, n, m, a, b and context are the same as above. Note that the
+@code{be}, @code{p}, @code{q}, @code{n}, @code{m}, @code{a},
+@code{b} and @code{context} are the same as above. Note that the
default rules are specified in @file{scm/@/auto@/-beam@/.scm},
so you can revert rules that you did not explicitly create.
a16 a a a a a a a a a a a a a a a
@end lilypond
-The rule in a revert-auto-beam-setting statement must exactly match the
-original rule. That is, no wildcard expansion is taken into account.
+The rule in a @code{revert-auto-beam-setting} statement must exactly
+match the original rule. That is, no wildcard expansion is taken into
+account.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\time 1/4
3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
3/8, has passed within the measure).
-If any unexpected beam behaviour occurs, check the default automatic beam
+If any unexpected beam behavior occurs, check the default automatic beam
settings in @file{scm/@/auto@/-beam@/.scm}
for possible interference, because the beam
endings defined there will still apply on top of your own overrides. Any
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Manual beams
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]
@subsubsection Feathered beams
@cindex beams, feathered
-@funindex \featherDurations
+@funindex \featherDurations
Feathered beams are used to indicate that a small group of notes
should be played at an increasing (or decreasing) tempo, without
-changing the overall tempo of the piece. The extent of the
+changing the overall tempo of the piece. The extent of the
feathered beam must be indicated manually using @code{[} and
-@code{]}, and the beam feathering is turned on by specifying a
-direction to the Beam property @code{grow-direction}.
+@code{]}, and the beam feathering is turned on by specifying a
+direction to the @code{Beam} property @code{grow-direction}.
If the placement of the notes and the sound in the MIDI output
is to reflect the ritardando or accelerando indicated by the
The square brackets
show the extent of the beam and the braces show
-which notes are to have their durations modified. Normally
+which notes are to have their durations modified. Normally
these would delimit the same group of notes, but this is not
-required: the two commands are independent.
+required: the two commands are independent.
In the following example the eight 16th notes occupy exactly the
same time as a half note, but the first note is one half as long
@end lilypond
@noindent
-The spacing in the printed output represents the
+The spacing in the printed output represents the
note durations only approximately, but the midi output is exact.
@knownissues
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@menu
-* Bar lines::
-* Bar numbers::
-* Bar and bar number checks::
-* Rehearsal marks::
+* Bar lines::
+* Bar numbers::
+* Bar and bar number checks::
+* Rehearsal marks::
@end menu
@node Bar lines
Bar lines delimit measures, and are also used to indicate
repeats. Normally, simple bar lines are automatically inserted
-into the printed output at places based on the current time
-signature.
+into the printed output at places based on the current time
+signature.
-The simple bar lines inserted automatically can be changed to
+The simple bar lines inserted automatically can be changed to
other types with the @code{\bar} command. For example, a closing
double bar line is usually placed at the end of a piece:
@warning{An incorrect duration can lead to poorly formatted
music.}
-
-It is not invalid if the final note in a bar does not
-end on the automatically entered bar line: the note is assumed
-to carry over into the next bar. But if a long sequence
-of such carry-over bars appears the music can appear compressed
+
+It is not invalid if the final note in a measure does not
+end on the automatically entered bar line: the note is assumed
+to carry over into the next measure. But if a long sequence
+of such carry-over measures appears the music can appear compressed
or even flowing off the page. This is because automatic line
-breaks happen only at the end of complete bars, i.e. where
-the end of a note coincides with the end of a bar.
+breaks happen only at the end of complete measures, i.e., where
+the end of a note coincides with the end of a measure.
@cindex line breaks
@cindex bar lines, invisible
@cindex measure lines, invisible
Line breaks are also permitted at manually inserted bar lines
-even within incomplete bars. To allow a line break without
+even within incomplete measures. To allow a line break without
printing a bar line, use
@example
@noindent
This will insert an invisible bar line and allow (but not
-force) a line break to occur at this point. The bar number
-counter is not increased. To force a line break see
+force) a line break to occur at this point. The bar number
+counter is not increased. To force a line break see
@ref{Line breaking}.
This and other special bar lines may be inserted manually at any
-point. When they coincide with the end of a bar they replace
-the simple bar line which would have been inserted there
+point. When they coincide with the end of a measure they replace
+the simple bar line which would have been inserted there
automatically. When they do not coincide
-with the end of a bar the specified bar line is inserted at that
+with the end of a measure the specified bar line is inserted at that
point in the printed output. Such insertions do not affect
-the calculation and placement of subsequent automatic bar lines.
+the calculation and placement of subsequent automatic bar lines.
The simple bar line and four types of double bar line are available
for manual insertion:
@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.
In addition, you can specify @code{"||:"}, which is equivalent to
@code{"|:"} except at line breaks, where it gives a double bar
line at the end of the line and a start repeat at the beginning of
-the next line.
+the next line.
@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
-\bar "||:"
+\bar "||:"
c c c c \break
-\bar "||:"
+\bar "||:"
c c c c
@end lilypond
@funindex defaultBarType
The command @code{\bar }@var{bartype} is a shortcut for
-@code{\set Timing.whichBar = }@var{bartype}. A bar line is
+@code{\set Timing.whichBar = }@var{bartype}. A bar line is
created whenever the @code{whichBar} property is
-set.
+set.
The default bar type used for automatically inserted bar lines is
@code{"|"}. This may be changed at any time
-with @code{\set Timing.defaultBarType = }@var{bartype}.
+with @code{\set Timing.defaultBarType = }@var{bartype}.
@seealso
@c FIXME: node name changed, but is subject to further changes.
@c @ref{System start delimiters}.
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{BarLine} (created at
-@internalsref{Staff} level), @internalsref{SpanBar} (across
-staves), @internalsref{Timing_translator} (for Timing
+Internals Reference: @rinternals{BarLine} (created at
+@rinternals{Staff} level), @rinternals{SpanBar} (across
+staves), @rinternals{Timing_translator} (for Timing
properties).
@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 and moved into the Snippets. -gp
@noindent
-and here the bar numbers are printed every two bars
+and here the bar numbers are printed every two measures
except at the end of the line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\override Score.BarNumber #'break-visibility = ##(#f #t #t)
\set Score.currentBarNumber = #11
\bar "" % Permit first bar number to be printed
-% Print a bar number every 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c c c c
\break
@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
+in the following example, which also shows how to enclose bar
numbers in boxes and circles, and shows an alternative way
of specifying @code{#(#f #t #t)} for @code{break-visibility}.
\override Score.BarNumber #'break-visibility
= #end-of-line-invisible
-% Increase the size of the bar number by 2
+% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
\repeat unfold 3 { c1 } \bar "|"
Bar numbers by default are left-aligned to their parent object.
This is usually the left edge of a line or, if numbers are printed
-within a line, the left bar line of the bar. The numbers may also
-be positioned directly on the bar line or right-aligned to the
+within a line, the left bar line of the measure. The numbers may also
+be positioned directly on the bar line or right-aligned to the
bar line:
@lilypond[verbatim,ragged-right,quote,fragment,relative]
\override Score.BarNumber #'break-visibility = ##(#t #t #t)
% Increase the size of the bar number by 2
\override Score.BarNumber #'font-size = #2
-% Print a bar number every 2nd bar
+% Print a bar number every second measure
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
c1 c1
-% Centre-align bar numbers
+% Center-align bar numbers
\override Score.BarNumber #'self-alignment-X = #0
c1 c1
% Right-align bar numbers
c1 c1
@end lilypond
-Bar numbers can be removed entirely by removing the Bar number
-engraver from the score context.
+Bar numbers can be removed entirely by removing the
+@code{Bar_number_engraver} from the @code{Score} context.
@lilypond[verbatim,ragged-right,quote]
\layout {
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{BarNumber}.
+Internals Reference: @rinternals{BarNumber}.
@knownissues
Bar numbers may collide with the top of the
-@internalsref{StaffGroup} bracket, if there is one. To solve
-this, the @code{padding} property of @internalsref{BarNumber} can
+@rinternals{StaffGroup} bracket, if there is one. To solve
+this, the @code{padding} property of @rinternals{BarNumber} can
be used to position the number correctly.
Bar numbers may only be printed at bar lines; to print a bar
@funindex |
Bar checks help detect errors in the entered durations.
-A bar check may be entered using the bar symbol, @code{|},
-at any place where a bar line is expected to fall.
-If bar check lines are encountered at other places,
+A bar check may be entered using the bar symbol, @code{|},
+at any place where a bar line is expected to fall.
+If bar check lines are encountered at other places,
a list of warnings is printed in the log file,
-showing the line numbers and lines
+showing the line numbers and lines
in which the bar checks failed. In the next
example, the second bar check will signal an error.
@funindex |
@funindex pipeSymbol
-It is also possible to redefine the action taken when a bar check
-or pipe symbol, @code{|}, is encountered in the input, so that
-it does something other than a bar check. This is done by
-assigning a music expression to @code{pipeSymbol}.
-In the following example @code{|} is set to insert a double bar
-line wherever it appears in the input, rather than checking
+It is also possible to redefine the action taken when a bar check
+or pipe symbol, @code{|}, is encountered in the input, so that
+it does something other than a bar check. This is done by
+assigning a music expression to @code{pipeSymbol}.
+In the following example @code{|} is set to insert a double bar
+line wherever it appears in the input, rather than checking
for end of bar.
@lilypond[quote,ragged-right,verbatim]
pipeSymbol = \bar "||"
-{
+{
c'2 c'2 |
c'2 c'2
c'2 | c'2
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Rehearsal marks
printed with @code{\musicglyph}.
For common tweaks to the positioning of rehearsal marks, see
-@ref{Text marks}.
+@ref{Formatting text}.
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-This manual: @ref{The Feta font}, @ref{Text marks}.
+This manual: @ref{The Feta font}, @ref{Formatting text}.
-Internals Reference: @internalsref{RehearsalMark}.
+Internals Reference: @rinternals{RehearsalMark}.
Init files: @file{scm/@/translation@/-functions@/.scm} contains
the definition of @code{format-mark-numbers} and
@menu
-* Grace notes::
-* Aligning to cadenzas::
-* Time administration::
+* Grace notes::
+* Aligning to cadenzas::
+* Time administration::
@end menu
@node Grace notes
example:
@lilypond[quote,ragged-right,relative=2,verbatim,fragment]
-b4 \acciaccatura d8 c4
+b4 \acciaccatura d8 c4
\appoggiatura e8 d4
\acciaccatura { g16[ f] } e4
@end lilypond
@noindent
-@code{\acciaccatura} and @code{\appoggiatura} start a slur,
+@code{\acciaccatura} and @code{\appoggiatura} start a slur,
@code{\grace} does not.
The placement of grace notes is synchronized between different
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[ragged-right, verbatim,relative=2,fragment]
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
c1 \afterGrace d1 { c16[ d] } c4
@end lilypond
This will put the grace notes after a @q{space} lasting 3/4 of the
length of the main note. The fraction 3/4 can be changed by
-setting @code{afterGraceFraction}, ie.
+setting @code{afterGraceFraction}, i.e.,
@example
#(define afterGraceFraction (cons 7 8))
@noindent
By adjusting the duration of the skip note (here it is a
-half-note), the space between the main-note and the grace
+half-note), the space between the main note and the grace
may be adjusted.
A @code{\grace} music expression will introduce special
in other staves by setting @code{strict-grace-spacing} to
##t:
-@lilypond[relative=2,ragged-right]
+@lilypond[verbatim,quote,relative=2]
<<
\override Score.SpacingSpanner #'strict-grace-spacing = ##t
\new Staff {
- c'4
- \afterGrace
- c'4
- { c'16[ c'8 c'16] }
- c'4
- }
+ c4
+ \afterGrace c4 { c16[ c8 c16] }
+ c4 r
+ }
\new Staff {
- c'16[ c'16 c'16 c'16]
- c'16[ c'16 c'16 c'16]
- c'4
+ c16 c c c c c c c c4 r
}
>>
@end lilypond
@rglos{acciaccatura},
@rglos{appoggiatura}
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
-Internals Reference: @internalsref{GraceMusic}.
+Internals Reference: @rinternals{GraceMusic}.
@knownissues
-A multi-note beamed @emph{acciaccatura} is printed without a slash,
+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
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
+functions take a piece of music as argument, and generate a multi-measure
+rest or @code{\skip}, exactly as long as the piece. The use of
@code{mmrest-of-length} is demonstrated in the following example.
@lilypond[verbatim,ragged-right,quote]
@seealso
-Snippets: @lsrdir{Rhythms,Rhythms}
+Snippets:
+@rlsr{Rhythms}.
@node Time administration
The following properties of @code{Timing} are used
to keep track of timing within the score.
-
+
@cindex bar number
@cindex measure number
@item measurePosition
The point within the measure where we currently are. This
quantity is reset by subtracting @code{measureLength} whenever
-@code{measureLength} is reached or exceeded. When that happens,
+@code{measureLength} is reached or exceeded. When that happens,
@code{currentBarNumber} is incremented.
@item timing
@end table
Timing can be changed by setting any of these variables
-explicitly. In the next example, the default 4/4 time
+explicitly. In the next example, the default 4/4 time
signature is printed, but @code{measureLength} is set to 5/4.
At 4/8 through the third measure, the @code{measurePosition} is
advanced by 1/8 to 5/8, shortening that bar by 1/8.
This manual: @ref{Bar numbers}, @ref{Unmetered music}
-Snippets: @lsrdir{Rhythms,Rhythms}
-
-Internals Reference: @internalsref{Timing_translator},
-@internalsref{Score}
-
-
-
-
-
-
-
-
-
-
-
-
-
-
+Snippets:
+@rlsr{Rhythms}.
+Internals Reference: @rinternals{Timing_translator},
+@rinternals{Score}
projects / lilypond.git / blobdiff