1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 @lilypondfile[quote]{repeats-headword.ly}
17 Repetition is a central concept in music, and multiple notations
18 exist for repetitions. LilyPond supports the following kinds of
24 The repeated music is not written out but enclosed between repeat bar
25 lines. If the repeat is at the beginning of a piece, a repeat bar
26 line is only printed at the end of the repeat. Alternative endings
27 (volte) are printed left to right with brackets. This is the standard
28 notation for repeats with alternatives.
31 The repeated music is fully written out, as many times as
32 specified by @code{@var{repeatcount}}. This is useful when
33 entering repetitious music.
36 These are beat or measure repeats. They look like single slashes or
40 This is used to write tremolo beams.
51 @subsection Long repeats
53 This section discusses how to input long (usually multi-measure)
54 repeats. The repeats can take two forms: repeats enclosed between
55 repeat signs; or written-out repeats, used to input repetitious music.
56 Repeat signs can also be controlled manually.
60 * Manual repeat marks::
61 * Written-out repeats::
68 @cindex volta, seconda
69 @cindex repeat, normal
71 @cindex repeat with alternate endings
72 @cindex alternate endings
74 @funindex \alternative
78 @unnumberedsubsubsec Normal repeats
80 The syntax for a normal repeat is
83 \repeat volta @var{repeatcount} @var{musicexpr}
87 where @code{@var{musicexpr}} is a music expression.
89 A single repeat without an alternate ending:
91 @lilypond[verbatim,quote,relative=2]
92 \repeat volta 2 { c4 d e f }
94 \repeat volta 2 { d4 e f g }
97 Alternative endings can be produced using @code{\alternative}. Each
98 group of alternatives must be themselves, enclosed in a set of braces.
101 \repeat volta @var{repeatcount} @var{musicexpr}
103 @{ @var{musicexpr} @}
108 where @code{@var{musicexpr}} is a music expression.
110 If there are more repeats than there are alternate endings, the earliest
111 repeats are given the first alternative.
113 A single repeat with one alternate ending:
115 @lilypond[verbatim,quote,relative=2]
116 \repeat volta 2 { c4 d e f | }
124 A single repeat with more than one alternate ending:
126 @lilypond[verbatim,quote,relative=2]
127 \repeat volta 4 { c4 d e f | }
135 Multiple repeats with more than one alternate ending:
137 @lilypond[verbatim,quote,relative=2]
138 \repeat volta 3 { c4 d e f | }
147 @warning{If there are two or more alternatives, nothing should appear
148 between the closing brace of one and the opening brace of the next
149 in an @code{@bs{}alternative} block, otherwise you will not get the
150 expected number of endings.}
152 @warning{If you include @code{@bs{}relative} inside a
153 @code{@bs{}repeat} without explicitly instantiating the
154 @code{Voice} context, extra (unwanted) staves will appear. See
155 @rprogram{An extra staff appears}.}
157 @cindex repeat with upbeat
158 @cindex upbeat in a repeat
159 @cindex anacrucis in a repeat
160 @cindex repeat with anacrucis
161 @cindex repeat with pickup
162 @cindex pickup in a repeat
165 If a repeat starts in the middle of a measure and has no alternate
166 endings, normally the end of the repeat will also fall in the
167 middle of a measure, so that the two ends add up to one complete
168 measure. In such cases, the repeat signs do not constitute true
169 bar lines. Do not use @code{\partial} commands or bar checks
170 where these repeat signs are printed:
172 @lilypond[verbatim,quote,relative=1]
174 c4 e g % no bar check here
180 g4 g g % no bar check here
188 Similarly, if a repeat begins with the initial partial measure of
189 a score and has no alternate endings, the same conditions apply as
190 in the above example, except that in this case the @code{\partial}
191 command is required at the beginning of the score:
193 @lilypond[verbatim,quote,relative=1]
194 \partial 4 % required
199 g4 g g % no bar check here
207 When alternate endings are added to a repeat that begins with an
208 incomplete measure, it becomes necessary to set the
209 @code{Timing.measureLength} context property manually, in the
210 following specific places:
214 at the start of any incomplete measures in the @code{\alternative}
215 block, which normally occur at the end of each alternative, except
216 (in most cases) the last.
219 at the start of each alternative, except the first.
222 @lilypond[verbatim,quote,relative=1]
224 \repeat volta 2 { e4 | c2 e | }
228 \set Timing.measureLength = #(ly:make-moment 3 4)
229 g4 g g % optional bar check is allowed here
232 \set Timing.measureLength = #(ly:make-moment 4 4)
239 The @code{measureLength} property is described in @ref{Time
242 @cindex repeats, with ties
243 @cindex alternative endings, with ties
244 @cindex ties, in repeats
245 @cindex ties, alternative endings
248 Ties may be added to a second ending:
250 @lilypond[verbatim,quote,relative=2]
252 \repeat volta 2 { c4 d e f~ }
260 @lilypondfile[verbatim,quote,texidoc,doctitle]
261 {shortening-volta-brackets.ly}
263 @lilypondfile[verbatim,quote,texidoc,doctitle]
264 {adding-volta-brackets-to-additional-staves.ly}
266 @lilypondfile[verbatim,quote,texidoc,doctitle]
267 {setting-the-double-repeat-default-for-volte.ly}
269 @cindex repeats, bar numbers letters
270 @cindex repeats, alternative bar numbers
272 @lilypondfile[verbatim,quote,texidoc,doctitle]
273 {alternative-bar-numbering.ly}
282 @ref{Modifying context plug-ins},
283 @ref{Time administration}.
289 @rinternals{VoltaBracket},
290 @rinternals{RepeatedMusic},
291 @rinternals{VoltaRepeatedMusic},
292 @rinternals{UnfoldedRepeatedMusic}.
295 @cindex repeat, ambiguous
296 @cindex nested repeat
297 @cindex repeat, nested
298 @cindex repeat timing information
299 @cindex repeat and measure number
300 @cindex timing information and repeats
301 @cindex measure number and repeats
302 @cindex repeat and slur
303 @cindex slur and repeat
305 Slurs that span from a @code{\repeat} block into an
306 @code{\alternative} block will only work for the first alternate
307 ending. Also, slurs cannot wrap around from the end of one
308 alternative back to the beginning of the repeat.
310 If a repeat that begins with an incomplete measure has an
311 @code{\alternative} block that contains modifications to the
312 @code{measureLength} property, using @code{\unfoldRepeats} will
313 result in wrongly-placed bar lines and bar check warnings.
324 is ambiguous, since it is not clear to which @code{\repeat} the
325 @code{\alternative} belongs. This ambiguity is resolved by always
326 having the @code{\alternative} belong to the inner @code{\repeat}.
327 For clarity, it is advisable to use braces in such situations.
330 @node Manual repeat marks
331 @unnumberedsubsubsec Manual repeat marks
333 @cindex manual repeat mark
334 @cindex repeat, manual
336 @cindex repeat, start
339 @cindex repeat number, changing
340 @cindex repeat volta, changing
341 @cindex volta bracket
342 @cindex bracket, volta
343 @funindex repeatCommands
344 @funindex start-repeat
346 @warning{These methods are only used for displaying unusual repeat
347 constructs, and may produce unexpected behavior. In most cases,
348 repeats should be created using the standard @code{@bs{}repeat} command
349 or by printing the relevant bar lines. For more information, see
352 The property @code{repeatCommands} can be used to control the
353 layout of repeats. Its value is a Scheme list of repeat commands.
357 Print a @code{|:} bar line.
359 @lilypond[verbatim,quote,relative=2]
361 \set Score.repeatCommands = #'(start-repeat)
366 As per standard engraving practice, repeat signs are not printed
367 at the beginning of a piece.
370 Print a @code{:|} bar line:
372 @lilypond[verbatim,quote,relative=2]
375 \set Score.repeatCommands = #'(end-repeat)
379 @item (volta @var{number}) ... (volta #f)
380 Create a new volta with the specified number. The volta bracket must
381 be explicitly terminated, or it will not be printed.
383 @lilypond[verbatim,quote,relative=2]
385 \set Score.repeatCommands = #'((volta "2"))
387 \set Score.repeatCommands = #'((volta #f))
393 Multiple repeat commands may occur at the same point:
395 @lilypond[verbatim,quote,relative=2]
397 \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
400 \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
402 \set Score.repeatCommands = #'((volta #f))
405 @cindex volta bracket with text
406 @cindex text in volta bracket
408 Text can be included with the volta bracket. The text can be a
409 number or numbers or markup text, see @ref{Formatting text}. The
410 simplest way to use markup text is to define the markup first,
411 then include the markup in a Scheme list.
413 @lilypond[verbatim,quote]
414 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
417 \set Score.repeatCommands = #(list(list 'volta voltaAdLib) 'start-repeat)
419 \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat)
421 \set Score.repeatCommands = #'((volta #f))
428 @lilypondfile[verbatim,quote,texidoc,doctitle]
429 {printing-a-repeat-sign-at-the-beginning-of-a-piece.ly}
435 @ref{Formatting text}.
441 @rinternals{VoltaBracket},
442 @rinternals{RepeatedMusic},
443 @rinternals{VoltaRepeatedMusic}.
446 @node Written-out repeats
447 @unnumberedsubsubsec Written-out repeats
449 @cindex written-out repeats
450 @cindex repeats, written-out
451 @cindex repeats, unfold
452 @cindex repeats, alternative
453 @cindex unfold repeat
454 @cindex unfold repeat, alternate endings
455 @cindex alternate repeats
456 @cindex alternate endings, repeats
459 By using the @code{unfold} command, repeats can be used to simplify the
460 writing out of repetitious music. The syntax is
463 \repeat unfold @var{repeatcount} @var{musicexpr}
467 where @code{@var{musicexpr}} is a music expression and
468 @code{@var{repeatcount}} is the number of times
469 @code{@var{musicexpr}} is repeated.
471 @lilypond[verbatim,quote,relative=2]
472 \repeat unfold 2 { c4 d e f }
476 In some cases, especially in a @code{\relative} context, the
477 @code{\repeat unfold} function is not the same as writing out the
478 music expression multiple times. E.g,
481 \repeat unfold 2 @{ a'4 b c @}
490 Unfold repeats can be made with alternate endings.
492 @lilypond[verbatim,quote,relative=2]
493 \repeat unfold 2 { c4 d e f }
501 If there are more repeats than there are alternate endings, the first
502 alternative is applied multiple times until the remaining alternatives
503 make up the total number of repeats.
505 @lilypond[verbatim,quote,relative=2]
506 \repeat unfold 4 { c4 d e f }
515 If there are more alternate endings than repeats then only the first
516 alternatives are applied. The remaining alternatives will be ignored
519 @lilypond[verbatim,quote,relative=2]
520 \repeat unfold 2 { c4 d e f }
529 It is also possible to nest multiple @code{unfold} functions (with or
530 without alternate endings).
532 @lilypond[verbatim,quote,relative=2]
534 \repeat unfold 2 { c4 d e f }
543 Chord constructs can be repeated by the chord repetition symbol
544 @code{q}. See @ref{Chord repetition}.
546 @warning{If you include @code{@bs{}relative} inside a @code{@bs{}repeat}
547 without explicitly instantiating the @code{Voice} context, extra
548 (unwanted) staves will appear. See @rprogram{An extra staff appears}.}
552 @ref{Chord repetition}.
558 @rinternals{RepeatedMusic},
559 @rinternals{UnfoldedRepeatedMusic}.
562 @subsection Short repeats
564 This section discusses how to input short repeats. Short repeats can
565 take two forms: slashes or percent signs to represent repeats of a
566 single note, a single measure or two measures, and tremolos otherwise.
573 @node Percent repeats
574 @unnumberedsubsubsec Percent repeats
576 @cindex percent repeats
577 @cindex measure repeats
578 @cindex repeat, percent
579 @cindex repeat, measure
580 @cindex repeat, short
581 @funindex \repeat percent
584 Repeated short patterns are printed once, and the repeated pattern
585 is replaced with a special sign.
590 \repeat percent @var{number} @var{musicexpr}
594 where @code{@var{musicexpr}} is a music expression.
596 Patterns that are shorter than one measure are replaced by slashes.
598 @lilypond[verbatim,quote,relative=2]
599 \repeat percent 4 { c128 d e f }
600 \repeat percent 4 { c64 d e f }
601 \repeat percent 5 { c32 d e f }
602 \repeat percent 4 { c16 d e f }
603 \repeat percent 4 { c8 d }
604 \repeat percent 4 { c4 }
605 \repeat percent 2 { c2 }
608 Patterns of one or two measures are replaced by percent-like symbols.
610 @lilypond[verbatim,quote,relative=2]
611 \repeat percent 2 { c4 d e f }
612 \repeat percent 2 { c2 d }
613 \repeat percent 2 { c1 }
616 @lilypond[verbatim,quote,relative=2]
617 \repeat percent 3 { c4 d e f | c2 g' }
620 Patterns that are shorter than one measure but contain mixed durations
621 use a double-percent symbol.
623 @lilypond[verbatim,quote,relative=2]
624 \repeat percent 4 { c8. <d f>16 }
625 \repeat percent 2 { \times 2/3 { r8 c d } e4 }
630 @lilypondfile[verbatim,quote,texidoc,doctitle]
631 {percent-repeat-counter.ly}
633 @lilypondfile[verbatim,quote,texidoc,doctitle]
634 {percent-repeat-count-visibility.ly}
636 @lilypondfile[verbatim,quote,texidoc,doctitle]
637 {isolated-percent-repeats.ly}
641 @rglos{percent repeat},
648 @rinternals{RepeatSlash},
649 @rinternals{RepeatSlashEvent},
650 @rinternals{DoubleRepeatSlash},
651 @rinternals{PercentRepeat},
652 @rinternals{PercentRepeatCounter},
653 @rinternals{PercentRepeatedMusic},
654 @rinternals{Percent_repeat_engraver},
655 @rinternals{DoublePercentEvent},
656 @rinternals{DoublePercentRepeat},
657 @rinternals{DoublePercentRepeatCounter},
658 @rinternals{Double_percent_repeat_engraver},
659 @rinternals{Slash_repeat_engraver}.
662 @node Tremolo repeats
663 @unnumberedsubsubsec Tremolo repeats
665 @cindex tremolo beams
667 @cindex repeat, tremolo
668 @funindex \repeat tremolo
671 Tremolos can take two forms: alternation between two chords or two
672 notes, and rapid repetition of a single note or chord. Tremolos
673 consisting of an alternation are indicated by adding beams between the
674 notes or chords being alternated, while tremolos consisting of the
675 rapid repetition of a single note are indicated by adding beams or
676 slashes to a single note.
678 To place tremolo marks between notes, use @code{\repeat} with
681 @lilypond[quote,verbatim,relative=2]
682 \repeat tremolo 8 { c16 d }
683 \repeat tremolo 6 { c16 d }
684 \repeat tremolo 2 { c16 d }
687 The @code{\repeat tremolo} syntax expects exactly two notes within
688 the braces, and the number of repetitions must correspond to a
689 note value that can be expressed with plain or dotted notes. Thus,
690 @code{\repeat tremolo 7} is valid and produces a double dotted
691 note, but @code{\repeat tremolo 9} is not.
693 The duration of the tremolo equals the duration of the
694 braced expression multiplied by the number of repeats:
695 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
696 notated as two whole notes joined by tremolo beams.
698 There are two ways to put tremolo marks on a single note. The
699 @code{\repeat tremolo} syntax is also used here, in which case
700 the note should not be surrounded by braces:
702 @lilypond[quote,verbatim,ragged-right]
703 \repeat tremolo 4 c'16
706 @cindex tremolo marks
707 @funindex tremoloFlags
710 The same output can be obtained by adding @code{:@var{N}} after
711 the note, where @code{@var{N}} indicates the duration of the
712 subdivision (it must be at least 8). If @code{@var{N}} is 8, one
713 beam is added to the note's stem. If @code{@var{N}} is omitted,
714 the last value (stored in @code{tremoloFlags}) is used:
716 @lilypond[quote,verbatim,relative=2]
723 @lilypondfile[verbatim,quote,texidoc,doctitle]
724 {cross-staff-tremolos.ly}
731 @cindex tremolo, cross-staff
732 @cindex cross-staff tremolo