X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Frhythms.itely;h=a393f1346c2a71c087bac8abfc951598b0644a08;hb=5d84bfad4626892bcffd05adcced53c8a2329047;hp=72c963cdb7d84b3e3c2baea0968984a27ce2cbbf;hpb=615a6c6e036908a26b1f0fc45ea9a181000d0206;p=lilypond.git
diff --git a/Documentation/notation/rhythms.itely b/Documentation/notation/rhythms.itely
index 72c963cdb7..a393f1346c 100644
--- a/Documentation/notation/rhythms.itely
+++ b/Documentation/notation/rhythms.itely
@@ -7,7 +7,7 @@
Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.2"
+@c \version "2.19.40"
@node Rhythms
@section Rhythms
@@ -45,11 +45,8 @@ This section discusses rhythms, rests, durations, beaming and bars.
@cindex note lengths
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
@funindex \maxima
-@funindex maxima
Durations are designated by numbers and dots. Durations are entered
as their reciprocal values. For example, a quarter note is entered
@@ -60,21 +57,25 @@ 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
@@ -89,17 +90,19 @@ 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=2]
-\time 8/1
-c \longa \breve 1 2
-4 8 16 32 64 128 128
+@lilypond[quote,verbatim]
+\relative {
+ \time 8/1
+ c'' \longa \breve 1 2
+ 4 8 16 32 64 128 128
+}
@end lilypond
@cindex notes, dotted
@@ -113,8 +116,8 @@ 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
@@ -129,11 +132,8 @@ duration. For details of this and other settings which control
proportional notation, see @ref{Proportional notation}.
@funindex \dotsUp
-@funindex dotsUp
@funindex \dotsDown
-@funindex dotsDown
@funindex \dotsNeutral
-@funindex dotsNeutral
Dots are normally moved up to avoid staff lines, except in
polyphonic situations. Dots may be manually placed above or below
@@ -186,7 +186,7 @@ Internals Reference:
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited:
-rests from 128th to maxima (8 x whole) may be printed.
+rests from 128th to maxima (8Ã whole) may be printed.
@node Tuplets
@@ -196,64 +196,70 @@ rests from 128th to maxima (8 x whole) may be printed.
@cindex triplets
@funindex \tuplet
-@funindex tuplet
Tuplets are made from a music expression with the @code{\tuplet}
-command, multiplying the speed of the music expression by a
-fraction:
+command, multiplying the speed of the music expression by a fraction:
@example
\tuplet @var{fraction} @{ @var{music} @}
@end example
@noindent
-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:
+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=2]
-a2 \tuplet 3/2 { b4 4 4 }
-c4 c \tuplet 3/2 { b4 a g }
+@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:
+@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]
-g2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
+@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
@funindex \tupletUp
-@funindex tupletUp
@funindex \tupletDown
-@funindex tupletDown
@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 \tuplet 5/4 { f8 e f \tuplet 3/2 { 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},
@@ -271,7 +277,7 @@ see @ref{Scaling durations}.
@funindex tupletSpannerDuration
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
-{entering-several-tuplets-using-only-one--times-command.ly}
+{entering-several-tuplets-using-only-one--tuplet-command.ly}
@cindex Tuplet number changes
@@ -299,6 +305,7 @@ Learning Manual:
@rlearning{Tweaking methods}.
Notation Reference:
+@ref{Direction and placement},
@ref{Time administration},
@ref{Scaling durations},
@ref{The tweak command},
@@ -312,20 +319,6 @@ Internals Reference:
@rinternals{TupletNumber},
@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{\tuplet}
-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
@@ -346,16 +339,18 @@ 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 gis a
-% Normal durations
-a4 a
-% 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 spacer rests may also be modified by
@@ -366,7 +361,6 @@ a multiplier. This is useful for skipping many measures, e.g.,
@cindex expanding music
@funindex \scaleDurations
-@funindex scaleDurations
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
@@ -375,17 +369,19 @@ the internal duration of the notes will be multiplied by the
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
@@ -430,15 +426,15 @@ 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,relative=2]
-a2~ 4~ 16 r r8
+@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~ 4~ 16 r r8
+@lilypond[quote,verbatim]
+{ a'2~ 4~ 16 r r8 }
@end lilypond
Ties are used either when the note crosses a bar line, or when
@@ -446,8 +442,8 @@ 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 c~ 2 r4 |
+\relative {
+ r8 c'4.~ 4 r4 |
r8^"not" c2~ 8 r4
}
@end lilypond
@@ -465,10 +461,12 @@ match are connected. When no note heads match, no ties will be
created. Chords may be partially tied by placing the ties inside
the chord.
-@lilypond[quote,verbatim,relative=1]
-2 ~ 2
-4~
-
+@lilypond[quote,verbatim]
+\relative c' {
+ 2~ 2 |
+ 4~
+ |
+}
@end lilypond
@cindex repeating ties
@@ -477,43 +475,41 @@ the chord.
@cindex ties and volta brackets
@funindex \repeatTie
-@funindex repeatTie
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
@cindex ties, laissez vibrer
@funindex \laissezVibrer
-@funindex laissezVibrer
@notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
piano, harp and other string and percussion instruments. They can
be entered as follows:
-@lilypond[quote,verbatim,relative=1]
-1\laissezVibrer
+@lilypond[quote,verbatim,fragment]
+1\laissezVibrer
@end lilypond
@cindex ties, placement
@funindex \tieUp
-@funindex tieUp
@funindex \tieDown
-@funindex tieDown
@funindex \tieNeutral
-@funindex tieNeutral
Ties may be made to curve up or down manually; see
@ref{Direction and placement}.
@@ -525,56 +521,59 @@ Ties may be made to curve up or down manually; see
@cindex dotted ties
@funindex \tieDotted
-@funindex tieDotted
@funindex \tieDashed
-@funindex tieDashed
@funindex \tieSolid
-@funindex tieSolid
Ties may be made dashed, dotted, or a combination of solid and
dashed.
-@lilypond[quote, verbatim, relative=1]
-\tieDotted
-c2~ 2
-\tieDashed
-c2~ 2
-\tieHalfDashed
-c2~ 2
-\tieHalfSolid
-c2~ 2
-\tieSolid
-c2~ 2
+@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~ 2
-\tieDashPattern #0.7 #1.5
-c2~ 2
-\tieSolid
-c2~ 2
+@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 @ref{Slurs}.
-Override @var{whiteout} and @var{layer} layout properties for ties that
-collide with other objects in a staff.
-
-@lilypond[verbatim,quote,ragged-right,relative=2]
-\override Tie.layer = #-2
-\override Staff.TimeSignature.layer = #-1
-\override Staff.KeySignature.layer = #-1
-\override Staff.TimeSignature.whiteout = ##t
-\override Staff.KeySignature.whiteout = ##t
-b2 b~
-\time 3/4
-\key a \major
-b r4
+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
@@ -644,14 +643,10 @@ Rests are entered as part of the music in music expressions.
@cindex breve rest
@funindex \rest
-@funindex rest
@funindex r
@funindex \maxima
-@funindex maxima
@funindex \longa
-@funindex longa
@funindex \breve
-@funindex breve
Rests are entered like notes with the note name @code{r}.
Durations longer than a whole rest use the following predefined
@@ -659,7 +654,7 @@ 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
@@ -690,8 +685,8 @@ 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
@@ -718,7 +713,7 @@ Internals Reference:
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
-are rests from 128th to maxima (8 x whole).
+are rests from 128th to maxima (8Ã whole).
@node Invisible rests
@@ -732,14 +727,15 @@ are rests from 128th to maxima (8 x whole).
@funindex s
@funindex \skip
-@funindex skip
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
@@ -751,10 +747,10 @@ 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 {
@@ -767,14 +763,14 @@ 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
@@ -784,16 +780,16 @@ 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
@@ -821,18 +817,20 @@ Internals Reference:
@cindex whole rest for a full measure
@cindex rest, whole for a full measure
+@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
@@ -840,22 +838,23 @@ 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
@@ -867,26 +866,21 @@ 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
@@ -902,18 +896,18 @@ R2.*2 |
@cindex multi-measure rest with markup
@funindex \fermataMarkup
-@funindex fermataMarkup
@funindex MultiMeasureRestText
Markups can be added to multi-measure rests.
The predefined command @code{\fermataMarkup}
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
@@ -921,7 +915,7 @@ 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
R1^"wrong"
@@ -935,22 +929,15 @@ setting, resulting bar-check warnings may not be displayed.
@funindex \textLengthOn
-@funindex textLengthOn
@funindex \textLengthOff
-@funindex textLengthOff
@funindex \fermataMarkup
-@funindex fermataMarkup
-@funindex \compressFullBarRests
-@funindex compressFullBarRests
-@funindex \expandFullBarRests
-@funindex expandFullBarRests
+@funindex \compressMMRests
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\fermataMarkup},
-@code{\compressFullBarRests},
-@code{\expandFullBarRests}.
+@code{\compressMMRests}.
@endpredefined
@@ -994,7 +981,7 @@ Internals Reference:
@cindex multi-measure rests and fingerings
@knownissues
-Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+Fingerings over multi-measure rests (e.g., @code{R1*10-4}) may result
in the fingering numeral colliding with the bar counter
numeral.
@@ -1029,16 +1016,17 @@ Multi-measure rests do not take part in rest collisions.
@cindex meter
@funindex \time
-@funindex time
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
@@ -1046,39 +1034,41 @@ 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
@cindex meter style
@funindex \numericTimeSignature
-@funindex numericTimeSignature
@funindex \defaultTimeSignature
-@funindex defaultTimeSignature
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
@@ -1103,10 +1093,10 @@ argument:
@lilypond[quote,verbatim]
\score {
\new Staff {
- \relative c' {
- \time #'(2 2 3) 7/8
- \repeat unfold 7 { c8 } |
- \time #'(3 2 2) 7/8
+ \relative {
+ \time 2,2,3 7/8
+ \repeat unfold 7 { c'8 } |
+ \time 3,2,2 7/8
\repeat unfold 7 { c8 } |
}
}
@@ -1127,7 +1117,7 @@ signature is executed:
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(3 1) % beatStructure
+ 3,1 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 { c8 } |
@@ -1168,12 +1158,12 @@ 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
- #'(3 1) % beatStructure
+ 3,1 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 { c8 } |
@@ -1196,7 +1186,7 @@ for different staves by moving the @code{Timing_translator} and the
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(3 1) % beatStructure
+ 3,1 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 {c''8}
@@ -1205,7 +1195,7 @@ for different staves by moving the @code{Timing_translator} and the
\overrideTimeSignatureSettings
4/4 % timeSignatureFraction
1/4 % baseMomentFraction
- #'(1 3) % beatStructure
+ 1,3 % beatStructure
#'() % beamExceptions
\time 4/4
\repeat unfold 8 {c''8}
@@ -1269,60 +1259,69 @@ Internals Reference:
@cindex metronome marking with text
@funindex \tempo
-@funindex tempo
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.
@@ -1331,16 +1330,17 @@ to prevent tempo indications from overlapping, and @code{\markLengthOff}
restores the default behavior of ignoring tempo marks
for horizontal spacing.
-@lilypond[verbatim,quote,relative=0]
-\compressFullBarRests
-\markLengthOn
-\tempo "Molto vivace"
-R1*12
-\tempo "Meno mosso"
-R1*16
-\markLengthOff
-\tempo "Tranquillo"
-R1*20
+@lilypond[verbatim,quote]
+\compressMMRests {
+ \markLengthOn
+ \tempo "Molto vivace"
+ R1*12
+ \tempo "Meno mosso"
+ R1*16
+ \markLengthOff
+ \tempo "Tranquillo"
+ R1*20
+}
@end lilypond
@snippets
@@ -1367,7 +1367,7 @@ Music Glossary:
Notation Reference:
@ref{Formatting text},
-@ref{MIDI output}.
+@ref{Creating MIDI output}.
Snippets:
@rlsr{Staff notation}.
@@ -1385,73 +1385,69 @@ Internals Reference:
@cindex measure, partial
@cindex measure, pickup
@cindex pickup measure
+@cindex time signature, mid-measure
@funindex measurePosition
@funindex \partial
-@funindex partial
Partial or pick-up measures, such as an @emph{anacrusis} or an
-@emph{upbeat}, are entered using the @code{\partial} command,
+@emph{upbeat}, are entered using the @code{\partial} command:
@example
\partial @var{duration}
@end example
-@noindent
-where @code{@var{duration}} is the @emph{remaining} length of the
-partial measure @emph{before} the start of the next full measure.
+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=1]
-\time 3/4
-\partial 8
-e8 | a4 c8 b c4 |
+@lilypond[quote,verbatim]
+\relative {
+ \time 3/4
+ \partial 4.
+ r4 e'8 | a4 c8 b c4 |
+}
@end lilypond
-The @var{duration} can be any value less than a 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=1]
-\time 3/4
-\partial 4.
-r4 e8 | a4 c8 b c4 |
+@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
-@code{\partial @var{duration}} can also be written as:
+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 -@var{duration}
-@end example
-
-So the first example above could be written:
-
-@lilypond[quote,verbatim,relative=1]
-\time 3/4
-\set Timing.measurePosition = #(ly:make-moment -1/8)
-e8 | a4 c8 b c4 |
-@end lilypond
-
-The property @code{measurePosition} contains a rational number,
-which is usually positive and indicates how much of the measure
-has passed at this point. @code{\partial @var{duration}} is
-defined such that no numbered bar gets created: when used at the
-beginning of a score, @code{measurePosition} is set to a
-negative number, implying that the current bar will be
-@emph{preceded} by additional material. When used elsewhere, it
-moves the requested distance before the @emph{end} of the bar.
-
-@lilypond[quote,verbatim,relative=1]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\override Score.BarNumber.break-visibility =
- #end-of-line-invisible
-\time 6/8
-\partial 8
-e8 | a4 c8 b[ c b] |
-\partial 4
-r8 e,8 | a4 \bar "||"
-\partial 4
-r8 e8 | a4
-c8 b[ c b] |
+@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 @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:
@@ -1490,36 +1486,38 @@ Internal Reference:
@cindex beams, unmetered music
@funindex \cadenzaOn
-@funindex cadenzaOn
@funindex \cadenzaOff
-@funindex cadenzaOff
In metered music bar lines are inserted and bar numbers are calculated
-automatically. In unmetered music (i.e. cadenzas), this is not
+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,relative=2,quote]
-c4 d e d
-\cadenzaOn
-c4 c d8[ d d] f4 g4.
-\cadenzaOff
-\bar "|"
-d4 e d c
+@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,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
+@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
@@ -1530,28 +1528,32 @@ subsequent accidentals should be printed, forced accidentals or
reminder accidentals need to be inserted manually, see
@ref{Accidentals}.
-@lilypond[verbatim,relative=2,quote]
-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 "|"
+@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,relative=2,quote]
-\repeat unfold 8 { c8 }
-\cadenzaOn
-cis8 c c c c
-\bar"|"
-c8 c c
-\cadenzaOff
-\repeat unfold 8 { c8 }
+@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
@@ -1605,16 +1607,14 @@ stretches of unmetered music to permit breaking:
@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 \tuplet
-@funindex tuplet
Polymetric notation is supported explicitly or by manually modifying the
visible time signature symbol and/or scaling note durations.
@@ -1637,10 +1637,10 @@ 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
- c4 c c |
+ c'4 c c |
c4 c c |
}
\new Staff {
@@ -1683,10 +1683,10 @@ 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 {
@@ -1715,7 +1715,7 @@ These are created using the @code{\compoundMeter} function. The syntax
for this is:
@example
-\compoundMeter #'@code{(list of lists)}
+\compoundMeter #'(list of lists)
@end example
The simplest construction is a single list, where the @emph{last} number
@@ -1723,9 +1723,9 @@ indicates the bottom number of the time signature and those that come
before it, the top numbers.
@lilypond[quote,verbatim]
-\relative c' {
+\relative {
\compoundMeter #'((2 2 2 8))
- \repeat unfold 6 c8 \repeat unfold 12 c16
+ \repeat unfold 6 c'8 \repeat unfold 12 c16
}
@end lilypond
@@ -1733,14 +1733,14 @@ More complex meters can be constructed using additional lists. Also,
automatic beaming settings will be adjusted depending on the values.
@lilypond[quote,verbatim]
-\relative c' {
+\relative {
\compoundMeter #'((1 4) (3 8))
- \repeat unfold 5 c8 \repeat unfold 10 c16
+ \repeat unfold 5 c'8 \repeat unfold 10 c16
}
-\relative c' {
+\relative {
\compoundMeter #'((1 2 3 8) (3 4))
- \repeat unfold 12 c8
+ \repeat unfold 12 c'8
}
@end lilypond
@@ -1793,15 +1793,16 @@ overrun bar lines are split automatically by replacing 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"
}
-
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
+\relative {
+ c'2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2
+}
@end lilypond
These engravers split all running notes and rests at the bar line, and
@@ -1812,12 +1813,12 @@ much each measure is off.
The property @code{completionUnit} sets a preferred duration for
the split notes.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
- \time 9/8 g\breve. d4. \bar "||"
+} \relative {
+ \time 9/8 g\breve. d''4. \bar "||"
\set completionUnit = #(ly:make-moment 3 8)
g\breve. d4.
}
@@ -1826,13 +1827,13 @@ the split notes.
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,relative=2]
+@lilypond[quote,verbatim]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
-} {
+} \relative {
\time 2/4 r4
- \tuplet 3/2 {g4 a b}
+ \tuplet 3/2 {g'4 a b}
\scaleDurations 2/3 {g a b}
g4*2/3 a b
\tuplet 3/2 {g4 a b}
@@ -1863,7 +1864,7 @@ 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
+@code{#f} cause split notes and rests to have the scale factor
of the input durations.
@@ -1877,12 +1878,12 @@ 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
}
@@ -1902,9 +1903,7 @@ staff are squashed, and the staff itself has a single line
@funindex Pitch_squash_engraver
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
Guitar chord charts often show the strumming rhythms. This can
be done with the @code{Pitch_squash_engraver} and
@@ -1930,6 +1929,22 @@ be done with the @code{Pitch_squash_engraver} and
>>
@end lilypond
+Music containing chords can also be used as input to @code{RhythmicStaff}
+and for use with the @code{Pitch_squash_engraver} if the chords are first
+reduced to single notes with the @code{\reduceChords} music function:
+
+@lilypond[quote,verbatim]
+\new RhythmicStaff {
+ \time 4/4
+ \reduceChords {
+ 2
+ 2
+ 2
+ 4
+ 4
+ }
+}
+@end lilypond
@predefined
@code{\improvisationOn},
@@ -1971,13 +1986,13 @@ By default, beams are inserted automatically:
@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
@@ -1987,12 +2002,14 @@ 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, with beams
@@ -2066,14 +2083,11 @@ new beam starts.
@funindex autoBeaming
@funindex baseMoment
-@funindex beamExceptions
@funindex \beamExceptions
@funindex beatStructure
@funindex measureLength
@funindex \time
-@funindex time
@funindex \set
-@funindex set
When automatic beaming is enabled, the placement of automatic beams
is determined by three context properties:
@@ -2113,50 +2127,62 @@ 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.
-@lilypond[quote,relative=2,verbatim]
-\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 |
+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,relative=2,verbatim]
-\time 4/4
-a8^"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
+@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)
+ \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
+ \set Voice.beatStructure = 1,3,3
+ f'8 f f f f f f
}
}
>>
@@ -2167,18 +2193,18 @@ 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} >>
+\set beatStructure = 3,1,1,2
+<< \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} >>
+\set Staff.beatStructure = 3,1,1,2
+<< \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
@@ -2186,13 +2212,13 @@ 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
% 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 }
+\set Timing.beatStructure = 7,3
+\repeat unfold 10 { a'16 }
@end lilypond
@code{baseMoment} is a @i{moment}; a unit of musical duration. A
@@ -2217,13 +2243,15 @@ 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:
-@lilypond[quote,relative=2,verbatim]
-\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 } |
+@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}
@@ -2239,15 +2267,17 @@ 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
The default automatic beaming settings for a time signature
@@ -2261,28 +2291,28 @@ 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.beatStructure = #'(3 3 2)
+\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 (6) due to beamExceptions
-\repeat unfold 6 {a8} |
+\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,
@@ -2292,11 +2322,13 @@ but modern practice is to avoid the false impression of 6/8 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=2]
-\time 3/4
-r4. a8 a a |
-\set Timing.beamHalfMeasure = ##f
-r4. a8 a a |
+@lilypond[quote,verbatim]
+\relative a' {
+ \time 3/4
+ r4. a8 a a |
+ \set Timing.beamHalfMeasure = ##f
+ r4. a8 a a |
+}
@end lilypond
@subsubsubheading How automatic beaming works
@@ -2395,16 +2427,17 @@ 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,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\time 3/4
\set Timing.baseMoment = #(ly:make-moment 1/8)
- \set Timing.beatStructure = #'(1 5)
- \repeat unfold 6 { a8 }
+ \set Timing.beatStructure = 1,5
+ \set Timing.beamExceptions = #'()
+ \repeat unfold 6 { a'8 }
}
\new Staff {
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
@@ -2414,20 +2447,20 @@ 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,relative=2]
+@lilypond[quote,verbatim]
<<
\new Staff {
\overrideTimeSignatureSettings
3/4 % timeSignatureFraction
1/8 % baseMomentFraction
- #'(1 5) % beatStructure
+ 1,5 % beatStructure
#'() % beamExceptions
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
\new Staff {
\time 3/4
- \repeat unfold 6 { a8 }
+ \repeat unfold 6 { a'8 }
}
>>
@end lilypond
@@ -2449,8 +2482,8 @@ 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
@@ -2458,30 +2491,33 @@ 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
-@funindex noBeam
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
@@ -2496,14 +2532,16 @@ 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
@@ -2540,7 +2578,6 @@ Internals Reference:
@cindex feathered beams
@funindex \featherDurations
-@funindex featherDurations
@funindex grow-direction
Feathered beams are used to indicate that a small group of notes
@@ -2568,16 +2605,18 @@ 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
@@ -2619,7 +2658,6 @@ music snippets, and when numbers in the fraction are small.
@cindex repeat bars
@funindex \bar
-@funindex bar
Bar lines delimit measures, and are also used to indicate
repeats. Normally, simple bar lines are automatically inserted
@@ -2630,8 +2668,8 @@ 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
@@ -2644,7 +2682,7 @@ all notes end before the end of a measure.
@warning{An incorrect duration can cause line breaks to be
inhibited, leading to a line of highly compressed music or
-music which flows off the page.}
+music that flows off the page.}
@cindex line breaks
@cindex bar lines, invisible
@@ -2686,54 +2724,60 @@ 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 "!"
-a1
+@lilypond[quote,verbatim]
+\relative {
+ f'1 \bar ";"
+ g1 \bar "!"
+ a1
+}
@end lilypond
@noindent
and nine types of repeat bar lines:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar ".|:"
-g1 \bar ":..:"
-a1 \bar ":|.|:"
-b1 \bar ":|.:"
-c1 \bar ":.|.:"
-d1 \bar "[|:"
-e1 \bar ":|][|:"
-f1 \bar ":|]"
-g1 \bar ":|."
-a1
+@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 "'" g1
+@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
+LilyPond supports kievan notation and provides a special kievan
bar line:
-@lilypond[quote,relative=1,verbatim]
-f1 \bar "k"
+@lilypond[quote,fragment,verbatim]
+f'1 \bar "k"
@end lilypond
Further details of this notation are explained in
@ref{Typesetting Kievan square notation}.
@@ -2743,20 +2787,22 @@ Further details of this notation are explained in
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-S"
-c4 c c c \break
-\bar "S-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
@@ -2772,43 +2818,47 @@ In addition, you can specify @code{".|:-||"}, which is equivalent to
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-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
+@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
@@ -2817,7 +2867,6 @@ when used with a @code{\repeat volta} command, see
@ref{Normal repeats}.
@funindex \defineBarLine
-@funindex defineBarLine
@cindex bar lines, defining
@cindex defining bar lines
@@ -2869,16 +2918,16 @@ 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,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine "||-dashedSpan" #'("||" "" "!!")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar "||"
c1 \bar "||-dashedSpan"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
@@ -2889,17 +2938,17 @@ the bar line.
Furthermore, the space character @code{" "} serves as a placeholder
for defining span bars correctly aligned to the main bar lines:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\defineBarLine ":|.-wrong" #'(":|." "" "|.")
\defineBarLine ":|.-right" #'(":|." "" " |.")
\new StaffGroup <<
- \new Staff {
+ \new Staff \relative c'' {
c1 \bar ":|.-wrong"
c1 \bar ":|.-right"
c1
}
- \new Staff {
+ \new Staff \relative c'' {
c1
c1
c1
@@ -2908,7 +2957,7 @@ for defining span bars correctly aligned to the main bar lines:
@end lilypond
If additional elements are needed, LilyPond provides a simple
-way to define them. For more informations on modifying or adding
+way to define them. For more information 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
@@ -2916,17 +2965,17 @@ 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
@@ -2937,7 +2986,6 @@ connected between different staves of a @code{StaffGroup},
@funindex whichBar
@funindex defaultBarType
@funindex \bar
-@funindex bar
@funindex bartype
The command @samp{\bar @var{bartype}} is a shortcut for
@@ -2981,11 +3029,13 @@ 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
@@ -2993,25 +3043,27 @@ 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
+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
@@ -3021,6 +3073,9 @@ c1 | c | c | c
@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
@@ -3081,15 +3136,6 @@ 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
@@ -3099,6 +3145,22 @@ 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 "|"
@@ -3122,7 +3184,6 @@ for end of bar.
@end lilypond
@funindex \barNumberCheck
-@funindex barNumberCheck
When copying large pieces of music, it can be helpful to check that
the LilyPond bar number corresponds to the original that you are
@@ -3149,15 +3210,16 @@ Snippets:
@cindex mark, rehearsal
@funindex \mark
-@funindex mark
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
@@ -3166,12 +3228,14 @@ 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
@@ -3187,13 +3251,15 @@ 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
@@ -3214,22 +3280,24 @@ 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
-definitions of @code{format-mark-numbers} (the default format),
-@code{format-mark-box-numbers}, @code{format-mark-letters} and
-@code{format-mark-box-letters}. These can be used as inspiration
+definitions of @code{format-mark-letters} (the default format),
+@code{format-mark-box-letters}, @code{format-mark-numbers} and
+@code{format-mark-box-numbers}. These can be used as inspiration
for other formatting functions.
You may use @code{format-mark-barnumbers},
@@ -3260,20 +3328,21 @@ string.
@cindex glyphs, music
@funindex \musicglyph
-@funindex musicglyph
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
-See @ref{The Feta font}, for a list of symbols which may be
+See @ref{The Emmentaler font}, for a list of symbols which may be
printed with @code{\musicglyph}.
For common tweaks to the positioning of rehearsal marks, see
@@ -3287,7 +3356,7 @@ other formatting functions.
@seealso
Notation Reference:
-@ref{The Feta font},
+@ref{The Emmentaler font},
@ref{Formatting text},
@ref{Aligning objects}.
@@ -3329,9 +3398,11 @@ Internals Reference:
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 b16 a4(
-\grace { b16 c16 } a2)
+@lilypond[quote,verbatim]
+\relative {
+ c''4 \grace b16 a4(
+ \grace { b16 c16 } a2)
+}
@end lilypond
There are three other types of grace notes possible; the
@@ -3343,69 +3414,80 @@ 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]
-\acciaccatura d8 c4
-\appoggiatura e8 d4
-\acciaccatura { g16 f } e2
-\slashedGrace a,8 g4
-\slashedGrace b16 a4(
-\slashedGrace b8 a2)
+@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
-@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
@cindex grace notes, following
@funindex \afterGrace
-@funindex afterGrace
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
-length of the main note. The default fraction 3/4 can be changed by
-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.
+This will place the grace notes @emph{after} the start of the main
+note. The point of time where the grace notes are placed is a
+given fraction of the main note's duration. The default setting
+of
+
+@example
+afterGraceFraction = 3/4
+@end example
+
+@noindent
+may be redefined at top level. Individual @code{\afterGrace}
+commands may have the fraction specified right after the command
+itself instead.
+
+The following example shows the results from setting with the
+default space, setting it at @code{15/16}, and finally at
+@code{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 {
- #(define afterGraceFraction (cons 15 16))
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace 15/16 d1 { c16[ d] } c1
}
- \new Staff {
- #(define afterGraceFraction (cons 1 2))
- c1 \afterGrace d1 { c16[ d] } c1
+ \new Staff \relative {
+ c''1 \afterGrace 1/2 d1 { c16[ d] } c1
}
>>
@end lilypond
-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.
+The effect of @code{\afterGrace} can also be achieved 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_( }
+ { d''1^\trill_( }
{ s2 s4. \grace { c16 d } }
>>
c1)
@@ -3424,11 +3506,11 @@ 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
@@ -3493,10 +3575,10 @@ 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
@@ -3504,10 +3586,10 @@ 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
@@ -3517,33 +3599,6 @@ spacer part, even if the visual part uses @code{\acciaccatura} or
be printed, connecting the invisible grace note with the following
note.
-The use of grace notes within voice contexts confuses the way the voice
-is typeset. This can be overcome by inserting a rest or note between the
-voice command and the grace note.
-
-@lilypond[quote,verbatim]
-accMusic = {
- \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
-}
-
-\new Staff {
- <<
- \new Voice {
- \relative c'' {
- r8 r8 \voiceOne \accMusic \oneVoice r8 |
- r8 \voiceOne r8 \accMusic \oneVoice r8 |
- }
- }
- \new Voice {
- \relative c' {
- s8 s8 \voiceTwo \accMusic \oneVoice s8 |
- s8 \voiceTwo r8 \accMusic \oneVoice s8 |
- }
- }
- >>
-}
-@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.
@@ -3591,8 +3646,8 @@ 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
}
@@ -3676,9 +3731,9 @@ 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' {
+\new Voice \relative {
\set Timing.measureLength = #(ly:make-moment 5/4)
- c1 c4 |
+ c'1 c4 |
c1 c4 |
c4 c
\set Timing.measurePosition = #(ly:make-moment 5/8)
@@ -3688,10 +3743,10 @@ The next bar line then falls at 9/8 rather than 5/4.
@end lilypond
@noindent
-As the example illustrates, @code{ly:make-moment n m} constructs a
+As the example illustrates, @code{ly:make-moment n/m} constructs a
duration of n/m of a whole note. For example,
-@code{ly:make-moment 1 8} is an eighth note duration and
-@code{ly:make-moment 7 16} is the duration of seven sixteenths
+@code{ly:make-moment 1/8} is an eighth note duration and
+@code{ly:make-moment 7/16} is the duration of seven sixteenths
notes.
@seealso