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 @funindex \inStaffSegno
244 The @code{\inStaffSegno} command can be used to place the segno
245 symbol in cooperation with the @code{\repeat volta} command.
246 Alternative bar line symbols can be set in a Score context by
247 overriding the properties @code{segnoType},
248 @code{startRepeatSegnoType}, @code{endRepeatSegnoType} or
249 @code{doubleRepeatSegnoType} as required.
251 @lilypond[verbatim,quote,relative=1]
260 @cindex repeats, with ties
261 @cindex alternative endings, with ties
262 @cindex ties, in repeats
263 @cindex ties, alternative endings
266 Ties may be added to a second ending:
268 @lilypond[verbatim,quote,relative=2]
270 \repeat volta 2 { c4 d e f~ }
278 @lilypondfile[verbatim,quote,texidoc,doctitle]
279 {shortening-volta-brackets.ly}
281 @lilypondfile[verbatim,quote,texidoc,doctitle]
282 {adding-volta-brackets-to-additional-staves.ly}
284 @lilypondfile[verbatim,quote,texidoc,doctitle]
285 {setting-the-double-repeat-default-for-volte.ly}
287 @cindex repeats, bar numbers letters
288 @cindex repeats, alternative bar numbers
290 @lilypondfile[verbatim,quote,texidoc,doctitle]
291 {alternative-bar-numbering.ly}
300 @ref{Modifying context plug-ins},
301 @ref{Modifying ties and slurs},
302 @ref{Time administration}.
308 @rinternals{VoltaBracket},
309 @rinternals{RepeatedMusic},
310 @rinternals{VoltaRepeatedMusic},
311 @rinternals{UnfoldedRepeatedMusic}.
314 @cindex repeat, ambiguous
315 @cindex nested repeat
316 @cindex repeat, nested
317 @cindex repeat timing information
318 @cindex repeat and measure number
319 @cindex timing information and repeats
320 @cindex measure number and repeats
321 @cindex repeats and slur
322 @cindex slur and repeats
323 @cindex glissandi and repeats
324 @cindex repeats and glissandi
326 Slurs that span from a @code{\repeat} block into an
327 @code{\alternative} block will only work for the first alternative
328 ending. The visual appearance of a continuing slur in other
329 alternative blocks may be simulated with @code{\repeatTie} if the
330 slur extends into only one note in the alternative block, although
331 this method does not work in @code{TabStaff}. Other methods which
332 may be tailored to indicate continuing slurs over several notes in
333 alternative blocks, and which also work in @code{TabStaff} contexts,
334 are shown in @ref{Modifying ties and slurs}.
336 Also, slurs cannot wrap around from the end of one
337 alternative back to the beginning of the repeat.
339 Glissandi that span from a @code{\repeat} block into an
340 @code{\alternative} block will only work for the first alternative
341 ending. The visual appearance of a continuing glissando in other
342 alternative blocks may be indicated by coding a glissando starting
343 on a hidden grace note. For an example, see
344 @qq{Extending glissandi across repeats} under Selected Snippets
347 If a repeat that begins with an incomplete measure has an
348 @code{\alternative} block that contains modifications to the
349 @code{measureLength} property, using @code{\unfoldRepeats} will
350 result in wrongly-placed bar lines and bar check warnings.
361 is ambiguous, since it is not clear to which @code{\repeat} the
362 @code{\alternative} belongs. This ambiguity is resolved by always
363 having the @code{\alternative} belong to the inner @code{\repeat}.
364 For clarity, it is advisable to use braces in such situations.
367 @node Manual repeat marks
368 @unnumberedsubsubsec Manual repeat marks
370 @cindex manual repeat mark
371 @cindex repeat, manual
373 @cindex repeat, start
376 @cindex repeat number, changing
377 @cindex repeat volta, changing
378 @cindex volta bracket
379 @cindex bracket, volta
380 @funindex repeatCommands
381 @funindex start-repeat
383 @warning{These methods are only used for displaying unusual repeat
384 constructs, and may produce unexpected behavior. In most cases,
385 repeats should be created using the standard @code{@bs{}repeat} command
386 or by printing the relevant bar lines. For more information, see
389 The property @code{repeatCommands} can be used to control the
390 layout of repeats. Its value is a Scheme list of repeat commands.
394 Print a @code{|:} bar line.
396 @lilypond[verbatim,quote,relative=2]
398 \set Score.repeatCommands = #'(start-repeat)
403 As per standard engraving practice, repeat signs are not printed
404 at the beginning of a piece.
407 Print a @code{:|} bar line:
409 @lilypond[verbatim,quote,relative=2]
412 \set Score.repeatCommands = #'(end-repeat)
416 @item (volta @var{number}) ... (volta #f)
417 Create a new volta with the specified number. The volta bracket must
418 be explicitly terminated, or it will not be printed.
420 @lilypond[verbatim,quote,relative=2]
422 \set Score.repeatCommands = #'((volta "2"))
424 \set Score.repeatCommands = #'((volta #f))
430 Multiple repeat commands may occur at the same point:
432 @lilypond[verbatim,quote,relative=2]
434 \set Score.repeatCommands = #'((volta "2, 5") end-repeat)
437 \set Score.repeatCommands = #'((volta #f) (volta "95") end-repeat)
439 \set Score.repeatCommands = #'((volta #f))
442 @cindex volta bracket with text
443 @cindex text in volta bracket
445 Text can be included with the volta bracket. The text can be a
446 number or numbers or markup text, see @ref{Formatting text}. The
447 simplest way to use markup text is to define the markup first,
448 then include the markup in a Scheme list.
450 @lilypond[verbatim,quote]
451 voltaAdLib = \markup { 1. 2. 3... \text \italic { ad lib. } }
454 \set Score.repeatCommands =
455 #(list(list 'volta voltaAdLib) 'start-repeat)
457 \set Score.repeatCommands = #'((volta #f) (volta "4.") end-repeat)
459 \set Score.repeatCommands = #'((volta #f))
466 @lilypondfile[verbatim,quote,texidoc,doctitle]
467 {printing-a-repeat-sign-at-the-beginning-of-a-piece.ly}
472 @ref{Formatting text}.
478 @rinternals{VoltaBracket},
479 @rinternals{RepeatedMusic},
480 @rinternals{VoltaRepeatedMusic}.
483 @node Written-out repeats
484 @unnumberedsubsubsec Written-out repeats
486 @cindex written-out repeats
487 @cindex repeats, written-out
488 @cindex repeats, unfold
489 @cindex repeats, alternative
490 @cindex unfold repeat
491 @cindex unfold repeat, alternate endings
492 @cindex alternate repeats
493 @cindex alternate endings, repeats
496 By using the @code{unfold} command, repeats can be used to simplify the
497 writing out of repetitious music. The syntax is
500 \repeat unfold @var{repeatcount} @var{musicexpr}
504 where @code{@var{musicexpr}} is a music expression and
505 @code{@var{repeatcount}} is the number of times
506 @code{@var{musicexpr}} is repeated.
508 @lilypond[verbatim,quote,relative=2]
509 \repeat unfold 2 { c4 d e f }
513 In some cases, especially in a @code{\relative} context, the
514 @code{\repeat unfold} function is not the same as writing out the
515 music expression multiple times. E.g,
518 \repeat unfold 2 @{ a'4 b c @}
527 Unfold repeats can be made with alternate endings.
529 @lilypond[verbatim,quote,relative=2]
530 \repeat unfold 2 { c4 d e f }
538 If there are more repeats than there are alternate endings, the first
539 alternative is applied multiple times until the remaining alternatives
540 make up the total number of repeats.
542 @lilypond[verbatim,quote,relative=2]
543 \repeat unfold 4 { c4 d e f }
552 If there are more alternate endings than repeats then only the first
553 alternatives are applied. The remaining alternatives will be ignored
556 @lilypond[verbatim,quote,relative=2]
557 \repeat unfold 2 { c4 d e f }
566 It is also possible to nest multiple @code{unfold} functions (with or
567 without alternate endings).
569 @lilypond[verbatim,quote,relative=2]
571 \repeat unfold 2 { c4 d e f }
580 Chord constructs can be repeated by the chord repetition symbol
581 @code{q}. See @ref{Chord repetition}.
583 @warning{If you include @code{@bs{}relative} inside a @code{@bs{}repeat}
584 without explicitly instantiating the @code{Voice} context, extra
585 (unwanted) staves will appear. See @rprogram{An extra staff appears}.}
589 @ref{Chord repetition}.
595 @rinternals{RepeatedMusic},
596 @rinternals{UnfoldedRepeatedMusic}.
600 @subsection Short repeats
602 This section discusses how to input short repeats. Short repeats can
603 take two forms: slashes or percent signs to represent repeats of a
604 single note, a single measure or two measures, and tremolos otherwise.
611 @node Percent repeats
612 @unnumberedsubsubsec Percent repeats
614 @cindex percent repeats
615 @cindex measure repeats
616 @cindex repeat, percent
617 @cindex repeat, measure
618 @cindex repeat, short
619 @funindex \repeat percent
622 Repeated short patterns are printed once, and the repeated pattern
623 is replaced with a special sign.
628 \repeat percent @var{number} @var{musicexpr}
632 where @code{@var{musicexpr}} is a music expression.
634 Patterns that are shorter than one measure are replaced by slashes.
636 @lilypond[verbatim,quote,relative=2]
637 \repeat percent 4 { c128 d e f }
638 \repeat percent 4 { c64 d e f }
639 \repeat percent 5 { c32 d e f }
640 \repeat percent 4 { c16 d e f }
641 \repeat percent 4 { c8 d }
642 \repeat percent 4 { c4 }
643 \repeat percent 2 { c2 }
646 Patterns of one or two measures are replaced by percent-like symbols.
648 @lilypond[verbatim,quote,relative=2]
649 \repeat percent 2 { c4 d e f }
650 \repeat percent 2 { c2 d }
651 \repeat percent 2 { c1 }
654 @lilypond[verbatim,quote,relative=2]
655 \repeat percent 3 { c4 d e f | c2 g' }
658 Patterns that are shorter than one measure but contain mixed durations
659 use a double-percent symbol.
661 @lilypond[verbatim,quote,relative=2]
662 \repeat percent 4 { c8. <d f>16 }
663 \repeat percent 2 { \times 2/3 { r8 c d } e4 }
668 @lilypondfile[verbatim,quote,texidoc,doctitle]
669 {percent-repeat-counter.ly}
671 @lilypondfile[verbatim,quote,texidoc,doctitle]
672 {percent-repeat-count-visibility.ly}
674 @lilypondfile[verbatim,quote,texidoc,doctitle]
675 {isolated-percent-repeats.ly}
679 @rglos{percent repeat},
686 @rinternals{RepeatSlash},
687 @rinternals{RepeatSlashEvent},
688 @rinternals{DoubleRepeatSlash},
689 @rinternals{PercentRepeat},
690 @rinternals{PercentRepeatCounter},
691 @rinternals{PercentRepeatedMusic},
692 @rinternals{Percent_repeat_engraver},
693 @rinternals{DoublePercentEvent},
694 @rinternals{DoublePercentRepeat},
695 @rinternals{DoublePercentRepeatCounter},
696 @rinternals{Double_percent_repeat_engraver},
697 @rinternals{Slash_repeat_engraver}.
700 @node Tremolo repeats
701 @unnumberedsubsubsec Tremolo repeats
703 @cindex tremolo beams
705 @cindex repeat, tremolo
706 @funindex \repeat tremolo
709 Tremolos can take two forms: alternation between two chords or two
710 notes, and rapid repetition of a single note or chord. Tremolos
711 consisting of an alternation are indicated by adding beams between the
712 notes or chords being alternated, while tremolos consisting of the
713 rapid repetition of a single note are indicated by adding beams or
714 slashes to a single note.
716 To place tremolo marks between notes, use @code{\repeat} with
719 @lilypond[quote,verbatim,relative=2]
720 \repeat tremolo 8 { c16 d }
721 \repeat tremolo 6 { c16 d }
722 \repeat tremolo 2 { c16 d }
725 The @code{\repeat tremolo} syntax expects exactly two notes within
726 the braces, and the number of repetitions must correspond to a
727 note value that can be expressed with plain or dotted notes. Thus,
728 @code{\repeat tremolo 7} is valid and produces a double dotted
729 note, but @code{\repeat tremolo 9} is not.
731 The duration of the tremolo equals the duration of the
732 braced expression multiplied by the number of repeats:
733 @code{\repeat tremolo 8 @{ c16 d16 @}} gives a whole note tremolo,
734 notated as two whole notes joined by tremolo beams.
736 There are two ways to put tremolo marks on a single note. The
737 @code{\repeat tremolo} syntax is also used here, in which case
738 the note should not be surrounded by braces:
740 @lilypond[quote,verbatim,ragged-right]
741 \repeat tremolo 4 c'16
744 @cindex tremolo marks
745 @funindex tremoloFlags
748 The same output can be obtained by adding @code{:@var{N}} after
749 the note, where @code{@var{N}} indicates the duration of the
750 subdivision (it must be at least 8). If @code{@var{N}} is 8, one
751 beam is added to the note's stem. If @code{@var{N}} is omitted,
752 the last value (stored in @code{tremoloFlags}) is used:
754 @lilypond[quote,verbatim,relative=2]
761 @lilypondfile[verbatim,quote,texidoc,doctitle]
762 {cross-staff-tremolos.ly}
768 @cindex tremolo, cross-staff
769 @cindex cross-staff tremolo