X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=9f0adb7741f002a7b8371061f08366fc66889d58;hb=cca3c4542eded4f78aad08ed0928c368d7695e9a;hp=f0d518d99d1720d3de4b9ef9c82c12e95aaadae8;hpb=9a40bd63b77375ac7ac1085d7eda9f5680bf06dd;p=lilypond.git
diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index f0d518d99d..9f0adb7741 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -7,7 +7,7 @@
Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.44"
+@c \version "2.19.22"
@node Rhythms
@section Rhythms
@@ -60,21 +60,25 @@ whole you must use the @code{\longa} (a double breve) and
specified. Shorter values are possible, but only as beamed notes.
@c Two 64th notes are needed to obtain beams
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
Here are the same durations with automatic beaming turned off.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
-@lilypond[quote,verbatim,relative=2]
-\time 8/1
-\autoBeamOff
-c\longa c\breve c1 c2
-c4 c8 c16 c32 c64 c128 c128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ \autoBeamOff
+ c''\longa c\breve c1 c2
+ c4 c8 c16 c32 c64 c128 c128
+}
@end lilypond
A note with the duration of a quadruple breve may be entered with
@@ -89,8 +93,19 @@ If the duration is omitted, it is set to the previously
entered duration. The default for the first note is a quarter
note.
-@lilypond[quote,verbatim,relative=2]
-a a a2 a a4 a a1 a
+@lilypond[quote,verbatim]
+\relative { a' a a2 a a4 a a1 a }
+@end lilypond
+
+Durations occuring on their own within a music sequence will take
+their pitches from the preceding note or chord.
+
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c'' \longa \breve 1 2
+ 4 8 16 32 64 128 128
+}
@end lilypond
@cindex notes, dotted
@@ -104,8 +119,8 @@ 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,verbatim,relative=2]
-a4 b c4. b8 a4. b4.. c8.
+@lilypond[quote,verbatim]
+\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
Some durations cannot be represented with just binary durations
@@ -142,9 +157,11 @@ the staff; see @ref{Direction and placement}.
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-number-of-augmentation-dots-per-note.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{alternative-breve-notes.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{changing-the-number-of-augmentation-dots-per-note.ly}
@seealso
Music Glossary:
@@ -171,9 +188,7 @@ Internals Reference:
@rinternals{Dots},
@rinternals{DotColumn}.
-
@knownissues
-
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited:
@@ -186,26 +201,39 @@ rests from 128th to maxima (8 x whole) may be printed.
@cindex tuplets
@cindex triplets
-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet
-Tuplets are made from a music expression by multiplying all the
-durations with a fraction:
+Tuplets are made from a music expression with the @code{\tuplet}
+command, multiplying the speed of the music expression by a fraction:
@example
-\times @var{fraction} @{ @var{music} @}
+\tuplet @var{fraction} @{ @var{music} @}
@end example
@noindent
-The duration of @code{@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.
+The fraction's numerator will be printed over or under the notes,
+optionally with a bracket. The most common tuplets are triplets
+(3@tie{}notes sound within the duration normally allowed for@tie{}2).
+
+@lilypond[quote,verbatim]
+\relative {
+ a'2 \tuplet 3/2 { b4 4 4 }
+ c4 c \tuplet 3/2 { b4 a g }
+}
+@end lilypond
+
+@cindex tuplet grouping
+@noindent
+When entering long passages of tuplets, having to write a separate
+@code{\tuplet} command for each group is inconvenient. It is possible
+to specify the duration of one tuplet group directly before the music
+in order to have the tuplets grouped automatically:
-@lilypond[quote,verbatim,relative=2]
-a2 \times 2/3 { b4 b b }
-c4 c \times 2/3 { b4 a g }
+@lilypond[quote,verbatim]
+\relative {
+ g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+}
@end lilypond
@cindex tuplet bracket placement
@@ -217,22 +245,31 @@ c4 c \times 2/3 { b4 a g }
@funindex \tupletNeutral
@funindex tupletNeutral
-Tuplet brackets may be manually placed above or below the staff;
-see @ref{Direction and placement}.
+Tuplet brackets may be manually placed above or below the staff:
+
+@lilypond[quote,verbatim]
+\relative {
+ \tupletUp \tuplet 3/2 { c''8 d e }
+ \tupletNeutral \tuplet 3/2 { c8 d e }
+ \tupletDown \tuplet 3/2 { f,8 g a }
+ \tupletNeutral \tuplet 3/2 { f8 g a }
+}
+@end lilypond
Tuplets may be nested:
-@lilypond[quote,verbatim,relative=2]
-\autoBeamOff
-c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
+@lilypond[quote,verbatim]
+\relative {
+ \autoBeamOff
+ c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
+}
@end lilypond
-Modifying nested tuplets which begin at the same musical moment
-must be done with @code{\tweak}.
-
-To modify the duration of notes without printing a tuplet bracket,
-see @ref{Scaling durations}.
+Modifying nested tuplets which begin at the same musical moment must be
+done with @code{\tweak}.
+To modify the duration of notes without printing a tuplet bracket, see
+@ref{Scaling durations}.
@predefined
@code{\tupletUp},
@@ -249,26 +286,25 @@ see @ref{Scaling durations}.
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{entering-several-tuplets-using-only-one--times-command.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{entering-several-tuplets-using-only-one--tuplet-command.ly}
@cindex Tuplet number changes
@funindex TupletNumber
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-the-tuplet-number.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{non-default-tuplet-numbers.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{controlling-tuplet-bracket-visibility.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-
@seealso
Music Glossary:
@rglos{triplet},
@@ -279,6 +315,7 @@ Learning Manual:
@rlearning{Tweaking methods}.
Notation Reference:
+@ref{Direction and placement},
@ref{Time administration},
@ref{Scaling durations},
@ref{The tweak command},
@@ -293,51 +330,40 @@ Internals Reference:
@rinternals{TimeScaledMusic}.
-@cindex grace notes within tuplet brackets
-
-@knownissues
-Grace notes may be placed within tuplet brackets, @emph{except}
-when a staff begins with a grace note followed by a tuplet. In this
-particular case, the grace note must be placed before the @code{\times}
-command to avoid errors.
-
-@cindex tempo marks within tuplet brackets
-
-When using a tuplet at the beginning of a piece with a @code{\tempo}
-mark, the music must be explicitly entered in a @code{\new Voice}
-block, as discussed in @rlearning{Voices contain music}.
-
-
@node Scaling durations
@unnumberedsubsubsec Scaling durations
@cindex scaling durations
@cindex durations, scaling
-You can alter the duration of single notes, rests or chords by a
+The duration of single notes, rests or chords may be multiplied 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{*L*M/N}.
+in the MIDI output. Multiplying factors may be combined like
+@code{*L*M/N}. Factors are part of the duration: if a duration is
+not specified for subsequent notes, the default duration taken from
+the preceding note will include any scaling factor.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Alter durations to triplets
-a4*2/3 gis4*2/3 a4*2/3
-% Normal durations
-a4 a4
-% Double the duration of chord
-4*2
-% Duration of quarter, appears like sixteenth
-b16*4 c4
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Alter durations to triplets
+ a'4*2/3 gis a
+ % Normal durations
+ a4 a
+ % Double the duration of chord
+ 4*2
+ % Duration of quarter, appears like sixteenth
+ b16*4 c4
+}
@end lilypond
-The duration of spacing notes may also be modified by
+The duration of spacer rests may also be modified by
a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
@@ -351,28 +377,28 @@ 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}. Here is an example showing how music
+can be compressed and expanded:
-@lilypond[quote,relative=2,verbatim]
-\time 2/4
-% Normal durations
-4 c8 a
-% Scale music by *2/3
-\scaleDurations #'(2 . 3) {
- 4. c8 a f
-}
-% Scale music by *2
-\scaleDurations #'(2 . 1) {
- 4 c8 b
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ % Normal durations
+ 4 c8 a
+ % Scale music by *2/3
+ \scaleDurations 2/3 {
+ 4. c8 a f
+ }
+ % Scale music by *2
+ \scaleDurations 2/1 {
+ 4 c8 b
+ }
}
@end lilypond
One application of this command is in polymetric
notation, see @ref{Polymetric notation}.
-
@seealso
Notation Reference:
@ref{Tuplets},
@@ -382,6 +408,15 @@ Notation Reference:
Snippets:
@rlsr{Rhythms}.
+@knownissues
+The calculation of the position within a measure must take into
+account all the scaling factors applied to the notes within that
+measure and any fractional carry-out from earlier measures. This
+calculation is carried out using rational numbers. If an intermediate
+numerator or denominator in that calculation exceeds 2^30 the
+execution and typesetting will stop at that point without indicating
+an error.
+
@node Ties
@unnumberedsubsubsec Ties
@@ -398,10 +433,19 @@ indicate articulation, or @emph{phrasing slurs}, which indicate
musical phrasing. A tie is just a way of extending a note
duration, similar to the augmentation dot.}
-A tie is entered using the tilde symbol (@code{~}).
+A tie is entered by appending a tilde symbol (@code{~}) to the first
+of each pair of notes being tied. This indicates that the note
+should be tied to the following note, which must be at the same pitch.
+
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
+@end lilypond
+
+Ties can make use of the @q{last explicit pitch} interpretation of
+isolated durations:
-@lilypond[quote,verbatim,relative=2]
-a2 ~ a
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Ties are used either when the note crosses a bar line, or when
@@ -409,9 +453,9 @@ dots cannot be used to denote the rhythm. Ties should also be
used when note values cross larger subdivisions of the measure:
@lilypond[verbatim,quote]
-\relative c' {
- r8 c8 ~ c2 r4 |
- r8^"not" c2 ~ c8 r4
+\relative {
+ r8 c'~ 2 r4 |
+ r8^"not" c2~ 8 r4
}
@end lilypond
@@ -425,12 +469,15 @@ ties them across bar lines.
When a tie is applied to a chord, all note heads whose pitches
match are connected. When no note heads match, no ties will be
-created. Chords may be partially tied by placing the tie inside
+created. Chords may be partially tied by placing the ties inside
the chord.
-@lilypond[quote,verbatim,relative=1]
- ~
-
+@lilypond[quote,verbatim]
+\relative c' {
+ 2~ 2 |
+ 4~
+ |
+}
@end lilypond
@cindex repeating ties
@@ -444,13 +491,16 @@ the chord.
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
-@lilypond[quote,relative=2,verbatim]
-\repeat volta 2 { c g 2 ~ }
-\alternative {
- % First alternative: following note is tied normally
- { 2. r4 }
- % Second alternative: following note has a repeated tie
- { 2\repeatTie d4 c } }
+@lilypond[quote,verbatim]
+\relative {
+ \repeat volta 2 { c'' g 2~ }
+ \alternative {
+ % First alternative: following note is tied normally
+ { 2. r4 }
+ % Second alternative: following note has a repeated tie
+ { 2\repeatTie d4 c }
+ }
+}
@end lilypond
@cindex laissez vibrer
@@ -464,8 +514,8 @@ notes must not be damped at the end. It is used in notation for
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[quote,verbatim,relative=1]
-1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+1\laissezVibrer
@end lilypond
@cindex ties, placement
@@ -477,7 +527,7 @@ be entered as follows:
@funindex \tieNeutral
@funindex tieNeutral
-Ties may be manually placed above or below the staff; see
+Ties may be made to curve up or down manually; see
@ref{Direction and placement}.
@cindex ties, appearance
@@ -496,34 +546,54 @@ Ties may be manually placed above or below the staff; see
Ties may be made dashed, dotted, or a combination of solid and
dashed.
-@lilypond[quote, verbatim, relative=1]
-\tieDotted
-c2 ~ c
-\tieDashed
-c2 ~ c
-\tieHalfDashed
-c2 ~ c
-\tieHalfSolid
-c2 ~ c
-\tieSolid
-c2 ~ c
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDotted
+ c2~ 2
+ \tieDashed
+ c2~ 2
+ \tieHalfDashed
+ c2~ 2
+ \tieHalfSolid
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
Custom dash patterns can be specified:
-@lilypond[quote, verbatim, relative=1]
-\tieDashPattern #0.3 #0.75
-c2 ~ c
-\tieDashPattern #0.7 #1.5
-c2 ~ c
-\tieSolid
-c2 ~ c
+@lilypond[quote, verbatim]
+\relative c' {
+ \tieDashPattern #0.3 #0.75
+ c2~ 2
+ \tieDashPattern #0.7 #1.5
+ c2~ 2
+ \tieSolid
+ c2~ 2
+}
@end lilypond
-Dash pattern definitions for ties have the same structure as
-dash pattern definitions for slurs.
-For more information about complex dash patterns,
-see the snippets under @ref{Slurs}.
+Dash pattern definitions for ties have the same structure as dash
+pattern definitions for slurs. For more information about complex dash
+patterns, see @ref{Slurs}.
+
+Override @var{whiteout} and @var{layer} layout properties of objects
+that should cause a gap in ties.
+
+@lilypond[verbatim,quote,ragged-right]
+\relative {
+ \override Tie.layer = #-2
+ \override Staff.TimeSignature.layer = #-1
+ \override Staff.KeySignature.layer = #-1
+ \override Staff.TimeSignature.whiteout = ##t
+ \override Staff.KeySignature.whiteout = ##t
+ b'2 b~
+ \time 3/4
+ \key a \major
+ b r4
+}
+@end lilypond
@predefined
@code{\tieUp},
@@ -537,16 +607,14 @@ see the snippets under @ref{Slurs}.
@code{\tieSolid}.
@endpredefined
-
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{using-ties-with-arpeggios.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
-
@seealso
Music Glossary:
@rglos{tie},
@@ -557,6 +625,7 @@ Notation Reference:
@ref{Automatic note splitting}.
Snippets:
+@rlsr{Expressive marks},
@rlsr{Rhythms}.
Internals Reference:
@@ -565,14 +634,11 @@ Internals Reference:
@rinternals{TieColumn},
@rinternals{Tie}.
-
@knownissues
-Switching staves when a tie is active will not produce a slanted
-tie.
-
-Changing clefs or ottavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
+Switching staves when a tie is active will not produce a slanted tie.
+Changing clefs or ottavations during a tie is not really well-defined.
+In these cases, a slur may be preferable.
@node Writing rests
@@ -611,11 +677,11 @@ commands:
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
- \override Staff.TimeSignature #'stencil = ##f
+ \omit Staff.TimeSignature
% Print a maxima rest, equal to four breves
r\maxima
% Print a longa rest, equal to two breves
@@ -642,16 +708,15 @@ 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[quote,verbatim,relative=2]
-a4\rest d4\rest
+@lilypond[quote,verbatim]
+\relative { a'4\rest d4\rest }
@end lilypond
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
-
@seealso
Music Glossary:
@rglos{breve},
@@ -667,9 +732,7 @@ Snippets:
Internals Reference:
@rinternals{Rest}.
-
@knownissues
-
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
@@ -692,9 +755,11 @@ are rests from 128th to maxima (8 x whole).
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
-@lilypond[verbatim,quote,relative=2]
-c4 c s c
-s2 c
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 c s c |
+ s2 c |
+}
@end lilypond
@cindex lyrics, skip
@@ -706,10 +771,10 @@ command @code{\skip} is used to skip a musical moment.
the lyrics derive their durations from the notes in an associated
melody through @code{\addlyrics} or @code{\lyricsto}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- a2 \skip2 a2 a2
+ a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
@@ -722,14 +787,14 @@ melody through @code{\addlyrics} or @code{\lyricsto}.
Because @code{\skip} is a command, it does not affect the default
durations of following notes, unlike@tie{}@code{s}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
{
- \repeat unfold 8 { a4 }
+ \repeat unfold 8 { a'4 }
}
{
- a4 \skip 2 a |
- s2 a
+ a'4 \skip 2 a' |
+ s2 a'
}
>>
@end lilypond
@@ -739,19 +804,18 @@ 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,relative=2]
-s1 s s
+@lilypond[quote,verbatim]
+{ s1 s s }
@end lilypond
@code{\skip} simply skips musical time; it creates no output of
any kind.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% This is valid input, but does nothing
-\skip 1 \skip1 \skip 1
+{ \skip 1 \skip1 \skip 1 }
@end lilypond
-
@seealso
Learning Manual:
@rlearning{Visibility and color of objects}.
@@ -777,18 +841,21 @@ Internals Reference:
@cindex whole rest for a full measure
@cindex rest, whole for a full measure
+@funindex compressMMRests
+@funindex \compressMMRests
@funindex R
Rests for one or more full measures are entered like notes with
the note name uppercase @code{R}:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% Rest measures contracted to single measure
-\compressFullBarRests
-R1*4
-R1*24
-R1*4
-b2^"Tutti" b4 a4
+\compressMMRests {
+ R1*4
+ R1*24
+ R1*4
+ b'2^"Tutti" b'4 a'4
+}
@end lilypond
The duration of full-measure rests is identical to the duration
@@ -796,22 +863,23 @@ 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,verbatim,relative=2]
-\compressFullBarRests
-\time 2/4
-R1 | R2 |
-\time 3/4
-R2. | R2.*2 |
-\time 13/8
-R1*13/8 | R1*13/8*12 |
-\time 10/8
-R4*5*4 |
+@lilypond[quote,verbatim]
+\compressMMRests {
+ \time 2/4
+ R1 | R2 |
+ \time 3/4
+ R2. | R2.*2 |
+ \time 13/8
+ R1*13/8 | R1*13/8*12 |
+ \time 10/8
+ R4*5*4 |
+}
@end lilypond
A full-measure rest is printed as either a whole or breve rest,
centered in the measure, depending on the time signature.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
R1 |
\time 6/4
@@ -823,26 +891,21 @@ R1*2 |
@cindex multi-measure rest, expanding
@cindex multi-measure rest, contracting
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-
By default a multi-measure rest is expanded in the printed score to
show all the rest measures explicitly. Alternatively, a multi-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,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% 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
+\compressMMRests {
+ r1 | R1*17 | R1*4 |
+}
+% Rest measures expanded again
\time 3/4
R2.*2 |
@end lilypond
@@ -865,11 +928,12 @@ Markups can be added to multi-measure rests.
The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
-@lilypond[quote,verbatim,relative=2]
-\compressFullBarRests
-\time 3/4
-R2.*10^\markup { \italic "ad lib." }
-R2.^\fermataMarkup
+@lilypond[quote,verbatim]
+\compressMMRests {
+ \time 3/4
+ R2.*10^\markup { \italic "ad lib." }
+ R2.^\fermataMarkup
+}
@end lilypond
@warning{Markups attached to a multi-measure rest are objects of type
@@ -877,12 +941,12 @@ R2.^\fermataMarkup
be directed to the correct object, or they will be ignored. See the
following example:}
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
-\override TextScript #'padding = #5
+\override TextScript.padding = #5
R1^"wrong"
% This is the correct object name to be specified
-\override MultiMeasureRestText #'padding = #5
+\override MultiMeasureRestText.padding = #5
R1^"right"
@end lilypond
@@ -896,17 +960,14 @@ setting, resulting bar-check warnings may not be displayed.
@funindex textLengthOff
@funindex \fermataMarkup
@funindex fermataMarkup
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
+@funindex \compressMMRests
+@funindex compressMMRests
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
-@code{\compressFullBarRests},
-@code{\expandFullBarRests}.
+@code{\compressMMRests}.
@endpredefined
@@ -916,19 +977,18 @@ setting, resulting bar-check warnings may not be displayed.
@cindex rest, church
@cindex kirchenpausen
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-form-of-multi-measure-rests.ly}
@cindex multi-measure rests, positioning
@cindex positioning multi-measure rests
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{positioning-multi-measure-rests.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{multi-measure-rest-markup.ly}
-
@seealso
Music Glossary:
@rglos{multi-measure rest}.
@@ -947,7 +1007,6 @@ Internals Reference:
@rinternals{MultiMeasureRestNumber},
@rinternals{MultiMeasureRestText}.
-
@cindex fingerings and multi-measure rests
@cindex multi-measure rests and fingerings
@@ -966,6 +1025,7 @@ into a single multi-measure rest.
Multi-measure rests do not take part in rest collisions.
+
@node Displaying rhythms
@subsection Displaying rhythms
@@ -990,12 +1050,14 @@ Multi-measure rests do not take part in rest collisions.
The time signature is set as follows:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c2
-\time 3/4 c2.
+@lilypond[quote,verbatim,fragment]
+\time 2/4 c''2
+\time 3/4 c''2.
@end lilypond
-@cindex time signature, visibility of
+Mid-measure time signature changes are covered in @ref{Upbeats}.
+
+@cindex time signature visibility
Time signatures are printed at the beginning of a piece
and whenever the time signature changes. If a change takes place
@@ -1003,14 +1065,16 @@ at the end of a line a warning time signature sign is printed
there. This default behavior may be changed, see
@ref{Visibility of objects}.
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c2 c
-\break
-c c
-\break
-\time 4/4
-c c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4
+ c2 c
+ \break
+ c c
+ \break
+ \time 4/4
+ c c c c
+}
@end lilypond
@cindex time signature style
@@ -1024,18 +1088,20 @@ c c c c
The time signature symbol that is used in 2/2 and 4/4 time can be
changed to a numeric style:
-@lilypond[quote,verbatim,relative=2]
-% Default style
-\time 4/4 c1
-\time 2/2 c1
-% Change to numeric style
-\numericTimeSignature
-\time 4/4 c1
-\time 2/2 c1
-% Revert to default style
-\defaultTimeSignature
-\time 4/4 c1
-\time 2/2 c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ % Default style
+ \time 4/4 c1
+ \time 2/2 c1
+ % Change to numeric style
+ \numericTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+ % Revert to default style
+ \defaultTimeSignature
+ \time 4/4 c1
+ \time 2/2 c1
+}
@end lilypond
@@ -1048,19 +1114,42 @@ Mensural time signatures are covered in
@funindex \overrideTimeSignatureSettings
In addition to setting the printed time signature, the @code{\time}
-command also sets time-signature-based default values for the properties
-@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
-predefined default values for these properties can be found in
-@file{scm/time-signature-settings.scm}. The existing default values can
-be changed, or new default values can be added:
+command also sets the values of the time-signature-based properties
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+The predefined default values for these properties can be found in
+@file{scm/time-signature-settings.scm}.
+
+The default value of @code{beatStructure} can be overridden in the
+@code{\time} command itself by supplying it as the optional first
+argument:
+
+@lilypond[quote,verbatim]
+\score {
+ \new Staff {
+ \relative {
+ \time #'(2 2 3) 7/8
+ \repeat unfold 7 { c'8 } |
+ \time #'(3 2 2) 7/8
+ \repeat unfold 7 { c8 } |
+ }
+ }
+}
+@end lilypond
+
+Alternatively, the default values of all these time-signature-based
+variables, including @code{baseMoment} and @code{beamExceptions},
+can be set together. The values can be set independently for several
+different time signatures. The new values take effect when a
+subsequent @code{\time} command with the same value of the time
+signature is executed:
@lilypond[quote,verbatim]
\score {
\new Staff {
\relative c' {
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
@@ -1075,11 +1164,11 @@ be changed, or new default values can be added:
@enumerate
@item
-@code{@var{timeSignatureFraction}}, a Scheme pair describing the
-time signature.
+@code{@var{timeSignatureFraction}}, a fraction describing the
+time signature to which these values apply.
@item
-@code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
+@code{@var{baseMomentFraction}}, a fraction containing the numerator
and denominator of the basic timing unit for the time signature.
@item
@@ -1092,37 +1181,6 @@ for the time signature that go beyond ending at every beat, as
described in @ref{Setting automatic beam behavior}.
@end enumerate
-The context containing @code{\overrideTimeSignatureSettings} must
-be instantiated before the @code{\overrideTimeSignatureSettings}
-call is executed. That means it must either be explicitly
-instantiated or there must be music in the context before the
-@code{\overrideTimeSignatureSettings} call:
-
-@lilypond[quote,verbatim]
-\score {
- \relative c' {
- % This call will fail because the context isn't yet instantiated
- \overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- c8^\markup {"Beamed (2 2)"}
- \repeat unfold 7 { c8 } |
- % This call will succeed
- \overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- c8^\markup {"Beamed (3 1)"}
- \repeat unfold 7 { c8 } |
- }
-}
-@end lilypond
-
@cindex time signature properties, restoring default values
@cindex restoring default properties for time signatures
@@ -1133,16 +1191,16 @@ to the original values:
@lilypond[quote,verbatim]
\score{
- \relative c' {
- \repeat unfold 8 { c8 } |
+ \relative {
+ \repeat unfold 8 { c'8 } |
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 { c8 } |
- \revertTimeSignatureSettings #'(4 . 4)
+ \revertTimeSignatureSettings 4/4
\time 4/4
\repeat unfold 8 { c8 } |
}
@@ -1159,8 +1217,8 @@ for different staves by moving the @code{Timing_translator} and the
\new StaffGroup <<
\new Staff {
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(3 1) % beatStructure
#'() % beamExceptions
\time 4/4
@@ -1168,8 +1226,8 @@ for different staves by moving the @code{Timing_translator} and the
}
\new Staff {
\overrideTimeSignatureSettings
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
#'(1 3) % beatStructure
#'() % beamExceptions
\time 4/4
@@ -1191,6 +1249,10 @@ for different staves by moving the @code{Timing_translator} and the
}
@end lilypond
+A further method of changing these time-signature-related variables,
+which avoids reprinting the time signature at the time of the change,
+is shown in @ref{Setting automatic beam behavior}.
+
@predefined
@code{\numericTimeSignature},
@code{\defaultTimeSignature}.
@@ -1198,28 +1260,21 @@ for different staves by moving the @code{Timing_translator} and the
@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-time-signature-without-affecting-the-beaming.ly}
-
-@cindex compound time signatures
-@cindex time signature, compound
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{compound-time-signatures.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
-
@seealso
Music Glossary:
@rglos{time signature}
Notation Reference:
@ref{Mensural time signatures},
+@ref{Setting automatic beam behavior},
@ref{Time administration}.
+Installed Files:
+@file{scm/time-signature-settings.scm}.
+
Snippets:
@rlsr{Rhythms}.
@@ -1227,6 +1282,7 @@ Internals Reference:
@rinternals{TimeSignature},
@rinternals{Timing_translator}.
+
@node Metronome marks
@unnumberedsubsubsec Metronome marks
@@ -1240,69 +1296,104 @@ Internals Reference:
A basic metronome mark is simple to write:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 120
-c2 d
-e4. d8 c2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 120
+ c'2 d
+ e4. d8 c2
+}
@end lilypond
Metronome marks may also be printed as a range of two numbers:
-@lilypond[verbatim,quote,relative=1]
-\tempo 4 = 40 ~ 46
-c4. e8 a4 g
-b,2 d4 r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo 4 = 40 - 46
+ c'4. e8 a4 g
+ b,2 d4 r
+}
@end lilypond
Tempo indications with text can be used instead:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegretto"
-c4 e d c
-b4. a16 b c4 r4
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegretto"
+ c''4 e d c
+ b4. a16 b c4 r4
+}
@end lilypond
Combining a metronome mark and text will automatically place the
metronome mark within parentheses:
-@lilypond[verbatim,quote,relative=2]
-\tempo "Allegro" 4 = 160
-g4 c d e
-d4 b g2
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "Allegro" 4 = 160
+ g'4 c d e
+ d4 b g2
+}
@end lilypond
In general, the text can be any markup object:
-@lilypond[verbatim,quote,relative=2]
-\tempo \markup { \italic Faster } 4 = 132
-a8-. r8 b-. r gis-. r a-. r
+@lilypond[verbatim,quote]
+\relative {
+ \tempo \markup { \italic Faster } 4 = 132
+ a'8-. r8 b-. r gis-. r a-. r
+}
@end lilypond
A parenthesized metronome mark with no textual indication may be
written by including an empty string in the input:
-@lilypond[verbatim,quote,relative=2]
-\tempo "" 8 = 96
-d4 g e c
+@lilypond[verbatim,quote]
+\relative {
+ \tempo "" 8 = 96
+ d''4 g e c
+}
@end lilypond
+@funindex \markLengthOn
+@funindex markLengthOn
+@funindex \markLengthOff
+@funindex markLengthOff
+
+In a part for an instrument with long periods of rests,
+tempo indications sometimes follow each other closely.
+The command @code{\markLengthOn} provides extra horizontal space
+to prevent tempo indications from overlapping, and @code{\markLengthOff}
+restores the default behavior of ignoring tempo marks
+for horizontal spacing.
+
+@lilypond[verbatim,quote]
+\compressMMRests {
+ \markLengthOn
+ \tempo "Molto vivace"
+ R1*12
+ \tempo "Meno mosso"
+ R1*16
+ \markLengthOff
+ \tempo "Tranquillo"
+ R1*20
+}
+@end lilypond
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
@c perhaps also an example of how to move it horizontally?
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-the-tempo-without-a-metronome-mark.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{creating-metronome-marks-in-markup-mode.ly}
For more details, see @ref{Formatting text}.
-
@seealso
Music Glossary:
@rglos{metronome},
@@ -1312,7 +1403,7 @@ Music Glossary:
Notation Reference:
@ref{Formatting text},
-@ref{MIDI output}.
+@ref{Creating MIDI output}.
Snippets:
@rlsr{Staff notation}.
@@ -1328,54 +1419,72 @@ Internals Reference:
@cindex upbeat
@cindex partial measure
@cindex measure, partial
+@cindex measure, pickup
@cindex pickup measure
-@cindex measure, change length
+@cindex time signature, mid-measure
@funindex measurePosition
@funindex \partial
@funindex partial
-Partial or pick-up measures, such as an anacrusis or upbeat, are
-entered using the @code{\partial} command, with the syntax
+Partial or pick-up measures, such as an @emph{anacrusis} or an
+@emph{upbeat}, are entered using the @code{\partial} command:
@example
\partial @var{duration}
@end example
-@noindent
-where @code{@var{duration}} is the rhythmic length of the
-remaining interval of the current measure before the start of the
-next.
+When @code{\partial} is used at the beginning of a score,
+@code{@var{duration}} is the length of the music preceding the
+first bar.
-@lilypond[quote,verbatim,relative=2]
-\partial 4 e4 |
-a2. c,4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
-The partial measure can be any duration less than the full measure:
+When @code{\partial} is used after the beginning of a score,
+@code{@var{duration}} is the @emph{remaining} length of the
+current measure. It does not create a new numbered bar.
-@lilypond[quote,verbatim,relative=2]
-\partial 8*3 c8 d e |
-a2. c,4 |
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 9/8
+ d''4.~ 4 d8 d( c) b | c4.~ 4. \bar "||"
+ \time 12/8
+ \partial 4.
+ c8( d) e | f2.~ 4 f8 a,( c) f |
+}
@end lilypond
-Internally, @code{\partial @var{duration}} is translated into:
-
-@example
-\set Timing.measurePosition -@var{duration}
-@end example
-
-For example, @code{\partial 8*3} becomes:
+The @code{\partial} command is @emph{required} when the time
+signature changes in mid measure, but it may also be used alone.
-@example
-\set Timing.measurePosition = #(ly:make-moment -3 8)
-@end example
+@lilypond[quote,verbatim]
+\relative {
+ \set Score.barNumberVisibility = #all-bar-numbers-visible
+ \override Score.BarNumber.break-visibility =
+ #end-of-line-invisible
+ \time 6/8
+ \partial 8
+ e'8 | a4 c8 b[ c b] |
+ \partial 4
+ r8 e,8 | a4 \bar "||"
+ \partial 4
+ r8 e8 | a4
+ c8 b[ c b] |
+}
+@end lilypond
-The property @code{measurePosition} contains a rational number
-indicating how much of the measure has passed at this point. Note
-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.}
+The @code{\partial} command sets the @code{Timing.measurePosition}
+property, which is a rational number that indicates how much of
+the measure has passed.
@seealso
Music Glossary:
@@ -1390,85 +1499,112 @@ Snippets:
Internal Reference:
@rinternals{Timing_translator}.
-@knownissues
-
-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 or effects may occur, in this case use
-@code{\set Timing.measurePosition} instead.
@node Unmetered music
@unnumberedsubsubsec Unmetered music
-@cindex bar lines, turning off
-@cindex bar numbering, turning off
@cindex cadenza
+@cindex cadenza, beams
+@cindex cadenza, accidentals
+@cindex cadenza, bar lines
+@cindex cadenza, bar numbers
@cindex unmetered music
+@cindex unmetered music, beams
+@cindex unmetered music, accidentals
+@cindex unmetered music, bar lines
+@cindex unmetered music, bar numbers
+@cindex accidentals, cadenzas
+@cindex accidentals, unmetered music
+@cindex bar lines, cadenzas
+@cindex bar lines, unmetered music
+@cindex bar numbers, cadenzas
+@cindex bar numbers, unmetered music
+@cindex beams, cadenzas
+@cindex beams, unmetered music
@funindex \cadenzaOn
@funindex cadenzaOn
@funindex \cadenzaOff
@funindex cadenzaOff
-Bar lines and bar numbers are calculated automatically. For
-unmetered music (some cadenzas, for example), this is not desirable.
-To turn off automatic calculation of bar lines and bar numbers,
-use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
-to turn them on again.
-
-@lilypond[verbatim,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-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,relative=2,quote]
-% 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
-
-@cindex beaming in cadenzas
-@cindex beaming in unmetered music
-@cindex cadenza, beaming in
-@cindex unmetered music, beaming in
-
-Automatic beaming is disabled by @code{\cadenzaOn} and enabled
-by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
-must be entered manually (@ref{Manual beams}).
-
-@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-\repeat unfold 5 { c8 }
-\bar"|"
-\cadenzaOff
-\repeat unfold 8 { c8 }
-@end lilypond
-
-Note that these predefined commands affect all staves in the
-score, even when they are placed in just one @code{Voice}
-context. To change this, move the @code{Timing_translator}
-from the @code{Score} context to the @code{Staff} context, as
-shown in @ref{Polymetric notation}.
+In metered music bar lines are inserted and bar numbers are calculated
+automatically. In unmetered music (i.e. cadenzas), this is not
+desirable and can be @q{switched off} using the command
+@code{\cadenzaOn}, then @q{switched back on} at the appropriate place
+using @code{\cadenzaOff}.
+
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ c4 c d8[ d d] f4 g4.
+ \cadenzaOff
+ \bar "|"
+ d4 e d c
+}
+@end lilypond
+
+Bar numbering is resumed at the end of the cadenza.
+
+@lilypond[verbatim,quote]
+\relative c'' {
+ % 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
+
+Inserting a @code{\bar} command within a cadenza does not start a new
+measure, even if a bar line is printed. So any accidentals -- which
+are usually assumed to remain in force until the end of the measure --
+will still be valid after the bar line printed by @code{\bar}. If
+subsequent accidentals should be printed, forced accidentals or
+reminder accidentals need to be inserted manually, see
+@ref{Accidentals}.
+
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 d e d
+ \cadenzaOn
+ cis4 d cis d
+ \bar "|"
+ % First cis is printed without alteration even if it's after a \bar
+ cis4 d cis! d
+ \cadenzaOff
+ \bar "|"
+}
+@end lilypond
+
+Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
+beaming in cadenzas must be entered manually. See @ref{Manual beams}.
+
+@lilypond[verbatim,quote]
+\relative {
+ \repeat unfold 8 { c''8 }
+ \cadenzaOn
+ cis8 c c c c
+ \bar"|"
+ c8 c c
+ \cadenzaOff
+ \repeat unfold 8 { c8 }
+}
+@end lilypond
+
+These predefined commands affect all staves in the score, even when
+placed in just one @code{Voice} context. To change this, move the
+@code{Timing_translator} from the @code{Score} context to the
+@code{Staff} context. See @ref{Polymetric notation}.
@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
@endpredefined
-
@seealso
Music Glossary:
@rglos{cadenza}.
@@ -1476,49 +1612,31 @@ Music Glossary:
Notation Reference:
@ref{Visibility of objects},
@ref{Polymetric notation},
-@ref{Manual beams}.
+@ref{Manual beams},
+@ref{Accidentals}.
Snippets:
@rlsr{Rhythms}.
-
-@cindex cadenza line breaks
-@cindex cadenza page breaks
+@cindex cadenza, line breaks
+@cindex cadenza, page breaks
@cindex unmetered music, line breaks
@cindex unmetered music, page breaks
@cindex breaks in unmetered music
-@cindex line breaks in cadenzas
-@cindex page breaks in cadenzas
-@cindex line breaks in unmetered music
-@cindex page breaks in unmetered music
+@cindex line breaks, cadenzas
+@cindex page breaks, cadenzas
+@cindex line breaks, unmetered music
+@cindex page breaks, unmetered music
@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
+Automatic line and page breaks are inserted only at bar lines, so
+@q{invisible} bar lines will need to be inserted manually in long
+stretches of unmetered music to permit breaking:
@example
\bar ""
@end example
-@noindent
-to indicate where breaks can occur.
-
-You should explicitly create a @code{Voice} context when starting a
-piece with @code{\cadenzaOn}, otherwise strange errors may occur.
-
-@example
-\new Voice @{
- \relative c' @{
- \cadenzaOn
- c16[^"Solo Free Time" d e f] g2.
- \bar "||"
- \cadenzaOff
- @}
-@}
-@end example
-
@node Polymetric notation
@unnumberedsubsubsec Polymetric notation
@@ -1528,67 +1646,63 @@ piece with @code{\cadenzaOn}, otherwise strange errors may occur.
@cindex double time signatures
@cindex signatures, polymetric
-@cindex time signatures, polymetric
-@cindex time signatures, double
+@cindex time signature, polymetric
+@cindex time signature, double
@cindex polymetric signatures
@cindex meter, polymetric
@funindex timeSignatureFraction
@funindex \scaleDurations
@funindex scaleDurations
-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet
-Polymetric notation is supported, either explicitly or by modifying
-the visible time signature symbol and scaling the note durations.
+Polymetric notation is supported explicitly or by manually modifying the
+visible time signature symbol and/or scaling note durations.
-@strong{@i{Staves with different time signatures, equal measure lengths}}
+@subsubsubheading Different time signatures with equal-length measures
-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; see @ref{Time signature}. The scaling is 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}.
+Set a common time signature for each staff, and set the
+@code{timeSignatureFraction} to the desired fraction. Then use the
+@code{\scaleDurations} function to scale the durations of the notes in
+each staff to the common time signature.
-@cindex beaming in polymetric music
-@cindex beaming in polymetric meter
+@cindex beams, with polymetric meters
+@cindex polymetric meters, with beams
-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.
-It will often be necessary to insert beams manually, as the
-duration scaling affects the autobeaming rules.
+In the following 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 (because 2/3 * 9/8 = 3/4) and in the third staff, the
+shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
+may be necessary to insert beams manually, as the duration scaling will
+affect the autobeaming rules.
@lilypond[quote,verbatim]
-\relative c' <<
+\relative <<
\new Staff {
\time 3/4
+ c'4 c c |
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] }
+ \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) {
+ \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
+ c4. c \tuplet 3/2 { c8[ c c] } c4
}
}
>>
@end lilypond
-@strong{@i{Staves with different time signatures, unequal bar lengths}}
+@subsubsubheading Different time signatures with unequal-length measures
Each staff can be given its own independent time signature by
moving the @code{Timing_translator} and the
@@ -1610,10 +1724,10 @@ moving the @code{Timing_translator} and the
% Now each staff has its own time signature.
-\relative c' <<
+\relative <<
\new Staff {
\time 3/4
- c4 c c |
+ c'4 c c |
c4 c c |
}
\new Staff {
@@ -1632,11 +1746,44 @@ moving the @code{Timing_translator} and the
>>
@end lilypond
-@snippets
+@funindex \compoundMeter
+@cindex compound time signatures
+@cindex time signature, compound
+
+@subsubsubheading Compound time signatures
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{compound-time-signatures.ly}
+These are created using the @code{\compoundMeter} function. The syntax
+for this is:
+@example
+\compoundMeter #'@code{(list of lists)}
+@end example
+
+The simplest construction is a single list, where the @emph{last} number
+indicates the bottom number of the time signature and those that come
+before it, the top numbers.
+
+@lilypond[quote,verbatim]
+\relative {
+ \compoundMeter #'((2 2 2 8))
+ \repeat unfold 6 c'8 \repeat unfold 12 c16
+}
+@end lilypond
+
+More complex meters can be constructed using additional lists. Also,
+automatic beaming settings will be adjusted depending on the values.
+
+@lilypond[quote,verbatim]
+\relative {
+ \compoundMeter #'((1 4) (3 8))
+ \repeat unfold 5 c'8 \repeat unfold 10 c16
+}
+
+\relative {
+ \compoundMeter #'((1 2 3 8) (3 4))
+ \repeat unfold 12 c'8
+}
+@end lilypond
@seealso
Music Glossary:
@@ -1645,6 +1792,8 @@ Music Glossary:
@rglos{meter}.
Notation Reference:
+@ref{Automatic beams},
+@ref{Manual beams},
@ref{Time signature},
@ref{Scaling durations}.
@@ -1657,45 +1806,81 @@ Internals Reference:
@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
-
@knownissues
+When using different time signatures in parallel, notes at the same
+moment will be placed at the same horizontal location. However, the bar
+lines in the different staves will cause the note spacing to be less
+regular in each of the individual staves than would be normal without
+the different time signatures.
-When using different time signatures in parallel, notes
-at the same moment will be placed at the same horizontal
-location. However, the bar lines in the different staves
-will cause the note spacing to be less regular in each of the
-individual staves than would be normal without the different
-time signatures.
@node Automatic note splitting
@unnumberedsubsubsec Automatic note splitting
@cindex notes, splitting
@cindex splitting notes
+@cindex rests, splitting
+@cindex splitting rests
@funindex Note_heads_engraver
@funindex Completion_heads_engraver
+@funindex Completion_rest_engraver
-Long notes which overrun bar lines can be converted automatically
-to tied notes. This is done by replacing the
-@code{Note_heads_engraver} with the
-@code{Completion_heads_engraver}. In the following
-example, notes crossing the bar lines are split and tied.
+Long notes which overrun bar lines can be converted automatically to
+tied notes. This is done by replacing the @code{Note_heads_engraver}
+with the @code{Completion_heads_engraver}. Similarly, long rests which
+overrun bar lines are split automatically by replacing the
+@code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
+following example, notes and rests crossing the bar lines are split,
+notes are also tied.
-@lilypond[quote,verbatim,relative=1]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
+ \remove "Rest_engraver"
+ \consists "Completion_rest_engraver"
+}
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
@end lilypond
-This engraver splits all running notes at the bar line, and
-inserts ties. One of its uses is to debug complex scores: if the
-measures are not entirely filled, then the ties show exactly how
+These engravers split all running notes and rests at the bar line, and
+inserts ties for notes. One of its uses is to debug complex scores: if
+the measures are not entirely filled, then the ties show exactly how
much each measure is off.
+The property @code{completionUnit} sets a preferred duration for
+the split notes.
+
+@lilypond[quote,verbatim]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} \relative {
+ \time 9/8 g\breve. d''4. \bar "||"
+ \set completionUnit = #(ly:make-moment 3 8)
+ g\breve. d4.
+}
+@end lilypond
+
+These engravers split notes with scaled duration, such as those in tuplets,
+into notes with the same scale-factor as in the input note.
+
+@lilypond[quote,verbatim]
+\new Voice \with {
+ \remove "Note_heads_engraver"
+ \consists "Completion_heads_engraver"
+} \relative {
+ \time 2/4 r4
+ \tuplet 3/2 {g'4 a b}
+ \scaleDurations 2/3 {g a b}
+ g4*2/3 a b
+ \tuplet 3/2 {g4 a b}
+ r4
+}
+@end lilypond
@seealso
Music Glossary:
@@ -1711,17 +1896,17 @@ Snippets:
Internals Reference:
@rinternals{Note_heads_engraver},
@rinternals{Completion_heads_engraver},
+@rinternals{Rest_engraver},
+@rinternals{Completion_rest_engraver},
@rinternals{Forbid_line_break_engraver}.
-
@knownissues
-
-Not all durations (especially those containing tuplets) can be
-represented exactly with normal notes and dots, but the
-@code{Completion_heads_engraver} will not insert tuplets.
-
-The @code{Completion_heads_engraver} only affects notes; it does not
-split rests.
+For consistency with previous behavior, notes and rests with
+duration longer than a measure, such as @code{c1*2}, are split into
+notes without any scale factor, @code{@{ c1 c1 @}}. The property
+@code{completionFactor} controls this behavior, and setting it to
+@code{#f} cause split notes and rest to have the scale factor
+of the input durations.
@node Showing melody rhythms
@@ -1734,12 +1919,12 @@ 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
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new RhythmicStaff {
- \new Voice = "myRhythm" {
+ \new Voice = "myRhythm" \relative {
\time 4/4
- c4 e8 f g2
+ c'4 e8 f g2
r4 g g f
g1
}
@@ -1776,7 +1961,7 @@ be done with the @code{Pitch_squash_engraver} and
}
}
\new Voice \with {
- \consists Pitch_squash_engraver
+ \consists "Pitch_squash_engraver"
} \relative c'' {
\improvisationOn
c4 c8 c c4 c8 c
@@ -1796,10 +1981,9 @@ be done with the @code{Pitch_squash_engraver} and
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-
@seealso
Snippets:
@rlsr{Rhythms}.
@@ -1826,17 +2010,18 @@ By default, beams are inserted automatically:
@cindex beams, manual
@cindex manual beams
-@cindex beams, setting rules for
-@cindex beams, custom rules for
+@cindex beams, customizing rules
@funindex \autoBeamOn
@funindex autoBeamOn
@funindex \autoBeamOff
@funindex autoBeamOff
-@lilypond[quote,verbatim,relative=2]
-\time 2/4 c8 c c c
-\time 6/8 c8 c c c8. c16 c8
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 2/4 c8 c c c
+ \time 6/8 c8 c c c8. c16 c8
+}
@end lilypond
If these automatic decisions are not satisfactory, beaming can be
@@ -1846,56 +2031,52 @@ entered manually if beams are to be extended over rests.
If automatic beaming is not required, it may be turned off with
@code{\autoBeamOff} and on with @code{\autoBeamOn}:
-@lilypond[quote,relative=1,verbatim]
-c4 c8 c8. c16 c8. c16 c8
-\autoBeamOff
-c4 c8 c8. c16 c8.
-\autoBeamOn
-c16 c8
+@lilypond[quote,verbatim]
+\relative c' {
+ c4 c8 c8. c16 c8. c16 c8
+ \autoBeamOff
+ c4 c8 c8. c16 c8.
+ \autoBeamOn
+ c16 c8
+}
@end lilypond
-@cindex melismata, beams
-@cindex beams and melismata
+@cindex melismata, with beams
+@cindex beams, with melismata
@warning{If beams are used to indicate melismata in songs, then
-automatic beaming should be switched off with @code{\autoBeamOff}
-and the beams indicated manually.}
-
-@warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
-produce unintended results. See the snippet below for more information.}
+automatic beaming should be switched off with @code{@bs{}autoBeamOff}
+and the beams indicated manually. Using @code{@bs{}partcombine} with
+@code{@bs{}autoBeamOff} can produce unintended results. See the
+snippets for more information.}
Beaming patterns that differ from the automatic defaults can be
created; see @ref{Setting automatic beam behavior}.
-
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
@endpredefined
-
-@snippets
-
-
-@cindex line breaks and beams
-@cindex beams and line breaks
-
+@cindex beams, line breaks
+@cindex line breaks, beams
+@cindex beams, with knee gap
+@cindex knee gap, with beams
@funindex breakable
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@snippets
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{beams-across-line-breaks.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
-@cindex \partcombine and \autoBeamOff
-@cindex \autoBeamOff and \partcombine
+@cindex beams, \partcombine with \autoBeamOff
+@cindex voices, \partcombine with \autoBeamOff
-
-@lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
+@lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
{partcombine-and-autobeamoff.ly}
-
@seealso
Notation Reference:
@ref{Manual beams},
@@ -1916,25 +2097,23 @@ Internals Reference:
@rinternals{beam-interface},
@rinternals{unbreakable-spanner-interface}.
-
@knownissues
-
-Beams can collide with note heads and accidentals in other voices.
+The properties of a beam are determined at the @emph{start} of its
+construction and any additional beam-property changes that occur before
+the beam has been completed will not take effect until the @emph{next},
+new beam starts.
@node Setting automatic beam behavior
@unnumberedsubsubsec Setting automatic beam behavior
-
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
-@cindex automatic beam generation
-@cindex autobeam
-@cindex lyrics and beaming
+@cindex beams, with lyrics
+@cindex lyrics, with beams
@funindex autoBeaming
@funindex baseMoment
@funindex beamExceptions
+@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
@@ -1942,42 +2121,100 @@ Beams can collide with note heads and accidentals in other voices.
@funindex \set
@funindex set
-In most instances, automatic beams will end at the end of a beat.
-The ending points for beats are determined by the context properties
-@code{baseMoment} and @code{beatStructure}. @code{beatStructure}
-is a scheme list that defines the length of each beat in the measure
-in units of @code{baseMoment}. By default, @code{baseMoment} is
-the one over numerator of the time signature. By default,
-each unit of length @code{baseMoment} is a single beat.
+When automatic beaming is enabled, the placement of automatic beams
+is determined by three context properties:
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+The default values of these variables may be overridden as described
+below, or alternatively the default values themselves may be changed
+as explained in @ref{Time signature}.
+
+If a @code{beamExceptions} rule is defined for the time signature in
+force, that rule alone is used to determine the beam placement; the
+values of @code{baseMoment} and @code{beatStructure} are ignored.
+
+If no @code{beamExceptions} rule is defined for the time signature
+in force, the beam placement is determined by the values of
+@code{baseMoment} and @code{beatStructure}.
+
+
+@subsubsubheading Beaming based on @code{baseMoment} and @code{beatStructure}
+
+By default, @code{beamExceptions} rules are defined for most common
+time signatures, so the @code{beamExceptions} rules must be disabled
+if automatic beaming is to be based on @code{baseMoment} and
+@code{beatStructure}. The @code{beamExceptions} rules are disabled
+by
-@lilypond[quote,relative=2,verbatim]
-\time 5/16
-c16^"default" c c c c |
-\set Timing.beatStructure = #'(2 3)
-c16^"(2+3)" c c c c |
-\set Timing.beatStructure = #'(3 2)
-c16^"(3+2)" c c c c |
+@example
+\set Timing.beamExceptions = #'()
+@end example
+
+When @code{beamExceptions} is set to @code{#'()}, either due to an
+explicit setting or because no @code{beamExceptions} rules are defined
+internally for the time signature in force, the ending points for
+beams are on beats as specified by the context properties
+@code{baseMoment} and @code{beatStructure}. @code{beatStructure} is
+a scheme list that defines the length of each beat in the measure in
+units of @code{baseMoment}. By default, @code{baseMoment} is one
+over the denominator of the time signature. By default, each unit of
+length @code{baseMoment} is a single beat.
+
+Note that there are separate @code{beatStructure} and @code{baseMoment}
+values for each time signature. Changes to these variables apply only
+to the time signature that is currently in force, hence those changes
+must be placed after the @code{\time} command which starts a new time
+signature section, not before it. New values given to a particular
+time signature are retained and reinstated whenever that time signature
+is re-established.
+
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 5/16
+ c16^"default" c c c c |
+ % beamExceptions are unlikely to be defined for 5/16 time,
+ % but let's disable them anyway to be sure
+ \set Timing.beamExceptions = #'()
+ \set Timing.beatStructure = #'(2 3)
+ c16^"(2+3)" c c c c |
+ \set Timing.beatStructure = #'(3 2)
+ c16^"(3+2)" c c c c |
+}
+@end lilypond
+
+@lilypond[quote,verbatim]
+\relative {
+ \time 4/4
+ a'8^"default" a a a a a a a
+ % Disable beamExceptions because they are definitely
+ % defined for 4/4 time
+ \set Timing.beamExceptions = #'()
+ \set Timing.baseMoment = #(ly:make-moment 1/4)
+ \set Timing.beatStructure = #'(1 1 1 1)
+ a8^"changed" a a a a a a a
+}
@end lilypond
Beam setting changes can be limited to specific contexts. If no
setting is included in a lower-level context, the setting of the
enclosing context will apply.
-@lilypond[quote, verbatim,relative=1]
+@lilypond[quote, verbatim]
\new Staff {
\time 7/8
+ % No need to disable beamExceptions
+ % as they are not defined for 7/8 time
\set Staff.beatStructure = #'(2 3 2)
<<
\new Voice = one {
- \relative c'' {
- a8 a a a a a a
+ \relative {
+ a'8 a a a a a a
}
}
\new Voice = two {
- \relative c' {
+ \relative {
\voiceTwo
\set Voice.beatStructure = #'(1 3 3)
- f8 f f f f f f
+ f'8 f f f f f f
}
}
>>
@@ -1988,18 +2225,18 @@ When multiple voices are used the @code{Staff} context must be
specified if the beaming is to be applied to all voices in the
staff:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 7/8
% rhythm 3-1-1-2
% Change applied to Voice by default -- does not work correctly
% Because of autogenerated voices, all beating will
% be at baseMoment (1 . 8)
\set beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
% Works correctly with context Staff specified
\set Staff.beatStructure = #'(3 1 1 2)
-<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
+<< \relative {a'8 a a a16 a a a a8 a} \\ \relative {f'4. f8 f f f} >>
@end lilypond
The value of @code{baseMoment} can be adjusted to change
@@ -2007,11 +2244,13 @@ the beaming behavior, if desired. When this is done,
the value of @code{beatStructure} must be set to be
compatible with the new value of @code{baseMoment}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 5/8
-\set Timing.baseMoment = #(ly:make-moment 1 16)
+% No need to disable beamExceptions
+% as they are not defined for 5/8 time
+\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'(7 3)
-\repeat unfold 10 { a16 }
+\repeat unfold 10 { a'16 }
@end lilypond
@code{baseMoment} is a @i{moment}; a unit of musical duration. A
@@ -2023,45 +2262,31 @@ By default @code{baseMoment} is set to one over the denominator of
the time signature. Any exceptions to this default can be found in
@file{scm/time-signature-settings.scm}.
+@subsubsubheading Beaming based on @code{beamExceptions}
+
Special autobeaming rules (other than ending a beam on a beat)
are defined in the @code{beamExceptions} property.
-@lilypond[quote,relative=2,verbatim]
-\time 3/16
-\set Timing.beatStructure = #'(2 1)
-\set Timing.beamExceptions =
- #'( ;start of alist
- (end . ;entry for end of beams
- ( ;start of alist of end points
- ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
- ))) %close all entries
-c16 c c |
-\repeat unfold 6 { c32 } |
-@end lilypond
-
-@code{beamExceptions} is an alist with a key of rule-type and a value
-of beaming-rules.
-
-At this time the only available value of rule-type is
-@code{#'end} for beam ending.
+The value for @code{beamExceptions}, a somewhat complex Scheme
+data structure, is easiest generated with the
+@code{\beamExceptions} function. This function is given one or
+more manually beamed measure-length rhythmic patterns (measures
+have to be separated by a bar check@tie{}@code{|} since the
+function has no other way to discern the measure length). Here is
+a simple example:
-Beaming-rules is a scheme alist (or list of pairs) that indicates the
-beam type and the grouping to be applied to beams containing notes with
-a shortest duration of that beam type.
-
-@example
-#'((beam-type1 . grouping-1)
- (beam-type2 . grouping-2)
- (beam-type3 . grouping-3))
-@end example
-
-Beam type is a scheme pair indicating the duration of the beam,
-e.g., @code{(1 . 16)}.
-
-Grouping is a scheme list indicating the grouping to be applied to
-the beam. The grouping is in units of the beam type.
+@lilypond[quote,verbatim]
+\relative c'' {
+ \time 3/16
+ \set Timing.beatStructure = #'(2 1)
+ \set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+ c16 c c |
+ \repeat unfold 6 { c32 } |
+}
+@end lilypond
-@warning{ A @code{beamExceptions} value must be @emph{complete}
+@warning{A @code{beamExceptions} value must be @emph{complete}
exceptions list. That is, every exception that should be applied
must be included in the setting. It is not possible to add, remove,
or change only one of the exceptions. While this may seem cumbersome,
@@ -2074,53 +2299,71 @@ and @code{Timing.beamExceptions} are set. Setting the time signature
will reset the automatic beaming settings for the @code{Timing}
context to the default behavior.
-@lilypond[quote,verbatim,relative=2]
-\time 6/8
-\repeat unfold 6 { a8 }
-% group (4 + 2)
-\set Timing.beatStructure = #'(4 2)
-\repeat unfold 6 { a8 }
-% go back to default behavior
-\time 6/8
-\repeat unfold 6 { a8 }
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 6/8
+ \repeat unfold 6 { a8 }
+ % group (4 + 2)
+ \set Timing.beatStructure = #'(4 2)
+ \repeat unfold 6 { a8 }
+ % go back to default behavior
+ \time 6/8
+ \repeat unfold 6 { a8 }
+}
@end lilypond
-These default automatic beaming settings for a time signature
+The default automatic beaming settings for a time signature
are determined in @file{scm/time-signature-settings.scm}.
-The automatic beaming settings for a time signature can be changed
-as described in @ref{Time signature}.
+Changing the default automatic beaming settings
+for a time signature is described in @ref{Time signature}.
-Most automatic beaming settings for a time signature contain an
+Many automatic beaming settings for a time signature contain an
entry for @code{beamExceptions}. For example, 4/4 time tries to
beam the measure in two if there are only eighth notes. The
@code{beamExceptions} rule can override the @code{beatStructure} setting
if @code{beamExceptions} is not reset.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 4/4
-\set Timing.baseMoment = #(ly:make-moment 1 8)
+\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(3 3 2)
% This won't beam (3 3 2) because of beamExceptions
-\repeat unfold 8 {c8} |
+\repeat unfold 8 {c''8} |
% This will beam (3 3 2) because we clear beamExceptions
\set Timing.beamExceptions = #'()
-\repeat unfold 8 {c8}
+\repeat unfold 8 {c''8}
@end lilypond
In a similar fashion, eighth notes in 3/4 time are beamed as a full
measure by default. To beam eighth notes in 3/4 time on the beat,
reset @code{beamExceptions}.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim,fragment]
\time 3/4
-% by default we beam in (3) due to beamExceptions
-\repeat unfold 6 {a8} |
-% This will beam (1 1 1) due to beatLength
+% by default we beam in (6) due to beamExceptions
+\repeat unfold 6 {a'8} |
+% This will beam (1 1 1) due to default baseMoment and beatStructure
\set Timing.beamExceptions = #'()
-\repeat unfold 6 {a8}
+\repeat unfold 6 {a'8}
+@end lilypond
+
+In engraving from the Romantic and Classical periods,
+beams often begin midway through the measure in 3/4 time,
+but modern practice is to avoid the false impression of 6/8 time
+(see Gould, p. 153). Similar situations arise in 3/8 time.
+This behavior is controlled by the context property @code{beamHalfMeasure},
+which has effect only in time signatures with 3 in the numerator:
+
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
-@i{@strong{How automatic beaming works}}
+@subsubsubheading How automatic beaming works
When automatic beaming is enabled, the placement of automatic beams
is determined by the context properties
@@ -2131,7 +2374,7 @@ the appearance of beams:
@itemize
@item
-If a manual beam is specified with @code{[..]} set the beam
+If a manual beam is specified with @code{[@dots{}]} set the beam
as specified, otherwise
@item
@@ -2141,7 +2384,7 @@ beams may end, otherwise
@item
if a beam-ending rule is defined in @code{beamExceptions}
-for a longer beam-type, use it to determined the valid places
+for a longer beam-type, use it to determine the valid places
where beams may end, otherwise
@item
@@ -2151,37 +2394,44 @@ end beams at the end of beats.
@end itemize
-In the rules above, the beam-type is the duration of the
+In the rules above, the @emph{beam-type} is the duration of the
shortest note in the beamed group.
-For reference, the default beaming rules are found in
+The default beaming rules can be found in
@file{scm/time-signature-settings.scm}.
@snippets
@cindex beams, subdividing
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{subdividing-beams.ly}
+@cindex beamlets, orienting
+
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{strict-beat-beaming.ly}
+
@cindex measure groupings
@cindex beats, grouping
@cindex grouping beats
@cindex measure sub-grouping
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{conducting-signs,-measure-grouping-signs.ly}
-@cindex beam, last in score
-@cindex beam, last in polyphonic voice
+@cindex beam, endings in a score
+@cindex beam, endings with multiple voices
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{beam-endings-in-score-context.ly}
-
@seealso
+Notation Reference:
+@ref{Time signature}.
+
Installed Files:
-@file{scm/beam-settings.scm}.
+@file{scm/time-signature-settings.scm}.
Snippets:
@rlsr{Rhythms}.
@@ -2192,7 +2442,6 @@ Internals Reference:
@rinternals{BeamForbidEvent},
@rinternals{beam-interface}.
-
@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.
@@ -2202,6 +2451,53 @@ automatic beam is still accepting notes, it is not typeset.
The workaround for these problems is to manually beam the last
beam in the voice or score.
+By default, the @code{Timing} translator is aliased to the
+@code{Score} context. This means that setting the time signature
+in one staff will affect the beaming of the other staves as well.
+Thus, a time signature setting in a later staff will reset custom
+beaming that was set in an earlier staff.
+One way to avoid this problem is to set the time signature
+in only one staff.
+
+@lilypond[quote,verbatim]
+<<
+ \new Staff {
+ \time 3/4
+ \set Timing.baseMoment = #(ly:make-moment 1/8)
+ \set Timing.beatStructure = #'(1 5)
+ \set Timing.beamExceptions = #'()
+ \repeat unfold 6 { a'8 }
+ }
+ \new Staff {
+ \repeat unfold 6 { a'8 }
+ }
+>>
+@end lilypond
+
+The default beam settings for the time signature can also be changed, so
+that the desired beaming will always be used. Changes in automatic
+beaming settings for a time signature are described in
+@ref{Time signature}.
+
+@lilypond[quote,verbatim]
+<<
+ \new Staff {
+ \overrideTimeSignatureSettings
+ 3/4 % timeSignatureFraction
+ 1/8 % baseMomentFraction
+ #'(1 5) % beatStructure
+ #'() % beamExceptions
+ \time 3/4
+ \repeat unfold 6 { a'8 }
+ }
+ \new Staff {
+ \time 3/4
+ \repeat unfold 6 { a'8 }
+ }
+>>
+@end lilypond
+
+
@node Manual beams
@unnumberedsubsubsec Manual beams
@@ -2218,8 +2514,8 @@ often set to follow the meter of the lyrics rather than the
notes. Such beams can be specified manually by
marking the begin and end point with @code{[} and @code{]}.
-@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r] r g[ | a] r
+@lilypond[quote,verbatim]
+\relative { r4 r8[ g' a r] r g[ | a] r }
@end lilypond
@cindex manual beams, direction shorthand for
@@ -2227,8 +2523,8 @@ r4 r8[ g' a r] r g[ | a] r
Beaming direction can be set manually using direction indicators:
-@lilypond[quote,relative=2,verbatim]
-c8^[ d e] c,_[ d e f g]
+@lilypond[quote,verbatim]
+\relative { c''8^[ d e] c,_[ d e f g] }
@end lilypond
@funindex \noBeam
@@ -2237,20 +2533,24 @@ c8^[ d e] c,_[ d e f g]
Individual notes may be marked with @code{\noBeam} to prevent them
from being beamed:
-@lilypond[quote,verbatim,relative=2]
-\time 2/4
-c8 c\noBeam c c
+@lilypond[quote,verbatim]
+\relative {
+ \time 2/4
+ c''8 c\noBeam c c
+}
@end lilypond
Grace note beams and normal note beams can occur simultaneously.
Unbeamed grace notes are not put into normal note beams.
-@lilypond[quote,verbatim,relative=2]
-c4 d8[
-\grace { e32[ d c d] }
-e8] e[ e
-\grace { f16 }
-e8 e]
+@lilypond[quote,verbatim]
+\relative {
+ c''4 d8[
+ \grace { e32 d c d }
+ e8] e[ e
+ \grace { f16 }
+ e8 e]
+}
@end lilypond
@funindex stemLeftBeamCount
@@ -2265,14 +2565,16 @@ then it is erased. In this example, the last @code{f} is printed
with only one beam on the left side, i.e., the eighth-note beam of
the group as a whole.
-@lilypond[quote,relative=2,verbatim]
-a8[ r16 f g a]
-a8[ r16
-\set stemLeftBeamCount = #2
-\set stemRightBeamCount = #1
-f16
-\set stemLeftBeamCount = #1
-g16 a]
+@lilypond[quote,verbatim]
+\relative a' {
+ a8[ r16 f g a]
+ a8[ r16
+ \set stemLeftBeamCount = #2
+ \set stemRightBeamCount = #1
+ f16
+ \set stemLeftBeamCount = #1
+ g16 a]
+}
@end lilypond
@@ -2283,10 +2585,9 @@ g16 a]
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{flat-flags-and-beam-nibs.ly}
-
@seealso
Notation Reference:
@ref{Direction and placement},
@@ -2338,23 +2639,24 @@ 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[relative=1,verbatim,quote]
-\override Beam #'grow-direction = #LEFT
-\featherDurations #(ly:make-moment 2 1)
-{ c16[ c c c c c c c] }
-\override Beam #'grow-direction = #RIGHT
-\featherDurations #(ly:make-moment 2 3)
-{ c32[ d e f] }
-% revert to non-feathered beams
-\override Beam #'grow-direction = #'()
-{ g32[ a b c] }
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Beam.grow-direction = #LEFT
+ \featherDurations #(ly:make-moment 2/1)
+ { c16[ c c c c c c c] }
+ \override Beam.grow-direction = #RIGHT
+ \featherDurations #(ly:make-moment 2/3)
+ { c32[ d e f] }
+ % revert to non-feathered beams
+ \override Beam.grow-direction = #'()
+ { g32[ a b c] }
+}
@end lilypond
@noindent
The spacing in the printed output represents the
note durations only approximately, but the MIDI output is exact.
-
@predefined
@code{\featherDurations}.
@endpredefined
@@ -2363,9 +2665,7 @@ note durations only approximately, but the MIDI output is exact.
Snippets:
@rlsr{Rhythms}.
-
@knownissues
-
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
@@ -2373,7 +2673,6 @@ music snippets, and when numbers in the fraction are small.
@node Bars
@subsection Bars
-
@menu
* Bar lines::
* Bar numbers::
@@ -2404,8 +2703,8 @@ 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:
-@lilypond[quote,relative=1,verbatim]
-e4 d c2 \bar "|."
+@lilypond[quote,verbatim]
+\relative { e'4 d c2 \bar "|." }
@end lilypond
It is not invalid if the final note in a measure does not
@@ -2460,65 +2759,85 @@ exists, the effects of the original bar line are not altered.
Two types of simple bar lines and five types of double bar lines are
available for manual insertion:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|"
-f1 \bar "."
-g1 \bar "||"
-a1 \bar ".|"
-b1 \bar ".|."
-c1 \bar "|.|"
-d1 \bar "|."
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar "|"
+ f1 \bar "."
+ g1 \bar "||"
+ a1 \bar ".|"
+ b1 \bar ".."
+ c1 \bar "|.|"
+ d1 \bar "|."
+ e1
+}
@end lilypond
@noindent
together with dotted and dashed bar lines:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ":"
-g1 \bar "dashed"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
-and five types of repeat bar line:
+and nine types of repeat bar lines:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "|:"
-g1 \bar ":|:"
-a1 \bar ":|.|:"
-b1 \bar ":|.:"
-c1 \bar ":|"
-e1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ".|:"
+ g1 \bar ":..:"
+ a1 \bar ":|.|:"
+ b1 \bar ":|.:"
+ c1 \bar ":.|.:"
+ d1 \bar "[|:"
+ e1 \bar ":|][|:"
+ f1 \bar ":|]"
+ g1 \bar ":|."
+ a1
+}
@end lilypond
Additionally, a bar line can be printed as a simple tick:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "'"
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "'" g'1
@end lilypond
However, as such ticks are typically used in Gregorian chant, it is
preferable to use @code{\divisioMinima} there instead, described in
the section @ref{Divisiones} in Gregorian chant.
+Lilypond supports kievan notation and provides a special kievan
+bar line:
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "k"
+@end lilypond
+Further details of this notation are explained in
+@ref{Typesetting Kievan square notation}.
+
@cindex segno
For in-line segno signs, there are three types of bar lines which
differ in their behavior at line breaks:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "S"
-c4 c c c \break
-\bar "S"
-c4 c c c
-\bar "|S"
-c4 c c c \break
-\bar "|S"
-c4 c c c
-\bar "S|"
-c4 c c c \break
-\bar "S|"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar "S"
+ c4 c c c \break
+ \bar "S"
+ c4 c c c
+ \bar "S-|"
+ c4 c c c \break
+ \bar "S-|"
+ c4 c c c
+ \bar "S-S"
+ c4 c c c \break
+ \bar "S-S"
+ c1
+}
@end lilypond
@cindex repeats
@@ -2529,67 +2848,170 @@ 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
+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.
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar "||:"
-c4 c c c \break
-\bar "||:"
-c4 c c c
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ".|:-||"
+ c4 c c c \break
+ \bar ".|:-||"
+ c4 c c c
+}
@end lilypond
For combinations of repeats with the segno sign, there are six different
variations:
-@lilypond[quote,relative=2,verbatim]
-c4 c c c
-\bar ":|S"
-c4 c c c \break
-\bar ":|S"
-c4 c c c
-\bar ":|S."
-c4 c c c \break
-\bar ":|S."
-c4 c c c
-\bar "S|:"
-c4 c c c \break
-\bar "S|:"
-c4 c c c
-\bar ".S|:"
-c4 c c c \break
-\bar ".S|:"
-c4 c c c
-\bar ":|S|:"
-c4 c c c \break
-\bar ":|S|:"
-c4 c c c
-\bar ":|S.|:"
-c4 c c c \break
-\bar ":|S.|:"
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ c4 c c c
+ \bar ":|.S"
+ c4 c c c \break
+ \bar ":|.S"
+ c4 c c c
+ \bar ":|.S-S"
+ c4 c c c \break
+ \bar ":|.S-S"
+ c4 c c c
+ \bar "S.|:-S"
+ c4 c c c \break
+ \bar "S.|:-S"
+ c4 c c c
+ \bar "S.|:"
+ c4 c c c \break
+ \bar "S.|:"
+ c4 c c c
+ \bar ":|.S.|:"
+ c4 c c c \break
+ \bar ":|.S.|:"
+ c4 c c c
+ \bar ":|.S.|:-S"
+ c4 c c c \break
+ \bar ":|.S.|:-S"
+ c1
+}
+@end lilypond
+
+Additionally there is an @code{\inStaffSegno} command which creates
+a segno bar line in conjunction with an appropriate repeat bar line
+when used with a @code{\repeat volta} command, see
+@ref{Normal repeats}.
+
+@funindex \defineBarLine
+@funindex defineBarLine
+@cindex bar lines, defining
+@cindex defining bar lines
+
+New bar line types can be defined with @code{\defineBarLine}:
+
+@example
+\defineBarLine @var{bartype} #'(@var{end} @var{begin} @var{span})
+@end example
+
+The @code{\defineBarline} variables can include the
+@q{empty} string @code{""}, which is equivalent to an invisible
+bar line being printed. Or they can be set to @code{#f} which
+prints no bar line at all.
+
+After the definiton, the new bar line can be used by
+@code{\bar} @var{bartype}.
+
+There are currently ten bar line elements available:
+
+@lilypond[quote,verbatim]
+\defineBarLine ":" #'("" ":" "")
+\defineBarLine "=" #'("=" "" "")
+\defineBarLine "[" #'("" "[" "")
+\defineBarLine "]" #'("]" "" "")
+
+\new Staff {
+ s1 \bar "|"
+ s1 \bar "."
+ s1 \bar "!"
+ s1 \bar ";"
+ s1 \bar ":"
+ s1 \bar "k"
+ s1 \bar "S"
+ s1 \bar "="
+ s1 \bar "["
+ s1 \bar "]"
+ s1 \bar ""
+}
+@end lilypond
+
+The @code{"="} bar line provides the double span bar line, used
+in combination with the segno sign. Do not use it as a standalone
+double thin bar line; here, @code{\bar} @var{"||"} is
+preferred.
+
+The @code{"-"} sign starts annotations to bar lines which
+are useful to distinguish those with identical appearance
+but different behavior at line breaks and/or different span bars.
+The part following the @code{"-"} sign is not used for building up
+the bar line.
+
+@lilypond[quote,verbatim]
+\defineBarLine "||-dashedSpan" #'("||" "" "!!")
+
+\new StaffGroup <<
+ \new Staff \relative c'' {
+ c1 \bar "||"
+ c1 \bar "||-dashedSpan"
+ c1
+ }
+ \new Staff \relative c'' {
+ c1
+ c1
+ c1
+ }
+>>
+@end lilypond
+
+Furthermore, the space character @code{" "} serves as a placeholder
+for defining span bars correctly aligned to the main bar lines:
+
+@lilypond[quote,verbatim]
+\defineBarLine ":|.-wrong" #'(":|." "" "|.")
+\defineBarLine ":|.-right" #'(":|." "" " |.")
+
+\new StaffGroup <<
+ \new Staff \relative c'' {
+ c1 \bar ":|.-wrong"
+ c1 \bar ":|.-right"
+ c1
+ }
+ \new Staff \relative c'' {
+ c1
+ c1
+ c1
+ }
+>>
@end lilypond
+If additional elements are needed, LilyPond provides a simple
+way to define them. For more informations on modifying or adding
+bar lines, see file @file{scm/bar-line.scm}.
In scores with many staves, a @code{\bar} command in one staff is
automatically applied to all staves. The resulting bar lines are
connected between different staves of a @code{StaffGroup},
@code{PianoStaff}, or @code{GrandStaff}.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim]
<<
\new StaffGroup <<
- \new Staff {
- e4 d
+ \new Staff \relative {
+ e'4 d
\bar "||"
f4 e
}
- \new Staff { \clef bass c4 g e g }
+ \new Staff \relative { \clef bass c'4 g e g }
>>
- \new Staff { \clef bass c2 c2 }
+ \new Staff \relative { \clef bass c'2 c2 }
>>
@end lilypond
@@ -2597,8 +3019,6 @@ connected between different staves of a @code{StaffGroup},
@cindex default bar lines, changing
@cindex bar lines, default, changing
-@snippets
-
@funindex whichBar
@funindex defaultBarType
@funindex \bar
@@ -2613,13 +3033,15 @@ The default bar type used for automatically inserted bar lines is
@code{"|"}. This may be changed at any time with
@samp{\set Timing.defaultBarType = @var{bartype}}.
-
@seealso
Notation Reference:
@ref{Line breaking},
@ref{Repeats},
@ref{Grouping staves}.
+Installed Files:
+@file{scm/bar-line.scm}.
+
Snippets:
@rlsr{Rhythms}.
@@ -2644,11 +3066,13 @@ 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,quote,relative=1]
-c1 c c c
-\break
-\set Score.currentBarNumber = #50
-c1 c c c
+@lilypond[verbatim,quote]
+\relative c' {
+ c1 c c c
+ \break
+ \set Score.currentBarNumber = #50
+ c1 c c c
+}
@end lilypond
@cindex bar numbers, regular spacing
@@ -2656,51 +3080,59 @@ c1 c c c
@funindex barNumberVisibility
@funindex BarNumber
-Bar numbers can be typeset at regular intervals instead of just at
-the beginning of every line. To do this the default behavior
-must be overridden to permit bar numbers to be printed at places
-other than the start of a line. This is controlled by the
-@code{break-visibility} property of @code{BarNumber}. This takes
-three values which may be set to @code{#t} or @code{#f} to specify
-whether the corresponding bar number is visible or not. The order
-of the three values is @code{end of line visible}, @code{middle of
-line visible}, @code{beginning of line visible}. In the following
-example bar numbers are printed at all possible places:
-
-@lilypond[verbatim,quote,relative=1]
-\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
-\set Score.currentBarNumber = #11
-% Permit first bar number to be printed
-\bar ""
-c1 | c | c | c
-\break
-c1 | c | c | c
-@end lilypond
+Bar numbers can be typeset at regular intervals instead of just at the
+beginning of every line. To do this the default behavior must be
+overridden to permit bar numbers to be printed at places other than the
+start of a line. This is controlled by the @code{break-visibility}
+property of @code{BarNumber}. This takes three values which may be set
+to @code{#t} or @code{#f} to specify whether the corresponding bar
+number is visible or not. The order of the three values is
+@code{end of line visible}, @code{middle of line visible},
+@code{beginning of line visible}. In the following example bar numbers
+are printed at all possible places:
+@lilypond[verbatim,quote]
+\relative c' {
+ \override Score.BarNumber.break-visibility = ##(#t #t #t)
+ \set Score.currentBarNumber = #11
+ % Permit first bar number to be printed
+ \bar ""
+ c1 | c | c | c |
+ \break
+ c1 | c | c | c |
+}
+@end lilypond
@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-the-bar-number-for-the-first-measure.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-bar-numbers-at-regular-intervals.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{printing-bar-numbers-with-changing-regular-intervals.ly}
+
@cindex measure number, format
@cindex bar number, format
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-bar-numbers-inside-boxes-or-circles.ly}
+@cindex bar numbers, with letters
+@cindex bar numbers, with repeats
+
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{alternative-bar-numbering.ly}
+
@cindex bar number alignment
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{aligning-bar-numbers.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{removing-bar-numbers-from-a-score.ly}
-
@seealso
Snippets:
@rlsr{Rhythms}.
@@ -2709,7 +3141,6 @@ Internals Reference:
@rinternals{BarNumber},
@rinternals{Bar_number_engraver}.
-
@cindex bar number collision
@cindex collision, bar number
@@ -2742,15 +3173,6 @@ next example, the second bar check will signal an error.
\time 3/4 c2 e4 | g2 |
@end example
-Bar checks can also be used in lyrics:
-
-@example
-\lyricmode @{
- \time 2/4
- Twin -- kle | Twin -- kle |
-@}
-@end example
-
An incorrect duration can result in a completely garbled score,
especially if the score is polyphonic, so a good place to start
correcting input is by scanning for failed bar checks and
@@ -2760,20 +3182,36 @@ If successive bar checks are off by the same musical interval,
only the first warning message is displayed. This allows the
warning to focus on the source of the timing error.
+Bar checks can also be inserted in lyrics:
+
+@example
+\lyricmode @{
+ \time 2/4
+ Twin -- kle | Twin -- kle |
+@}
+@end example
+
+Note that bar check marks in lyrics are evaluated at the musical
+moment when the syllable @emph{following} the check mark is processed.
+If the lyrics are associated with the notes of a voice which has a
+rest at the beginning of a bar, then no syllable can be located at the
+start of that bar and a warning will be issued if a bar check mark is
+placed in the lyrics at that position.
+
@funindex |
-@funindex pipeSymbol
+@funindex "|"
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}.
+assigning a music expression to @code{"|"}.
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,verbatim]
-pipeSymbol = \bar "||"
+"|" = \bar "||"
{
c'2 c' |
c'2 c'
@@ -2798,7 +3236,6 @@ example,
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-
@seealso
Snippets:
@rlsr{Rhythms}.
@@ -2815,11 +3252,13 @@ Snippets:
To print a rehearsal mark, use the @code{\mark} command.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
@@ -2828,12 +3267,14 @@ The mark is incremented automatically if you use @code{\mark
mark manually. The value to use is stored in the property
@code{rehearsalMark}.
-@lilypond[quote,verbatim,relative=2]
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@noindent
@@ -2849,13 +3290,15 @@ hollow circle).
\set Score.markFormatter = #format-mark-circle-alphabet
@end example
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-box-alphabet
-c1 \mark \default
-c1 \mark \default
-c1 \mark #8
-c1 \mark \default
-c1 \mark \default
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-box-alphabet
+ c1 \mark \default
+ c1 \mark \default
+ c1 \mark #8
+ c1 \mark \default
+ c1 \mark \default
+}
@end lilypond
@cindex rehearsal mark format
@@ -2876,16 +3319,18 @@ following example, @code{markFormatter} is set to a pre-defined
procedure. After a few measures, it is set to a procedure that
produces a boxed number.
-@lilypond[quote,verbatim,relative=2]
-\set Score.markFormatter = #format-mark-numbers
-c1 \mark \default
-c1 \mark \default
-\set Score.markFormatter = #format-mark-box-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-numbers
-c1 \mark \default
-\set Score.markFormatter = #format-mark-circle-letters
-c1
+@lilypond[quote,verbatim]
+\relative c'' {
+ \set Score.markFormatter = #format-mark-numbers
+ c1 \mark \default
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-box-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-numbers
+ c1 \mark \default
+ \set Score.markFormatter = #format-mark-circle-letters
+ c1
+}
@end lilypond
The file @file{scm/translation-functions.scm} contains the
@@ -2927,11 +3372,13 @@ string.
Music glyphs (such as the segno sign) may be printed inside a
@code{\mark}
-@lilypond[quote,verbatim,relative=1]
-c1 \mark \markup { \musicglyph #"scripts.segno" }
-c1 \mark \markup { \musicglyph #"scripts.coda" }
-c1 \mark \markup { \musicglyph #"scripts.ufermata" }
-c1
+@lilypond[quote,verbatim]
+\relative c' {
+ c1 \mark \markup { \musicglyph #"scripts.segno" }
+ c1 \mark \markup { \musicglyph #"scripts.coda" }
+ c1 \mark \markup { \musicglyph #"scripts.ufermata" }
+ c1
+}
@end lilypond
@noindent
@@ -2942,6 +3389,10 @@ For common tweaks to the positioning of rehearsal marks, see
@ref{Formatting text}. For more precise control, see
@code{break-alignable-interface} in @ref{Aligning objects}.
+The file @file{scm/translation-functions.scm} contains
+the definitions of @code{format-mark-numbers} and
+@code{format-mark-letters}. They can be used as inspiration for
+other formatting functions.
@seealso
Notation Reference:
@@ -2950,10 +3401,7 @@ Notation Reference:
@ref{Aligning objects}.
Installed Files:
-@file{scm/translation-functions.scm} contains
-the definitions of @code{format-mark-numbers} and
-@code{format-mark-letters}. They can be used as inspiration for
-other formatting functions.
+@file{scm/translation-functions.scm}.
Snippets:
@rlsr{Rhythms}.
@@ -2983,38 +3431,48 @@ Internals Reference:
@cindex acciaccatura
@funindex \grace
-@funindex grace
+@funindex \slashedGrace
+@funindex \acciaccatura
+@funindex \appoggiatura
-Grace notes are ornaments that are written out. Grace notes
-are printed in a smaller font and take up no logical time
-in a measure.
+Grace notes are musical ornaments, printed in a smaller font, that take
+up no additional logical time in a measure.
-@lilypond[quote,relative=2,verbatim]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
-LilyPond also supports two special types of grace notes, the
+There are three other types of grace notes possible; the
@emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
-small note with a slashed stem -- and the @emph{appoggiatura}, which
-takes a fixed fraction of the main note and appears in small print
-without a slash.
+note with a slashed stem -- and the @emph{appoggiatura}, which takes a
+fixed fraction of the main note it is attached to and prints without the
+slash. It is also possible to write a grace note with a slashed stem,
+like the @emph{acciaccatura} but without the slur, so as to place it
+between notes that are slurred themselves, using the
+@code{\slashedGrace} function.
-@lilypond[quote,relative=2,verbatim]
-\grace c8 b4
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+@lilypond[quote,verbatim]
+\relative {
+ \acciaccatura d''8 c4
+ \appoggiatura e8 d4
+ \acciaccatura { g16 f } e2
+ \slashedGrace a,8 g4
+ \slashedGrace b16 a4(
+ \slashedGrace b8 a2)
+}
@end lilypond
-The placement of grace notes is synchronized between different
-staves. In the following example, there are two sixteenth grace
-notes for every eighth grace note
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth grace notes for every
+eighth grace note
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e2 \grace { c16[ d e f] } e2 }
- \new Staff { c2 \grace { g8[ b] } c2 }
+ \new Staff \relative { e''2 \grace { c16 d e f } e2 }
+ \new Staff \relative { c''2 \grace { g8 b } c2 }
>>
@end lilypond
@@ -3027,8 +3485,8 @@ If you want to end a note with a grace, use the @code{\afterGrace}
command. It takes two arguments: the main note, and the grace
notes following the main note.
-@lilypond[quote,verbatim,relative=2]
-c1 \afterGrace d1 { c16[ d] } c1
+@lilypond[quote,verbatim]
+\relative { c''1 \afterGrace d1 { c16[ d] } c1 }
@end lilypond
This will put the grace notes after a space lasting 3/4 of the
@@ -3037,18 +3495,18 @@ setting @code{afterGraceFraction}. The following example shows
the results from setting the space at the default, at 15/16, and
finally at 1/2 of the main note.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- \new Staff {
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
- \new Staff {
+ \new Staff \relative {
#(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ c''1 \afterGrace d1 { c16[ d] } c1
}
>>
@end lilypond
@@ -3057,11 +3515,11 @@ The space between the main note and the grace note may also be
specified using spacers. The following example places the grace
note after a space lasting 7/8 of the main note.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
<<
- { d1^\trill_( }
- { s2 s4. \grace { c16[ d] } }
+ { d''1^\trill_( }
+ { s2 s4. \grace { c16 d } }
>>
c1)
}
@@ -3079,11 +3537,11 @@ the grace expression. The overrides should also be reverted
inside the grace expression. Here, the grace note's default stem
direction is overridden and then reverted.
-@lilypond[quote,verbatim,relative=2]
-\new Voice {
+@lilypond[quote,verbatim]
+\new Voice \relative {
\acciaccatura {
\stemDown
- f16->
+ f''16->
\stemNeutral
}
g4 e c2
@@ -3096,19 +3554,18 @@ direction is overridden and then reverted.
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{using-grace-note-slashes-with-normal-heads.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{tweaking-grace-layout-within-music.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{redefining-grace-note-global-defaults.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{positioning-grace-notes-with-floating-space.ly}
-
@seealso
Music Glossary:
@rglos{grace notes},
@@ -3116,6 +3573,7 @@ Music Glossary:
@rglos{appoggiatura}.
Notation Reference:
+@ref{Scaling durations},
@ref{Manual beams}.
Installed Files:
@@ -3127,12 +3585,12 @@ Snippets:
Internals Reference:
@rinternals{GraceMusic},
@rinternals{Grace_beam_engraver},
+@rinternals{Grace_auto_beam_engraver},
@rinternals{Grace_engraver},
@rinternals{Grace_spacing_engraver}.
@knownissues
-
@cindex acciaccatura, multi-note
@cindex multi-note acciaccatura
@cindex grace-note synchronization
@@ -3148,10 +3606,10 @@ notation, such as key signatures, bar lines, etc., are also
synchronized. Take care when you mix staves with grace notes and
staves without, for example,
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" d2. }
>>
@end lilypond
@@ -3159,16 +3617,47 @@ staves without, for example,
This can be remedied by inserting grace skips of the corresponding
durations in the other staves. For the above example
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- \new Staff { e4 \bar "|:" \grace c16 d2. }
- \new Staff { c4 \bar "|:" \grace s16 d2. }
+ \new Staff \relative { e''4 \bar ".|:" \grace c16 d2. }
+ \new Staff \relative { c''4 \bar ".|:" \grace s16 d2. }
>>
@end lilypond
-Grace sections should only be used within sequential music
-expressions. Nesting or juxtaposing grace sections is not
-supported, and might produce crashes or other errors.
+Please make sure that you use the @code{\grace} command for the
+spacer part, even if the visual part uses @code{\acciaccatura} or
+@code{\appoggiatura} because otherwise an ugly slur fragment will
+be printed, connecting the invisible grace note with the following
+note.
+
+Grace sections should only be used within sequential music expressions.
+Nesting or juxtaposing grace sections is not supported, and might
+produce crashes or other errors.
+
+Each grace note in MIDI output has a length of 1/4 of its actual
+duration. If the combined length of the grace notes is greater than the
+length of the preceding note a @qq{@code{Going back in MIDI time}}
+error will be generated. Either make the grace notes shorter in
+duration, for example:
+
+@example
+c'8 \acciaccatura @{ c'8[ d' e' f' g'] @}
+@end example
+
+becomes:
+
+@example
+c'8 \acciaccatura @{ c'16[ d' e' f' g'] @}
+@end example
+
+Or explicitly change the musical duration:
+
+@example
+c'8 \acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
+@end example
+
+See @ref{Scaling durations}.
+
@node Aligning to cadenzas
@unnumberedsubsubsec Aligning to cadenzas
@@ -3188,8 +3677,8 @@ functions take a defined piece of music as an argument and generate a
multi-measure rest or @code{\skip} exactly as long as the piece.
@lilypond[verbatim,quote]
-MyCadenza = \relative c' {
- c4 d8 e f g g4
+MyCadenza = \relative {
+ c'4 d8 e f g g4
f2 g4 g
}
@@ -3199,15 +3688,14 @@ MyCadenza = \relative c' {
\MyCadenza c'1
}
\new Staff {
- #(ly:export (mmrest-of-length MyCadenza))
+ #(mmrest-of-length MyCadenza)
c'1
- #(ly:export (skip-of-length MyCadenza))
+ #(skip-of-length MyCadenza)
c'1
}
>>
@end lilypond
-
@seealso
Music Glossary:
@rglos{cadenza}.
@@ -3274,12 +3762,12 @@ advanced by 1/8 to 5/8, shortening that bar by 1/8.
The next bar line then falls at 9/8 rather than 5/4.
@lilypond[quote,verbatim]
-\new Voice \relative c' {
- \set Timing.measureLength = #(ly:make-moment 5 4)
- c1 c4 |
+\new Voice \relative {
+ \set Timing.measureLength = #(ly:make-moment 5/4)
+ c'1 c4 |
c1 c4 |
c4 c
- \set Timing.measurePosition = #(ly:make-moment 5 8)
+ \set Timing.measurePosition = #(ly:make-moment 5/8)
b4 b b8 |
c4 c1 |
}
@@ -3292,7 +3780,6 @@ duration of n/m of a whole note. For example,
@code{ly:make-moment 7 16} is the duration of seven sixteenths
notes.
-
@seealso
Notation Reference:
@ref{Bar numbers},
@@ -3304,4 +3791,3 @@ Snippets:
Internals Reference:
@rinternals{Timing_translator},
@rinternals{Score}.
-