1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
17 Repetition is a central concept in music, and multiple notations
18 exist for repetitions. LilyPond supports the following kinds of repeats:
23 The repeated music is not written out but enclosed between repeat bar
24 lines. If the repeat is at the beginning of a piece, a repeat bar
25 line is only printed at the end. Alternative endings (volte) are
26 printed left to right with brackets. This is the standard notation
27 for repeats with alternatives.
30 The repeated music is fully written out, as many times as
31 specified by @var{repeatcount}. This is useful when
32 entering repetitious music.
35 These are beat or measure repeats. They look like single slashes or
39 This is used to write tremolo beams.
50 @subsection Long repeats
52 This section discusses how to input long (usually multi-measure)
53 repeats. The repeats can take two forms: repeats enclosed between
54 repeat signs; or written out repeats, used to input repetitious music.
55 Repeat signs can also be controlled manually.
59 * Manual repeat marks::
60 * Written-out repeats::
67 @cindex volta, seconda
71 @subsubsection Normal repeats
73 The syntax for a normal repeat is
76 \repeat volta @var{repeatcount} @var{musicexpr}
79 where @var{musicexpr} is a music expression. Alternate endings can be
80 produced using @code{\alternative}. If there are more repeats than
81 there are alternate endings, the earliest repeats are given the first
84 Normal repeats without alternate endings:
86 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
87 \repeat volta 2 { c4 d e f }
89 \repeat volta 2 { d4 e f g }
92 Normal repeats with alternate endings:
94 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
95 \repeat volta 2 { g4 f e d }
100 \repeat volta 3 { c4 d e f }
109 Repeats with upbeats can be entered in two ways:
111 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
115 \repeat volta 4 { c2 d | e2 f | }
126 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
129 \repeat volta 4 { e4 | c2 d | e2 f | }
131 { \partial 4*3 g4 g g }
140 Ties may be added to a second ending:
142 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
144 \repeat volta 2 {c4 d e f ~ }
153 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
154 {shortening-volta-brackets.ly}
156 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
157 {adding-volta-brackets-to-additional-staves.ly}
160 @c Is there a way to have a final bar ("|.") at the end of the
161 @c previous line? Doesn't seem to be.
162 If you want to start a repeat at the beginning of a line and have a
163 double bar at the end of the previous line, use @code{\bar}. For more
164 information, see @ref{Bar lines}.
166 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
169 \repeat volta 2 { c4 d e f }
175 Music Glossary: @rglos{repeat}, @rglos{volta}.
177 Notation Reference: @ref{Bar lines}, @ref{Modifying context plug-ins}.
179 Snippets: @rlsr{Repeats}.
181 Internals Reference: @rinternals{VoltaBracket},
182 @rinternals{RepeatedMusic}, @rinternals{VoltaRepeatedMusic},
183 @rinternals{UnfoldedRepeatedMusic}.
187 @cindex repeat, ambiguous
198 is ambiguous, since it is is not clear to which @code{\repeat} the
199 @code{\alternative} belongs. This ambiguity is resolved by always
200 having the @code{\alternative} belong to the inner @code{\repeat}.
201 For clarity, it is advisable to use braces in such situations.
203 Timing information is not remembered at the start of an alternative,
204 so after a repeat timing information must be reset by hand; for
205 example, by setting @code{Score.measurePosition} or entering
206 @code{\partial}. Similarly, slurs are also not repeated.
210 @node Manual repeat marks
211 @subsubsection Manual repeat marks
213 @funindex repeatCommands
215 In some cases, manual repeat marks can be created by simply
216 printing the relevant bar lines. For more information, see
219 The property @code{repeatCommands} can be used to control the
220 layout of repeats. Its value is a Scheme list of repeat commands.
223 @item @code{start-repeat}
224 Print a @code{|:} bar line:
226 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
228 \set Score.repeatCommands = #'( start-repeat )
233 In order to print a @code{|:} bar line at the beginning, a skip must
236 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
237 % FIXME: I can't believe this is right.
239 \set Score.repeatCommands = #'( start-repeat )
245 @item @code{end-repeat}
246 Print a @code{:|} bar line:
248 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
251 \set Score.repeatCommands = #'( end-repeat )
255 @item @code{(volta #f)}
256 Stop a running volta bracket.
260 @item @code{(volta @var{text})}
261 Print a volta bracket saying @var{text}.
263 FIXME: simple example?
267 The text can be a number or numbers or markup text, see
268 @ref{Formatting text}. The simplest way to use markup text is to
269 define the markup first, then include the the markup in a Scheme
270 list. When manually creating a volta bracket, the bracket must be
271 explicitly terminated or an error will be generated.
273 Manual control of the volte, including a @code{|:} bar line at the
274 beginning and explicit volta numbers:
276 @lilypond[verbatim,quote,relative=2]
277 % FIXME: I can't believe this is right.
279 \set Score.repeatCommands = #'( start-repeat )
282 \set Score.repeatCommands = #'( ( volta "1, 2, 5" ) )
284 \set Score.repeatCommands = #'( ( volta #f ) ( volta "95" ) end-repeat )
286 \set Score.repeatCommands = #'( ( volta #f ) )
290 Manual control of the volte, including markup text:
292 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
294 \set Score.repeatCommands = #'( start-repeat )
298 %\set Score.repeatCommands = #(list (list 'volta voltaChorus ) )
300 \set Score.repeatCommands = #'( ( volta #f ) ( volta "4" ) end-repeat )
302 \set Score.repeatCommands = #'( ( volta #f ) )
310 @ref{Formatting text}.
316 @rinternals{VoltaBracket},
317 @rinternals{RepeatedMusic},
318 @rinternals{VoltaRepeatedMusic}.
321 @node Written-out repeats
322 @subsubsection Written-out repeats
324 @cindex written-out repeats
325 @cindex repetitious music
326 @cindex repeats, written-out
328 By using the @code{unfold} command, repeats can be used to simplify
329 the writing out of repetitious music. The syntax is
332 \repeat unfold @var{repeatcount} @var{musicexpr}
335 where @var{musicexpr} is a music expression. Unfold repeats can be
336 made with or without alternate endings. If there are more repeats
337 than there are alternate endings, the first alternative ending is
338 applied to the earliest endings. Unfold repeats without alternate
341 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
343 \repeat unfold 2 { c4 d e f }
347 Unfold repeats with alternate endings:
349 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
351 \repeat unfold 2 { g4 f e d }
357 \repeat unfold 3 { d4 c b2 }
367 Snippets: @rlsr{Repeats}.
369 Internals Reference: @rinternals{RepeatedMusic},
370 @rinternals{UnfoldedRepeatedMusic}.
373 @subsection Short repeats
375 This section discusses how to input short repeats. Short repeats can
376 take two basic forms: repeats of a single note to two measures,
377 represented by slashes or percent signs; and tremolos.
384 @node Percent repeats
385 @subsubsection Percent repeats
387 @cindex percent repeats
388 @cindex measure repeats
390 Repeated short patterns of notes are supported. The music is printed
391 once, and the pattern is replaced with a special sign. Patterns that
392 are shorter than one measure are replaced by slashes, and patterns of
393 one or two measures are replaced by percent-like signs. The syntax is
396 @code{\repeat percent @var{number} @var{musicexpr}}
399 where @var{musicexpr} is a music expression.
401 @lilypond[quote,verbatim,ragged-right]
403 \repeat percent 4 { c4 }
404 \repeat percent 2 { b'4 a g f }
405 \repeat percent 2 { c2 es | f4 fis g c | }
409 Measure repeats of more than two repeats get a counter if you switch
410 on the @code{countPercentRepeats} property:
412 @lilypond[relative=2,fragment,quote,verbatim,ragged-right]
414 \set countPercentRepeats = ##t
415 \repeat percent 4 { c1 }
420 Isolated percents can also be printed. This is done by entering a
421 multi-measure rest with a different print function:
423 @lilypond[fragment,verbatim,quote]
424 \override MultiMeasureRest #'stencil
425 = #ly:multi-measure-rest::percent
432 Only three kinds of percent repeats are supported: a single slash
433 representing a single beat (regardless of the duration of the repeated
434 notes); a single slash with dots representing one full measure; and
435 two slashes with dots crossing a bar line representing two full
436 measures. Neither multiple slashes representing single beat repeats
437 consisting of sixteenth or shorter notes, nor two slashes with dots
438 representing single beat repeats consisting of notes of varying
439 durations, are supported.
444 Music Glossary: @rglos{percent repeat}, @rglos{simile}.
446 Snippets: @rlsr{Repeats}.
448 Internals Reference: @rinternals{RepeatSlash},
449 @rinternals{PercentRepeat}, @rinternals{DoublePercentRepeat},
450 @rinternals{DoublePercentRepeatCounter},
451 @rinternals{PercentRepeatCounter}, @rinternals{PercentRepeatedMusic}.
453 @node Tremolo repeats
454 @subsubsection Tremolo repeats
456 Tremolos can take two forms: alternation between two chords or two
457 notes, and rapid repetition of a single
458 note or chord. Tremolos consisting of an alternation are indicated by
459 adding beams between the notes or chords being alternated, while
460 tremolos consisting of the rapid repetition of a single note are
461 indicated by adding beams or slashes to a single note.
463 @cindex tremolo beams
465 To place tremolo marks between notes, use @code{\repeat} with
468 @lilypond[quote,verbatim,ragged-right]
470 \repeat tremolo 8 { c16 d }
471 \repeat tremolo 4 { c16 d }
472 \repeat tremolo 2 { c16 d }
476 The @code{\repeat tremolo} syntax expects exactly two notes within
477 the braces, and the number of repetitions must correspond to a
478 note value that can be expressed with plain or dotted notes. Thus,
479 @code{\repeat tremolo 7} is valid and produces a double dotted
480 note, but @code{\repeat tremolo 9} is not.
482 The duration of the tremolo equals the duration of the
483 braced expression multiplied by the number of repeats:
484 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
485 notated as two whole notes joined by tremolo beams.
487 There are two ways to put tremolo marks on a single note. The
488 @code{\repeat tremolo} syntax is also used here, in which case
489 the note should not be surrounded by braces:
491 @lilypond[quote,verbatim,ragged-right]
492 \repeat tremolo 4 c'16
495 @cindex tremolo marks
496 @funindex tremoloFlags
498 The same output can be obtained by adding
499 @q{@code{:}[@var{number}]} after the note. The number indicates
500 the duration of the subdivision, and it must be at least 8. A
501 @var{number} value of 8 gives one line across the note stem. If
502 the length is omitted, the last value (stored in
503 @code{tremoloFlags}) is used
505 @lilypond[quote,ragged-right,verbatim,fragment]
506 c'2:8 c':32 | c': c': |
513 Tremolos entered with @q{@code{:}[@var{number}]} do not carry over
514 into the MIDI output.
519 Snippets: @rlsr{Repeats}.