@funindex \breve
@funindex \maxima
-When entering notes or rests, durations are designated by
+When entering notes, durations are designated by
numbers and dots: durations are entered as their reciprocal
values. For example, a quarter note is entered using a @code{4}
(since it is a 1/4 note), while a half note is entered using a
@code{2} (since it is a 1/2 note). For notes longer than a whole
-you must use the @code{\longa} and @code{\breve} commands.
-
-@ignore
----- Example to be removed if following is thought better ----
-@example
-c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
-@end example
-
-@lilypond[quote]
-\score {
-\relative c'' {
- a\longa*1/4 a\breve*1/2 \autoBeamOff
- a1 a2 a4 a8 a16 a32 a64 a64
- }
- \layout {
- ragged-right = ##t
- indent=0\mm
- \context {
- \Score
- \remove "Bar_number_engraver"
- }
- \context {
- \Staff
- \remove "Clef_engraver"
- \override StaffSymbol #'transparent = ##t
- \override TimeSignature #'transparent = ##t
- \override BarLine #'transparent = ##t
- \consists "Pitch_squash_engraver"
- }
- }
-}
-@end lilypond
-@end ignore
-
-@c TODO Consider whether the beams should be
-@c removed in the following. If they,
-@c the c'128 notes are not displayed
-@c properly. See Note below. \autoBeamOff ?
+you must use the @code{\longa} (a double breve) and
+@code{\breve} commands.
+Note durations as short as 64th notes may be specified.
+@c Two 64th notes are needed to obtain beams
@lilypond[quote,ragged-right,verbatim,fragment]
<<
\new Staff {
\time 8/1
- c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'128 c'128
+ \override Staff.TimeSignature #'stencil = ##f
+ \autoBeamOff
+ c'\longa c'\breve c'1 c'2
+ c'4 c'8 c'16 c'32 c'64 c'64
}
\new Staff {
- r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128
+ \time 8/1
+ \override Staff.TimeSignature #'stencil = ##f
+ \autoBeamOn
+ c'\longa c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
}
>>
@end lilypond
-Note: Up to four flags and up to five beams can be attached
-to note stems, so durations as small as 128 may be specified
-with beaming, but without beaming durations shorter than
-64 should not be entered - a warning will be produced.
-Durations up to 128 may be specified for rests.
-
If the duration is omitted then it is set to the previously
entered duration. The default for the first note is a quarter
note.
For alternative ways of aligning lyrics to notes see
This manual: @ref{Vocal music}
-For a complete description of how to enter rests see
+For a description of how to enter rests see
This manual: @ref{Writing rests}
+A note with the duration of a quadruple breve may be
+entered with \maxima, but this is supported only within
+ancient music notation.
+See this manual: @ref{Ancient notation}
+
Program reference: @internalsref{Dots}, and
@internalsref{DotColumn}.
@funindex \rest
@funindex r
+@funindex \maxima
Rests are entered like notes with the note name @code{r}
+@ \time 16/1 is used to avoid spurious bar lines
+@ and long tracts of empty bars
@lilypond[fragment,quote,ragged-right,verbatim]
-r1 r2 r4 r8
+\new Staff {
+ \time 16/1
+ \override Staff.TimeSignature #'stencil = ##f
+ r\maxima
+ r\longa r\breve r1 r2
+ r4 r8 r16 r32 r64
+}
@end lilypond
Whole bar rests, centered in middle of the bar, must be entered as
Multi-measure rests are principally used to indicate
that a part in a multi-part score should be silent:
-@lilypond[quote,ragged-right,fragment,verbatim]
+@c Ragged-right is omitted here as otherwise
+@c the annotation collides. When a better
+@c way of avoiding collisions is discovered this
+@c example should be changed
+
+@lilypond[quote,fragment,verbatim]
{
- \set Score.skipBars = ##t
- R1*4^"Piano" R1*24^"Solo" R1*4^"Piano" b'2 b'4 a'4
+ \set Score.skipBars = ##t
+ R1*4^"Intrumental"
+ R1*24^"Solo"
+ R1*4^"Instrumental"
+ b'2^"Tutti" b'4 a'4
}
@end lilypond
or breve rest, centered in the measure, regardless of the time
signature.
-@c TODO Is "church rests" an accepted musical term? I can't
-@c find it anywhere. Is there a better term? If it is
-@c retained it should be added to glossary.
+@c TODO: add link to @rglos{church rests}
If there are 10 or fewer measures of rest, LilyPond prints
-@q{church rests} (a series of rectangles) in the staff and
+@notation{church rests} (a series of rectangles) in the staff and
prints a simple line otherwise. This default number
may be changed by overriding
@code{MultiMeasureRest.expand-limit}.
(or below) it. Long text attached in this way will not cause
the bar to expand, and may collide with text in adjacent bars.
Long text is better attached to a zero-length skip note preceding
-the rest, since this will cause the bar to expand to accommodate
-the length of the text. However, text attached above the bar
-in this way will collide with the rest number unless it is
-raised, either by increasing the padding or using @code{\raise}:
+the rest, preceeded by @code{\fatText}, since this will
+cause the bar to expand to accommodate
+the length of the text:
@lilypond[quote,ragged-right,verbatim,fragment]
\set Score.skipBars = ##t
-s1*0^\markup {\hspace #0 \raise #3 [FRED.]}
-R1*4
-s1*0^\markup {\hspace #0 \raise #3 [MABEL] }
-s1*0_\markup {\italic {Cue: ...so let it be}}
-R1*6
+\fatText
+s1*0^\markup {[MAJOR GENERAL]}
+R1*19
+s1*0^\markup {[MABEL] }
+s1*0_\markup {\italic {Cue: ... it is yours}}
+R1*30
+s1^\markup {CHORUS} % Chorus notes would go here
@end lilypond
@seealso
+This manual: @ref{Text}
+
Program reference: @internalsref{MultiMeasureRestMusicGroup},
@internalsref{MultiMeasureRest}.
@cindex meter
@funindex \time
-@c TODO The word 'metrum' is latin for 'metre', I think
-@c Should we not use 'metre' or 'meter' here?
-Time signature indicates the metrum of a piece: a regular pattern
+Time signature indicates the meter of a piece: a regular pattern
of strong and weak beats. It is denoted by a fraction at the
start of the staff.
@refbugs
LilyPond will only insert line breaks and page breaks at a
-barline. Unless the unmetered music ends before the end of the
+bar line. Unless the unmetered music ends before the end of the
staff line, you will need to insert invisible bar lines
@example
@end lilypond
When these automatic decisions are not good enough, beaming
-can be entered explicitly, see @ref{Manual beams} below.
-It is also possible to define beaming
+can be entered explicitly. It is also possible to define beaming
patterns that differ from the defaults. See @ref{Manual beams}
and @ref{Setting automatic beam behavior}.
-
-@commonprop
-
-Feathered beams are printed by setting the @code{grow-direction}
-property of a @code{Beam}. The @code{\featherDurations} function
-can be used to adjust note durations.
-
-@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
-\override Beam #'grow-direction = #LEFT
-\featherDurations #(ly:make-moment 5 4)
-{
- c16[ c c c c c c]
-}
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{Beam}.
-
-
-@refbugs
-
-The @code{\featherDurations} command only works with very short
-music snippets.
-
-@node Manual beams
-@unnumberedsubsubsec Manual beams
-
-@cindex beams, manual
-
-Individual notes may be marked with @code{\noBeam} to prevent them
-from being beamed
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\time 2/4 c8 c\noBeam c c
-@end lilypond
-
@cindex autoBeamOn
@cindex autoBeamOff
@noindent
-and automatic beaming may be turned off and on with
+Automatic beaming may be turned off and on with
@code{\autoBeamOff} and @code{\autoBeamOn} commands:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
c16 c8
@end lilypond
-@funindex ]
-@funindex [
-
-In some cases it may be necessary to override the automatic
-beaming algorithm. For example, the autobeamer will not put beams
-over rests or bar lines, and in choral scores the beaming is
-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,ragged-right,fragment,relative=1,verbatim]
-{
- r4 r8[ g' a r8] r8 g[ | a] r8
-}
-@end lilypond
-
@commonprop
@funindex stemLeftBeamCount
@funindex stemRightBeamCount
-
LilyPond can automatically determine beaming patterns within a
beam, but this automatic behavior can sometimes produce odd
results; therefore the @code{stemLeftBeamCount} and
f8 f''8 f8 f''8
@end lilypond
+Feathered beams are printed by setting the @code{grow-direction}
+property of a @code{Beam}. The @code{\featherDurations} function
+can be used to adjust note durations.
+
+@lilypond[ragged-right,relative=1,fragment,verbatim,quote]
+\override Beam #'grow-direction = #LEFT
+\featherDurations #(ly:make-moment 5 4)
+{
+ c16[ c c c c c c]
+}
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{Beam}.
+
+
@refbugs
Automatically kneed cross-staff beams cannot be used together with
Beams do not avoid collisions with symbols around the notes, such
as texts and accidentals.
+The @code{\featherDurations} command only works with very short
+music snippets.
+
+@node Manual beams
+@unnumberedsubsubsec Manual beams
+
+@cindex beams, manual
+
+Individual notes may be marked with @code{\noBeam} to prevent them
+from being beamed:
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+\time 2/4 c8 c\noBeam c c
+@end lilypond
+
+@funindex ]
+@funindex [
+
+In some cases it may be necessary to override the automatic
+beaming algorithm. For example, the autobeamer will not put beams
+over rests or bar lines, and in choral scores the beaming is
+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,ragged-right,fragment,relative=1,verbatim]
+{
+ r4 r8[ g' a r8] r8 g[ | a] r8
+}
+@end lilypond
@node Bars
@cindex repeat bars
Bar lines delimit measures, and are also used to indicate
-repeats. Normally, simple barlines are automatically inserted
+repeats. Normally, simple bar lines are automatically inserted
into the printed output at places
based on the current time signature. It is not invalid if the
final note in a bar does not end on the automatically entered
-barline: the note is assumed to carry over into the next bar.
+bar line: the note is assumed to carry over into the next bar.
-The simple barlines inserted automatically can be changed to
+The simple bar lines inserted automatically can be changed to
other types with the @code{\bar} command. For example, a closing
-double barline is usually placed at the end of a piece:
+double bar line is usually placed at the end of a piece:
@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
e4 d c2 \bar "||"
@end lilypond
-This and other special barlines may be inserted manually at any
+This and other special bar lines may be inserted manually at any
point. When they coincide with the end of a bar they replace
-the simple barline which would have been inserted there
+the simple bar line which would have been inserted there
automatically. When they do not coincide
-with the end of a bar the specified barline is inserted at that
+with the end of a bar the specified bar line is inserted at that
point in the printed output. Such insertions do not affect
-the calculation and placement of subsequent automatic barlines.
+the calculation and placement of subsequent automatic bar lines.
-Although the barline types signifying repeats may be inserted
+Although the bar line types signifying repeats may be inserted
manually they do not in themselves cause LilyPond to recognise
a repeated section. Such repeated sections are better entered
using the various repeat commands (see @ref{Repeats}), which
-automatically print the appropriate barlines.
+automatically print the appropriate bar lines.
The following bar types are available for manual insertion:
@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
-\override Score.RehearsalMark #'padding = #3
-c4 \bar "|" \mark \markup {\simple #"|" }
-c \bar "|:" \mark \markup {\simple #"|:" }
-c \bar "||" \mark \markup {\simple #"||" }
-c \bar ":|" \mark \markup {\simple #":|" }
-c \bar ".|" \mark \markup {\simple #".|" }
-c \bar ".|." \mark \markup {\simple #".|."}
-c \bar ":|:" \mark \markup {\simple #":|:"}
-c \bar "|." \mark \markup {\simple #"|." }
-c \bar ":" \mark \markup {\simple #":" }
-c c c
+c2 c \bar "|"
+c c \bar "|:"
+c c \bar "||"
+c c \bar ":|"
+c c \bar ".|"
\break
-c \bar "dashed" \mark \markup { \simple #"dashed" }
-c c c
+c c \bar ".|."
+c c \bar ":|:"
+c c \bar "|."
+c c \bar ":"
+c c \bar "dashed"
+c c
@end lilypond
In addition, you can specify @code{"||:"}, which is equivalent to
@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
\override Score.RehearsalMark #'padding = #3
c c c c
-\bar "||:" \mark \markup {
- \tiny \typewriter "unbroken" \simple #"||:" }
+\bar "||:"
c c c c \break
-\bar "||:" \mark \markup {
- \tiny \typewriter "broken" \simple #"||:" }
+\bar "||:"
c c c c
@end lilypond
Entered music is
automatically broken into lines, but this happens only at
-manually inserted barlines or at automatically inserted barlines
+manually inserted bar lines or at automatically inserted bar lines
where these occur at the
end of complete bars, i.e. where the end of a note coincides
with the end of a bar. If this never happens, perhaps due to
@commonprop
@funindex whichBar
-@c TODO remove? @funindex repeatCommands
@funindex defaultBarType
The command @code{\bar }@var{bartype} is a short cut for
@refbugs
-@c TODO is this still a bug in 11?
+@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
@funindex |
Bar checks help detect errors in the entered durations.
-A bar check may be entered using the bar symbol, @code{|},
+A bar check may be entered using the bar symbol, @samp{|},
at any place where a bar line is expected to fall.
If bar check lines are encountered at other places,
a list of warnings is printed in the log file,
@funindex |
@funindex pipeSymbol
-It is also possible to redefine the meaning of @code{|}. This is
-done by assigning a music expression to @code{pipeSymbol},
+It is also possible to redefine the action taken when a bar check
+or pipe symbol, @code{|}, is encountered in the input, so that
+it does something other than a bar check. This is done by
+assigning a music expression to @code{pipeSymbol}.
+In the following example @code{|} is set to insert a double bar
+line wherever it appears in the input, rather than checking
+for end of bar.
@lilypond[quote,ragged-right,verbatim]
pipeSymbol = \bar "||"
-
-{ c'2 c' | c'2 c' }
+{
+ c'2 c'2 |
+ c'2 c'2
+ c'2 | c'2
+ c'2 c'2
+}
@end lilypond
When copying large pieces of music, it can be helpful to check
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,
}
>>
@end lilypond
+@end ignore
The placement of grace notes is synchronized between different
staves. In the following example, there are two sixteenth grace
@noindent
By adjusting the duration of the skip note (here it is a
-half-note), the space between the main-note and the grace is
-adjusted.
+half-note), the space between the main-note and the grace
+may be adjusted.
A @code{\grace} music expression will introduce special
typesetting settings, for example, to produce smaller type, and
Another option is to change the variables @code{startGraceMusic},
@code{stopGraceMusic}, @code{startAcciaccaturaMusic},
@code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
-@code{stopAppoggiaturaMusic}. More information is in the file
-@file{ly/@/grace@/-init@/.ly}.
+@code{stopAppoggiaturaMusic}. The default values of these can be
+seen in the file @file{ly/@/grace@/-init@/.ly}. By redefining
+them other effects may be obtained.
@noindent
The slash through the stem in acciaccaturas can be obtained in
@commonprop
-Grace notes may be forced to use floating spacing,
+Grace notes may be forced to use align with regular notes
+in other staves by setting @code{strict-grace-spacing} to
+##t:
@lilypond[relative=2,ragged-right]
<<
@refbugs
-A score that starts with a @code{\grace} expression needs an
-explicit @code{\new Voice} declaration, otherwise the main note
-and the grace note end up on different staves.
-
Grace note synchronization can also lead to surprises. Staff
notation, such as key signatures, bar lines, etc., are also
synchronized. Take care when you mix staves with grace notes and
A solution to this problem are the functions
@code{mmrest-of-length} and @code{skip-of-length}. These Scheme
functions take a piece of music as argument, and generate a
-@code{\skip} or multi-rest, exactly as long as the piece. The use
+multi-rest or @code{\skip}, exactly as long as the piece. The use
of @code{mmrest-of-length} is demonstrated in the following
example.
@cindex Time administration
+@funindex currentBarNumber
+@funindex measurePosition
+@funindex measureLength
+
Time is administered by the
-@internalsref{Time_signature_engraver}, which by default is
-to be found in the @internalsref{Score} context.
-The bookkeeping deals with the following variables
+@code{Timing_translator}, which by default is
+to be found in the @code{Score} context. An
+alias, @code{Timing}, is added to the context in which
+the @code{Timing_translator} is placed.
+The following properties of @code{Timing} are used
+to keep track of timing within the score.
+
@table @code
@item currentBarNumber
-The measure number.
+The current measure number. For an example showing the
+use of this property see @ref{Bar numbers}.
@item measureLength
The length of the measures in the current time signature. For a
-4/4 time this is@tie{}1, and for 6/8 it is 3/4.
+4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
+determines when bar lines are inserted and how automatic beams
+should be generated.
@item measurePosition
The point within the measure where we currently are. This
-quantity is reset to@tie{}0 whenever it exceeds
-@code{measureLength}. When that happens, @code{currentBarNumber}
-is incremented.
+quantity is reset by subtracting @code{measureLength} whenever
+@code{measureLength} is reached or exceeded. When that happens,
+@code{currentBarNumber} is incremented.
@item timing
If set to true, the above variables are updated for every time
@end table
Timing can be changed by setting any of these variables
-explicitly. In the next example, the 4/4 time signature is
-printed, but @code{measureLength} is set to 5/4. After a while,
-the measure is shortened by 1/8, by setting @code{measurePosition}
-to 7/8 at 2/4 in the measure, so the next bar line will fall at
-2/4 + 3/8. The 3/8 arises because 5/4 normally has 10/8, but we
-have manually set the measure position to be 7/8 and 10/8 - 7/8 =
-3/8.
+explicitly. In the next example, the default 4/4 time
+signature is printed, but @code{measureLength} is set to 5/4.
+At 4/8 though the third bar, the @code{measurePosition} is
+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,ragged-right,verbatim,relative,fragment]
\set Score.measureLength = #(ly:make-moment 5 4)
c1 c4
c1 c4
c4 c4
-\set Score.measurePosition = #(ly:make-moment 7 8)
-b8 b b
+\set Score.measurePosition = #(ly:make-moment 5 8)
+b4 b4 b8
c4 c1
@end lilypond
@code{ly:make-moment 7 16} is the duration of seven sixteenths
notes.
+@seealso
+
+This manual: @ref{Bar numbers}, @ref{Unmetered music}
+
+Program Reference: @internalsref{Timing_translator},
+@internalsref{Score}
+
@node Proportional notation (introduction)
@unnumberedsubsubsec Proportional notation (introduction)
See @ref{Proportional notation}.
-
-TODO: remove all this stuff?
+@ignore
Notes can be spaced proportionally to their time-difference by
assigning a duration to @code{proportionalNotationDuration}
An example of strict proportional notation is in the
example file @file{input/proportional.ly}.
+@end ignore
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