To obtain dotted note lengths, simply add a dot (@samp{.}) to the
number. Double-dotted notes are produced in a similar way.
-@lilypond[quote,ragged-right,fragment,verbatim]
-a'4 b' c''4. b'8 a'4. b'4.. c''8.
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 b c4. b8 a4. b4.. c8.
@end lilypond
-@cindex tied notes
-@funindex ~
-
Some durations cannot be entered using only binary durations
and dots, and can only be represented by tying two or more
-notes together. Tied notes are also
-often used prior to a syncopated section, and
-they are also frequently used to carry notes over stronger
-beats in a bar as well as to carry notes over barlines. To tie
-two (or more) notes together terminate all but the last one
-with a @code{~} (a tilde symbol):
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\relative c'' {
- c4. b8 a2 |
- g~ g8 g'4 fis8~ |
- fis8 e4 d8~ d8 c4 b8 |
- a2 g
-}
-@end lilypond
-
+notes together. Tied notes are covered in @ref{Ties}.
@refcommands
ancient music notation.
See this manual: @ref{Ancient notation}
+Optionally, notes can be spaced proportionately to their duration.
+For details of this and other settings which control
+proportional notation see @ref{Proportional notation}.
+
Program reference: @internalsref{Dots}, and
@internalsref{DotColumn}.
@cindex triplets
@funindex \times
+@c TODO Add Tuplet to glossary
+
Tuplets are made out of a music expression by multiplying all
durations with a fraction
@end example
@noindent
-The duration of @var{musicexpr} will be multiplied by the
-fraction. The fraction's denominator will be printed over the
-notes, optionally with a bracket. The most common tuplet is the
-triplet in which 3 notes have the length of 2, so the notes are
-2/3 of their written length
+The duration of @var{musicexpr} will be multiplied by the
+fraction. The fraction's denominator will be printed over or
+under the notes, optionally with a bracket. The most common
+tuplet is the triplet in which 3 notes have the length of 2, so
+the notes are 2/3 of their written length.
-@lilypond[quote,ragged-right,fragment,verbatim]
-g'4 \times 2/3 {c'4 c' c'} d'4 d'4
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+g4 \times 2/3 {c4 c c} d4 d4
@end lilypond
Tuplets may be nested, for example,
@code{TupletNumber} and denominator text for the
@code{TupletNumber} of the first of the three inner tuplets.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,ragged-right,verbatim,relative=2]
\new Staff {
\tweak #'text #tuplet-number::calc-fraction-text
\times 4/3 {
\tweak #'text #tuplet-number::calc-denominator-text
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
}
}
@end lilypond
in the usual way to position the @code{TupletBrackets} of the
second and third of the inner tuplets below the staff.
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,ragged-right,verbatim,relative=2]
\new Staff {
\tweak #'text #tuplet-number::calc-fraction-text
\tweak #'direction #up
\times 4/3 {
\tweak #'direction #down
- \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c8[ c8 c8] }
\override TupletBracket #'direction = #down
- \times 2/3 { c'8[ c'8 c'8] }
- \times 2/3 { c'8[ c'8 c'8] }
+ \times 2/3 { c8[ c8 c8] }
+ \times 2/3 { c8[ c8 c8] }
}
}
@end lilypond
}
@end lilypond
+Tuplets which cross barlines will prevent a line break at that
+point.
@seealso
followed by @code{\rest}. A rest will be placed in the position
where the note would appear,
-@lilypond[fragment,quote,ragged-right,verbatim]
-a'4\rest d'4\rest
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+a4\rest d4\rest
@end lilypond
@noindent
In other situations, for example, when entering lyrics, you should
use the @code{\skip} command
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[quote,ragged-right,verbatim,relative=2]
<<
- \relative { a'2 a2 }
+ { a2 a2 }
\new Lyrics \lyricmode { \skip 2 bla2 }
>>
@end lilypond
Program reference:
-@ignore
-@c Following ref is invalid
-@c @internalsref{MultiMeasureRestMusicGroup},
-@end ignore
-
@internalsref{MultiMeasureRest}.
The layout object @internalsref{MultiMeasureRestNumber} is for the
R1*4 cis cis
@end example
-@ignore
-@c Bar numbering is correct in 2.11, even with skipBars set true
-When @code{skipBars} is
-set, the result will look OK, but the bar numbering will be off.
-@end ignore
-
@node Displaying rhythms
@subsection Displaying rhythms
The time signature is set with the @code{\time} command
-@lilypond[quote,ragged-right,fragment,verbatim]
-\time 2/4 c'2 \time 3/4 c'2.
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c2 \time 3/4 c2.
@end lilypond
@commonprop
property. Setting it to @code{#'()} uses fraction style for 4/4
and 2/2 time,
-@lilypond[fragment,quote,ragged-right,verbatim]
-\time 4/4 c'1
-\time 2/2 c'1
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+\time 4/4 c1
+\time 2/2 c1
\override Staff.TimeSignature #'style = #'()
-\time 4/4 c'1
-\time 2/2 c'1
+\time 4/4 c1
+\time 2/2 c1
@end lilypond
There are many more options for its layout. See @ref{Ancient time
@refbugs
-@c Still a bug in 2.11
Automatic beaming does not use the measure grouping specified with
@code{set-time-signature}.
@refbugs
-@c This may still be a bug, but I can't demonstrate it in 2.11 -td
When using different time signatures in parallel, the spacing is
aligned vertically, but barlines distort the regular spacing.
@refbugs
-@c Still a bug in 2.11 -td
Not all durations (especially those containing tuplets) can be
represented exactly with normal notes and dots, but the engraver
will not insert tuplets.
-@c Still a bug in 2.11 (if it can be called a bug) -td
@code{Completion_heads_engraver} only affects notes; it does not
split rests.
For more information about @code{make-moment}, see
@ref{Time administration}.
+@c TODO Consider whether the section Setting automatic
+@c beam behavior should all be moved here. For now
+@c here's a link to it.
+
+For details about modifying the automatic beam behaviour
+see @ref{Setting automatic beam behavior}
+
+@funindex breakable
+
Line breaks are normally forbidden when beams cross barlines.
This behavior can be changed by setting the @code{breakable}
property: @code{\override Beam #'breakable = ##t}.
-@funindex breakable
-
@cindex beams and line breaks
@cindex beams, kneed
@cindex kneed beams
@refbugs
-@c Is this still an issue. Don't understand it enough to test -td
Automatically kneed cross-staff beams cannot be used together with
hidden staves. See @ref{Hiding staves}.
-@c Is this still true with skyline spacing stuff? -J.Mandereau
-@c Simple markup text certainly avoids beams in 2.11, -td
-@c even in other voices. However, notes and accidentals in -td
-@c other voices can collide with beams. -td
-@ignore
-@c The old text:
-Beams do not avoid collisions with symbols around the notes, such
-as texts and accidentals.
-@end ignore
-
-@c New text:
Beams can collide with noteheads and accidentals in other voices
@node Manual beams
Feathered beams are used to indicate that a small group of notes
should be played at an increasing (or decreasing) tempo, without
-changing the overall tempo of the piece. The
-beam extent must be indicated manually using @code{[} and
-@code{]}, and the feathering is turned on by specifying a
+changing the overall tempo of the piece. The extent of the
+feathered beam must be indicated manually using @code{[} and
+@code{]}, and the beam feathering is turned on by specifying a
direction to the Beam property @code{grow-direction}.
-The ratio between the durations of the first and last notes
-in the group can be specified with @code{\featherDurations}.
+
+If the placement of the notes and the sound in the MIDI output
+is to reflect the ritardando or accelerando indicated by the
+feathered beam the notes must be grouped as a
+music expression delimited by braces and preceded by a
+@code{featheredDurations} command which specifies the ratio
+between the durations of the first and last notes in the group.
+
+The square brackets
+show the extent of the beam and the braces show
+which notes are to have their durations modified. Normally
+these would delimit the same group of notes, but this is not
+required: the two commands are independent.
In the following example the eight 16th notes occupy exactly
the same time as a half note, but the first note is twice
as short as the last one, with the intermediate notes gradually
lengthening. The first four 32nd notes gradually speed up,
-while the last four 32nd notes are constant tempo.
+while the last four 32nd notes are at a constant tempo.
@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
\override Beam #'grow-direction = #LEFT
\featherDurations #(ly:make-moment 2 1)
-c16[ c c c c c c c]
+{ c16[ c c c c c c c] }
\override Beam #'grow-direction = #RIGHT
\featherDurations #(ly:make-moment 2 3)
-c32[ d e f]
+{ c32[ d e f] }
+% revert to non-feathered beams
\override Beam #'grow-direction = #'()
-g32[ a b c]
+{ 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.
+
+@commonprop
+
+Line breaking is prevented by beams which straddle barlines. The
+@samp{breakable} property of @code{Beam} allows this behaviour
+to be overridden:
+
+@lilypond[ragged-right,relative=2,fragment,verbatim,quote]
+\override Beam #'breakable = ##t
+c8 \repeat unfold 15 {c[ c] } c
+@end lilypond
+
+
@refbugs
The @code{\featherDurations} command only works with very short
-music snippets, and if the numbers in the fraction are small.
+music snippets, and when numbers in the fraction are small.
@node Bars
@refbugs
-@c Is this still a bug in 11?
-@c Yes it is, so leave it in.
Bar numbers can collide with the top of the
@internalsref{StaffGroup} bracket, if there is one.
To solve this, the @code{padding} property of
* Grace notes::
* Aligning to cadenzas::
* Time administration::
-* Proportional notation (introduction)::
@end menu
@node Grace notes
Unlike @code{\acciaccatura} and @code{\appoggiatura}, the
@code{\grace} command does not start a slur.
-@ignore
-@c This section on grace note timing is interesting, but
-@c is of no practical use to the user. Perhaps it should
-@c be in the reference manual.
-
-@cindex timing, internal
-
-Internally, timing for grace notes is done using a second,
-@q{grace} timing. Every point in time consists of two rational
-numbers: one denotes the logical time, one denotes the grace
-timing. The above example is shown here with timing tuples
-
-@lilypond[quote,ragged-right]
-<<
- \relative c''{
- c4 \grace c16 c4 \grace {
- c16[ d16] } c2 c4
- }
- \new Lyrics \lyricmode {
- \override LyricText #'font-family = #'typewriter
-
- \markup { (0,0) } 4
- \grace { \markup {
- ( \fraction 1 4 , \fraction -1 16 ) } 16 }
- \markup { (\fraction 1 4 , 0 ) } 4
- \grace {
- \markup { (\fraction 2 4 , \fraction "-1" 8 ) } 16
- \markup { (\fraction 2 4 , \fraction "-1" 16 ) } 16
- }
- \markup { ( \fraction 2 4 , 0 ) }
- }
->>
-@end lilypond
-@end ignore
-
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
@internalsref{Score}
-@node Proportional notation (introduction)
-@unnumberedsubsubsec Proportional notation (introduction)
-@cindex Proportional notation
-
-Notes can be spaced proportionately to their duration by
-assigning a value to @code{proportionalNotationDuration}.
-For details of this and other setting which control
-proportional notation see @ref{Proportional notation}.
-
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