1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 @lilypondfile[quote]{rhythms-headword.ly}
17 This section discusses rhythms, rests, durations, beaming and bars.
22 * Displaying rhythms::
25 * Special rhythmic concerns::
30 @subsection Writing rhythms
40 @unnumberedsubsubsec Durations
42 @cindex durations, of notes
43 @cindex note durations
44 @cindex length of notes
54 Durations are designated by numbers and dots. Durations are entered
55 as their reciprocal values. For example, a quarter note is entered
56 using a @code{4} (since it is a 1/4 note), and a half note is entered
57 using a @code{2} (since it is a 1/2 note). For notes longer than a
58 whole you must use the @code{\longa} (a double breve) and
59 @code{\breve} commands. Durations as short as 128th notes may be
60 specified. Shorter values are possible, but only as beamed notes.
62 @c Two 64th notes are needed to obtain beams
63 @lilypond[quote,verbatim,relative=2]
66 c4 c8 c16 c32 c64 c128 c128
69 Here are the same durations with automatic beaming turned off.
71 @c not strictly "writing rhythms"; more of a "displaying" thing,
72 @c but it's ok here. -gp
73 @lilypond[quote,verbatim,relative=2]
77 c4 c8 c16 c32 c64 c128 c128
80 A note with the duration of a quadruple breve may be entered with
81 @code{\maxima}, but this is supported only within ancient music
82 notation. For details, see @ref{Ancient notation}.
84 @cindex duration, default
85 @cindex default note duration
86 @cindex note duration, default
88 If the duration is omitted, it is set to the previously
89 entered duration. The default for the first note is a quarter
92 @lilypond[quote,verbatim,relative=2]
98 @cindex notes, double-dotted
99 @cindex double-dotted notes
103 To obtain dotted note lengths, place a dot (@code{.}) after the
104 duration. Double-dotted notes are specified by appending two
107 @lilypond[quote,verbatim,relative=2]
108 a4 b c4. b8 a4. b4.. c8.
111 Some durations cannot be represented with just binary durations
112 and dots; they can be represented only by tying two or more
113 notes together. For details, see @ref{Ties}.
115 For ways of specifying durations for the syllables of lyrics and
116 ways of aligning lyrics to notes, see @ref{Vocal music}.
118 Optionally, notes can be spaced strictly proportionately to their
119 duration. For details of this and other settings which control
120 proportional notation, see @ref{Proportional notation}.
126 @funindex \dotsNeutral
127 @funindex dotsNeutral
129 Dots are normally moved up to avoid staff lines, except in
130 polyphonic situations. Dots may be manually placed above or below
131 the staff; see @ref{Direction and placement}.
145 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @code{@var{music}} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
570 Switching staves when a tie is active will not produce a slanted
573 Changing clefs or octavations during a tie is not really
574 well-defined. In these cases, a slur may be preferable.
579 @subsection Writing rests
581 Rests are entered as part of the music in music expressions.
586 * Full measure rests::
590 @unnumberedsubsubsec Rests
593 @cindex rest, entering durations
608 Rests are entered like notes with the note name @code{r}.
609 Durations longer than a whole rest use the following predefined
612 @c \time 16/1 is used to avoid spurious bar lines
613 @c and long tracts of empty measures
614 @lilypond[quote,verbatim,relative=2]
616 % These two lines are just to prettify this example
618 \override Staff.TimeSignature #'stencil = ##f
619 % Print a maxima rest, equal to four breves
621 % Print a longa rest, equal to two breves
625 r1 r2 r4 r8 r16 r32 r64 r128
629 @cindex rest, multi-measure
630 @cindex rest, whole-measure
632 Whole measure rests, centered in the middle of the measure, must be
633 entered as multi-measure rests. They can be used for a single
634 measure as well as many measures and are discussed in
635 @ref{Full measure rests}.
637 @cindex rest, specifying vertical position
639 To explicitly specify a rest's vertical position, write a note
640 followed by @code{\rest}. A rest of the duration of the note will
641 be placed at the staff position where the note would appear. This
642 allows for precise manual formatting of polyphonic music, since the
643 automatic rest collision formatter will not move these rests.
645 @lilypond[quote,verbatim,relative=2]
651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
662 @ref{Full measure rests}.
673 @c Deliberately duplicated in Durations and Rests. -gp
674 There is no fundamental limit to rest durations (both in terms of
675 longest and shortest), but the number of glyphs is limited: there
676 are rests from 128th to maxima (8 x whole).
679 @node Invisible rests
680 @unnumberedsubsubsec Invisible rests
683 @cindex invisible rest
684 @cindex rest, invisible
692 An invisible rest (also called a @q{spacer rest}) can be entered
693 like a note with the note name@tie{}@code{s}:
695 @lilypond[verbatim,quote,relative=2]
702 Spacer rests are available only in note mode and chord mode. In
703 other situations, for example, when entering lyrics, the
704 command @code{\skip} is used to skip a musical moment.
705 @code{\skip} requires an explicit duration, but this is ignored if
706 the lyrics derive their durations from the notes in an associated
707 melody through @code{\addlyrics} or @code{\lyricsto}.
709 @lilypond[quote,verbatim,relative=2]
722 Because @code{\skip} is a command, it does not affect the default
723 durations of following notes, unlike@tie{}@code{s}.
725 @lilypond[quote,verbatim,relative=2]
728 \repeat unfold 8 { a4 }
738 A spacer rest implicitly causes @code{Staff} and @code{Voice}
739 contexts to be created if none exist, just like notes and rests
742 @lilypond[quote,verbatim,relative=2]
746 @code{\skip} simply skips musical time; it creates no output of
749 @lilypond[quote,verbatim,relative=2]
750 % This is valid input, but does nothing
751 \skip 1 \skip1 \skip 1
757 @rlearning{Visibility and color of objects}.
761 @ref{Visibility of objects}.
767 @rinternals{SkipMusic}.
770 @node Full measure rests
771 @unnumberedsubsubsec Full measure rests
773 @cindex multi-measure rests
774 @cindex full-measure rests
775 @cindex rest, multi-measure
776 @cindex rest, full-measure
777 @cindex whole rest for a full measure
778 @cindex rest, whole for a full measure
782 Rests for one or more full measures are entered like notes with
783 the note name uppercase @code{R}:
785 @lilypond[quote,verbatim,relative=2]
786 % Rest measures contracted to single measure
787 \compressFullBarRests
794 The duration of full-measure rests is identical to the duration
795 notation used for notes. The duration in a multi-measure rest must
796 always be an integral number of measure-lengths, so augmentation dots
797 or fractions must often be used:
799 @lilypond[quote,verbatim,relative=2]
800 \compressFullBarRests
806 R1*13/8 | R1*13/8*12 |
811 A full-measure rest is printed as either a whole or breve rest,
812 centered in the measure, depending on the time signature.
814 @lilypond[quote,verbatim,relative=2]
823 @cindex multi-measure rest, expanding
824 @cindex multi-measure rest, contracting
826 @funindex \expandFullBarRests
827 @funindex expandFullBarRests
828 @funindex \compressFullBarRests
829 @funindex compressFullBarRests
831 By default a multi-measure rest is expanded in the printed score to
832 show all the rest measures explicitly. Alternatively, a multi-measure
833 rest can be shown as a single measure containing a multi-measure rest
834 symbol, with the number of measures of rest printed above the measure:
836 @lilypond[quote,verbatim,relative=2]
838 \time 3/4 r2. | R2.*2 |
841 % Rest measures contracted to single measure
842 \compressFullBarRests
844 % Rest measures expanded
851 @cindex text on multi-measure rest
852 @cindex multi-measure rest, attaching text
853 @cindex script on multi-measure rest
854 @cindex multi-measure rest, script
855 @cindex fermata on multi-measure rest
856 @cindex multi-measure rest, attaching fermata
857 @cindex markup on multi-measure rest
858 @cindex multi-measure rest with markup
860 @funindex \fermataMarkup
861 @funindex fermataMarkup
862 @funindex MultiMeasureRestText
864 Markups can be added to multi-measure rests.
865 The predefined command @code{\fermataMarkup}
866 is provided for adding fermatas.
868 @lilypond[quote,verbatim,relative=2]
869 \compressFullBarRests
871 R2.*10^\markup { \italic "ad lib." }
875 @warning{Markups attached to a multi-measure rest are objects of type
876 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
877 be directed to the correct object, or they will be ignored. See the
880 @lilypond[quote,verbatim,relative=2]
881 % This fails, as the wrong object name is specified
882 \override TextScript #'padding = #5
884 % This is the correct object name to be specified
885 \override MultiMeasureRestText #'padding = #5
889 When a multi-measure rest immediately follows a @code{\partial}
890 setting, resulting bar-check warnings may not be displayed.
893 @funindex \textLengthOn
894 @funindex textLengthOn
895 @funindex \textLengthOff
896 @funindex textLengthOff
897 @funindex \fermataMarkup
898 @funindex fermataMarkup
899 @funindex \compressFullBarRests
900 @funindex compressFullBarRests
901 @funindex \expandFullBarRests
902 @funindex expandFullBarRests
905 @code{\textLengthOn},
906 @code{\textLengthOff},
907 @code{\fermataMarkup},
908 @code{\compressFullBarRests},
909 @code{\expandFullBarRests}.
917 @cindex kirchenpausen
919 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
920 {changing-form-of-multi-measure-rests.ly}
922 @cindex multi-measure rests, positioning
923 @cindex positioning multi-measure rests
925 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
926 {positioning-multi-measure-rests.ly}
928 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
929 {multi-measure-rest-markup.ly}
934 @rglos{multi-measure rest}.
939 @ref{Formatting text},
946 @rinternals{MultiMeasureRest},
947 @rinternals{MultiMeasureRestNumber},
948 @rinternals{MultiMeasureRestText}.
951 @cindex fingerings and multi-measure rests
952 @cindex multi-measure rests and fingerings
955 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
956 in the fingering numeral colliding with the bar counter
959 @cindex condensing rests
960 @cindex rest, condensing ordinary
962 There is no way to automatically condense multiple ordinary rests
963 into a single multi-measure rest.
965 @cindex rest, collisions of
967 Multi-measure rests do not take part in rest collisions.
969 @node Displaying rhythms
970 @subsection Displaying rhythms
977 * Polymetric notation::
978 * Automatic note splitting::
979 * Showing melody rhythms::
983 @unnumberedsubsubsec Time signature
985 @cindex time signature
991 The time signature is set as follows:
993 @lilypond[quote,verbatim,relative=2]
998 @cindex time signature, visibility of
1000 Time signatures are printed at the beginning of a piece
1001 and whenever the time signature changes. If a change takes place
1002 at the end of a line a warning time signature sign is printed
1003 there. This default behavior may be changed, see
1004 @ref{Visibility of objects}.
1006 @lilypond[quote,verbatim,relative=2]
1016 @cindex time signature style
1019 @funindex \numericTimeSignature
1020 @funindex numericTimeSignature
1021 @funindex \defaultTimeSignature
1022 @funindex defaultTimeSignature
1024 The time signature symbol that is used in 2/2 and 4/4 time can be
1025 changed to a numeric style:
1027 @lilypond[quote,verbatim,relative=2]
1031 % Change to numeric style
1032 \numericTimeSignature
1035 % Revert to default style
1036 \defaultTimeSignature
1042 Mensural time signatures are covered in
1043 @ref{Mensural time signatures}.
1045 @cindex time signature default settings
1046 @cindex autobeaming properties for time signatures
1047 @cindex beaming, time signature default properties
1048 @funindex \overrideTimeSignatureSettings
1050 In addition to setting the printed time signature, the @code{\time}
1051 command also sets time-signature-based default values for the properties
1052 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1053 predefined default values for these properties can be found in
1054 @file{scm/time-signature-settings.scm}. The existing default values can
1055 be changed, or new default values can be added:
1057 @lilypond[quote,verbatim]
1060 \overrideTimeSignatureSettings
1062 #'(4 . 4) % timeSignatureFraction
1063 #'(1 . 4) % baseMomentFraction
1064 #'(3 1) % beatStructure
1065 #'() % beamExceptions
1067 \repeat unfold 8 { c8 } |
1072 @code{\overrideTimeSignatureSettings} takes five arguments:
1076 @code{@var{context}}, a Scheme symbol that describes the context
1077 to which the default setting will apply.
1080 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1084 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1085 and denominator of the basic timing unit for the time signature.
1088 @code{@var{beatStructure}}, a Scheme list indicating the structure
1089 of the beats in the measure, in units of the base moment.
1092 @code{@var{beamExceptions}}, an alist containing any beaming rules
1093 for the time signature that go beyond ending at every beat, as
1094 described in @ref{Setting automatic beam behavior}.
1097 @cindex time signature properties, restoring default values
1098 @cindex restoring default properties for time signatures
1099 @funindex \revertTimeSignatureSettings
1101 Changed values of default time signature properties can be restored
1102 to the original values:
1104 @lilypond[quote,verbatim]
1107 \repeat unfold 8 { c8 } |
1108 \overrideTimeSignatureSettings
1110 #'(4 . 4) % timeSignatureFraction
1111 #'(1 . 4) % baseMomentFraction
1112 #'(3 1) % beatStructure
1113 #'((end . (((1 . 8) . (3 1))))) % beamExceptions
1115 \repeat unfold 8 { c8 } |
1116 \revertTimeSignatureSettings #'Score #'(4 . 4)
1118 \repeat unfold 8 { c8 } |
1124 @code{\numericTimeSignature},
1125 @code{\defaultTimeSignature}.
1131 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1132 {changing-the-time-signature-without-affecting-the-beaming.ly}
1134 @cindex compound time signatures
1135 @cindex time signature, compound
1137 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1138 {compound-time-signatures.ly}
1140 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1141 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1146 @rglos{time signature}
1149 @ref{Mensural time signatures},
1150 @ref{Time administration}.
1155 Internals Reference:
1156 @rinternals{TimeSignature},
1157 @rinternals{Timing_translator}.
1159 @node Metronome marks
1160 @unnumberedsubsubsec Metronome marks
1163 @cindex beats per minute
1164 @cindex metronome mark
1165 @cindex metronome marking with text
1170 A basic metronome mark is simple to write:
1172 @lilypond[verbatim,quote,relative=1]
1178 Tempo indications with text can be used instead:
1180 @lilypond[verbatim,quote,relative=2]
1186 Combining a metronome mark and text will automatically place the
1187 metronome mark within parentheses:
1189 @lilypond[verbatim,quote,relative=2]
1190 \tempo "Allegro" 4 = 160
1195 In general, the text can be any markup object:
1197 @lilypond[verbatim,quote,relative=2]
1198 \tempo \markup { \italic Faster } 4 = 132
1199 a8-. r8 b-. r gis-. r a-. r
1202 A parenthesized metronome mark with no textual indication may be
1203 written by including an empty string in the input:
1205 @lilypond[verbatim,quote,relative=2]
1213 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1214 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1216 @c perhaps also an example of how to move it horizontally?
1218 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1219 {changing-the-tempo-without-a-metronome-mark.ly}
1221 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1222 {creating-metronome-marks-in-markup-mode.ly}
1224 For more details, see @ref{Formatting text}.
1230 @rglos{metronomic indication},
1231 @rglos{tempo indication},
1232 @rglos{metronome mark}.
1235 @ref{Formatting text},
1239 @rlsr{Staff notation}.
1241 Internals Reference:
1242 @rinternals{MetronomeMark}.
1246 @unnumberedsubsubsec Upbeats
1250 @cindex partial measure
1251 @cindex measure, partial
1252 @cindex pickup measure
1253 @cindex measure, change length
1255 @funindex measurePosition
1259 Partial or pick-up measures, such as an anacrusis or upbeat, are
1260 entered using the @code{\partial} command, with the syntax
1263 \partial @var{duration}
1267 where @code{@var{duration}} is the rhythmic length of the
1268 remaining interval of the current measure before the start of the
1271 @lilypond[quote,verbatim,relative=2]
1276 The partial measure can be any duration less than the full measure:
1278 @lilypond[quote,verbatim,relative=2]
1279 \partial 8*3 c8 d e |
1283 Internally, @code{\partial @var{duration}} is translated into:
1286 \set Timing.measurePosition -@var{duration}
1289 For example, @code{\partial 8*3} becomes:
1292 \set Timing.measurePosition = #(ly:make-moment -3 8)
1295 The property @code{measurePosition} contains a rational number
1296 indicating how much of the measure has passed at this point. Note
1297 that this is set to a negative number by the @code{\partial} command:
1298 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1299 @qq{there is a quarter note left in the measure.}
1312 @rinternals{Timing_translator}.
1316 The @code{\partial} command is intended to be used only at the
1317 beginning of a piece. If you use it after the beginning, some
1318 odd warnings or effects may occur, in this case use
1319 @code{\set Timing.measurePosition} instead.
1321 @node Unmetered music
1322 @unnumberedsubsubsec Unmetered music
1324 @cindex bar lines, turning off
1325 @cindex bar numbering, turning off
1327 @cindex unmetered music
1329 @funindex \cadenzaOn
1331 @funindex \cadenzaOff
1332 @funindex cadenzaOff
1334 Bar lines and bar numbers are calculated automatically. For
1335 unmetered music (some cadenzas, for example), this is not desirable.
1336 To turn off automatic calculation of bar lines and bar numbers,
1337 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1338 to turn them on again.
1340 @lilypond[verbatim,relative=2,quote]
1343 c4 c d8[ d d] f4 g4.
1349 Bar numbering is resumed at the end of the cadenza as if the
1350 cadenza were not there:
1352 @lilypond[verbatim,relative=2,quote]
1353 % Show all bar numbers
1354 \override Score.BarNumber #'break-visibility = #all-visible
1357 c4 c d8[ d d] f4 g4.
1363 @cindex beaming in cadenzas
1364 @cindex beaming in unmetered music
1365 @cindex cadenza, beaming in
1366 @cindex unmetered music, beaming in
1368 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1369 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1370 must be entered manually (@ref{Manual beams}).
1372 @lilypond[verbatim,relative=2,quote]
1373 \repeat unfold 8 { c8 }
1375 \repeat unfold 5 { c8 }
1378 \repeat unfold 8 { c8 }
1381 Note that these predefined commands affect all staves in the
1382 score, even when they are placed in just one @code{Voice}
1383 context. To change this, move the @code{Timing_translator}
1384 from the @code{Score} context to the @code{Staff} context, as
1385 shown in @ref{Polymetric notation}.
1398 @ref{Visibility of objects},
1399 @ref{Polymetric notation},
1406 @cindex cadenza line breaks
1407 @cindex cadenza page breaks
1408 @cindex unmetered music, line breaks
1409 @cindex unmetered music, page breaks
1410 @cindex breaks in unmetered music
1411 @cindex line breaks in cadenzas
1412 @cindex page breaks in cadenzas
1413 @cindex line breaks in unmetered music
1414 @cindex page breaks in unmetered music
1418 LilyPond will insert line breaks and page breaks only at a
1419 bar line. Unless the unmetered music ends before the end of the
1420 staff line, you will need to insert invisible bar lines with
1427 to indicate where breaks can occur.
1429 You should explicitly create a @code{Voice} context when starting a
1430 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1436 c16[^"Solo Free Time" d e f] g2.
1444 @node Polymetric notation
1445 @unnumberedsubsubsec Polymetric notation
1447 @c This section necessarily uses \set
1448 @c This is acceptable -td
1450 @cindex double time signatures
1451 @cindex signatures, polymetric
1452 @cindex time signatures, polymetric
1453 @cindex time signatures, double
1454 @cindex polymetric signatures
1455 @cindex meter, polymetric
1457 @funindex timeSignatureFraction
1458 @funindex \scaleDurations
1459 @funindex scaleDurations
1463 Polymetric notation is supported, either explicitly or by modifying
1464 the visible time signature symbol and scaling the note durations.
1466 @strong{@i{Staves with different time signatures, equal measure lengths}}
1468 This notation can be created by setting a common time signature
1469 for each staff but replacing the symbol manually by setting
1470 @code{timeSignatureFraction} to the desired fraction and scaling
1471 the printed durations in each staff to the common time
1472 signature; see @ref{Time signature}. The scaling is done with
1473 @code{\scaleDurations}, which is used in a similar way to
1474 @code{\times}, but does not create a tuplet bracket; see
1475 @ref{Scaling durations}.
1477 @cindex beaming in polymetric music
1478 @cindex beaming in polymetric meter
1480 In this example, music with the time signatures of 3/4, 9/8, and
1481 10/8 are used in parallel. In the second staff, shown durations
1482 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1483 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1484 It will often be necessary to insert beams manually, as the
1485 duration scaling affects the autobeaming rules.
1487 @lilypond[quote,verbatim]
1496 \set Staff.timeSignatureFraction = #'(9 . 8)
1497 \scaleDurations #'(2 . 3)
1498 \repeat unfold 6 { c8[ c c] }
1502 \set Staff.timeSignatureFraction = #'(10 . 8)
1503 \scaleDurations #'(3 . 5) {
1504 \repeat unfold 2 { c8[ c c] }
1505 \repeat unfold 2 { c8[ c] } |
1506 c4. c4. \times 2/3 { c8[ c c] } c4
1512 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1514 Each staff can be given its own independent time signature by
1515 moving the @code{Timing_translator} and the
1516 @code{Default_bar_line_engraver} to the @code{Staff} context.
1518 @lilypond[quote,verbatim]
1522 \remove "Timing_translator"
1523 \remove "Default_bar_line_engraver"
1527 \consists "Timing_translator"
1528 \consists "Default_bar_line_engraver"
1532 % Now each staff has its own time signature.
1558 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1559 {compound-time-signatures.ly}
1565 @rglos{polymetric time signature},
1569 @ref{Time signature},
1570 @ref{Scaling durations}.
1575 Internals Reference:
1576 @rinternals{TimeSignature},
1577 @rinternals{Timing_translator},
1578 @rinternals{Default_bar_line_engraver},
1584 When using different time signatures in parallel, notes
1585 at the same moment will be placed at the same horizontal
1586 location. However, the bar lines in the different staves
1587 will cause the note spacing to be less regular in each of the
1588 individual staves than would be normal without the different
1591 @node Automatic note splitting
1592 @unnumberedsubsubsec Automatic note splitting
1594 @cindex notes, splitting
1595 @cindex splitting notes
1597 @funindex Note_heads_engraver
1598 @funindex Completion_heads_engraver
1600 Long notes which overrun bar lines can be converted automatically
1601 to tied notes. This is done by replacing the
1602 @code{Note_heads_engraver} with the
1603 @code{Completion_heads_engraver}. In the following
1604 example, notes crossing the bar lines are split and tied.
1606 @lilypond[quote,verbatim,relative=1]
1608 \remove "Note_heads_engraver"
1609 \consists "Completion_heads_engraver"
1612 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1615 This engraver splits all running notes at the bar line, and
1616 inserts ties. One of its uses is to debug complex scores: if the
1617 measures are not entirely filled, then the ties show exactly how
1618 much each measure is off.
1626 @rlearning{Engravers explained},
1627 @rlearning{Adding and removing engravers}.
1632 Internals Reference:
1633 @rinternals{Note_heads_engraver},
1634 @rinternals{Completion_heads_engraver},
1635 @rinternals{Forbid_line_break_engraver}.
1640 Not all durations (especially those containing tuplets) can be
1641 represented exactly with normal notes and dots, but the
1642 @code{Completion_heads_engraver} will not insert tuplets.
1644 The @code{Completion_heads_engraver} only affects notes; it does not
1648 @node Showing melody rhythms
1649 @unnumberedsubsubsec Showing melody rhythms
1651 @cindex melody rhythms, showing
1652 @cindex rhythms, showing melody
1654 Sometimes you might want to show only the rhythm of a melody. This
1655 can be done with the rhythmic staff. All pitches of notes on such a
1656 staff are squashed, and the staff itself has a single line
1658 @lilypond[quote,relative=1,verbatim]
1660 \new RhythmicStaff {
1661 \new Voice = "myRhythm" {
1669 \lyricsto "myRhythm" {
1677 @cindex guitar chord charts
1678 @cindex strumming rhythms, showing
1679 @cindex guitar strumming rhythms, showing
1681 @funindex Pitch_squash_engraver
1682 @funindex \improvisationOn
1683 @funindex improvisationOn
1684 @funindex \improvisationOff
1685 @funindex improvisationOff
1687 Guitar chord charts often show the strumming rhythms. This can
1688 be done with the @code{Pitch_squash_engraver} and
1689 @code{\improvisationOn}.
1692 @lilypond[quote,verbatim]
1700 \consists Pitch_squash_engraver
1713 @code{\improvisationOn},
1714 @code{\improvisationOff}.
1720 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1721 {guitar-strum-rhythms.ly}
1728 Internals Reference:
1729 @rinternals{RhythmicStaff},
1730 @rinternals{Pitch_squash_engraver}.
1738 * Setting automatic beam behavior::
1743 @node Automatic beams
1744 @unnumberedsubsubsec Automatic beams
1746 By default, beams are inserted automatically:
1748 @cindex beams, manual
1749 @cindex manual beams
1750 @cindex beams, setting rules for
1751 @cindex beams, custom rules for
1753 @funindex \autoBeamOn
1754 @funindex autoBeamOn
1755 @funindex \autoBeamOff
1756 @funindex autoBeamOff
1758 @lilypond[quote,verbatim,relative=2]
1760 \time 6/8 c8 c c c8. c16 c8
1763 If these automatic decisions are not satisfactory, beaming can be
1764 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1765 entered manually if beams are to be extended over rests.
1767 If automatic beaming is not required, it may be turned off with
1768 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1770 @lilypond[quote,relative=1,verbatim]
1771 c4 c8 c8. c16 c8. c16 c8
1778 @cindex melismata, beams
1779 @cindex beams and melismata
1781 @warning{If beams are used to indicate melismata in songs, then
1782 automatic beaming should be switched off with @code{\autoBeamOff}
1783 and the beams indicated manually.}
1785 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1786 produce unintended results. See the snippet below for more information.}
1788 Beaming patterns that differ from the automatic defaults can be
1789 created; see @ref{Setting automatic beam behavior}.
1793 @code{\autoBeamOff},
1801 @cindex line breaks and beams
1802 @cindex beams and line breaks
1806 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1807 {beams-across-line-breaks.ly}
1809 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1810 {changing-beam-knee-gap.ly}
1812 @cindex \partcombine and \autoBeamOff
1813 @cindex \autoBeamOff and \partcombine
1816 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1817 {partcombine-and-autobeamoff.ly}
1823 @ref{Setting automatic beam behavior}.
1826 @file{scm/auto-beam.scm}.
1831 Internals Reference:
1832 @rinternals{Auto_beam_engraver},
1833 @rinternals{Beam_engraver},
1835 @rinternals{BeamEvent},
1836 @rinternals{BeamForbidEvent},
1837 @rinternals{beam-interface},
1838 @rinternals{unbreakable-spanner-interface}.
1843 Beams can collide with note heads and accidentals in other voices.
1846 @node Setting automatic beam behavior
1847 @unnumberedsubsubsec Setting automatic beam behavior
1850 @cindex automatic beams, tuning
1851 @cindex tuning automatic beaming
1852 @cindex automatic beam generation
1854 @cindex lyrics and beaming
1856 @funindex autoBeaming
1857 @funindex baseMoment
1858 @funindex beamExceptions
1859 @funindex beatStructure
1860 @funindex measureLength
1866 In most instances, automatic beams will end at the end of a beat.
1867 The ending points for beats are determined by the context properties
1868 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1869 is a scheme list that defines the length of each beat in the measure
1870 in units of @code{baseMoment}. By default, @code{baseMoment} is
1871 the one over numerator of the time signature. By default,
1872 each unit of length @code{baseMoment} is a single beat.
1874 @lilypond[quote,relative=2,verbatim]
1876 c16^"default" c c c c |
1877 \set Timing.beatStructure = #'(2 3)
1878 c16^"(2+3)" c c c c |
1879 \set Timing.beatStructure = #'(3 2)
1880 c16^"(3+2)" c c c c |
1883 Beam setting changes can be limited to specific contexts. If no
1884 setting is included in a lower-level context, the setting of the
1885 enclosing context will apply.
1887 @lilypond[quote, verbatim,relative=1]
1890 \set Staff.beatStructure = #'(2 3 2)
1900 \set Voice.beatStructure = #'(1 3 3)
1908 When multiple voices are used the @code{Staff} context must be
1909 specified if the beaming is to be applied to all voices in the
1912 @lilypond[quote,verbatim,relative=2]
1915 % Change applied to Voice by default -- does not work correctly
1916 % Because of autogenerated voices, all beating will
1917 % be at baseMoment (1 . 8)
1918 \set beatStructure = #'(3 1 1 2)
1919 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1921 % Works correctly with context Staff specified
1922 \set Staff.beatStructure = #'(3 1 1 2)
1923 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1926 The value of @code{baseMoment} can be adjusted to change
1927 the beaming behavior, if desired. When this is done,
1928 the value of @code{beatStructure} must be set to be
1929 compatible with the new value of @code{baseMoment}.
1931 @lilypond[quote,verbatim,relative=2]
1933 \set Timing.baseMoment = #(ly:make-moment 1 16)
1934 \set Timing.beatStructure = #'(7 3)
1935 \repeat unfold 10 { a16 }
1938 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
1939 quantity of type @i{moment} is created by the scheme function
1940 @code{ly:make-moment}. For more information about this function,
1941 see @ref{Time administration}.
1943 By default @code{baseMoment} is set to one over the denominator of
1944 the time signature. Any exceptions to this default can be found in
1945 @file{scm/time-signature-settings.scm}.
1947 Special autobeaming rules (other than ending a beam on a beat)
1948 are defined in the @code{beamExceptions} property.
1950 @lilypond[quote,relative=2,verbatim]
1952 \set Timing.beatStructure = #'(2 1)
1953 \set Timing.beamExceptions =
1955 (end . ;entry for end of beams
1956 ( ;start of alist of end points
1957 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
1958 ))) %close all entries
1960 \repeat unfold 6 { c32 } |
1963 @code{beamExceptions} is an alist with a key of rule-type and a value
1966 At this time the only available value of rule-type is
1967 @code{#'end} for beam ending.
1969 Beaming-rules is a scheme alist (or list of pairs) that indicates the
1970 beam type and the grouping to be applied to beams containing notes with
1971 a shortest duration of that beam type.
1974 #'((beam-type1 . grouping-1)
1975 (beam-type2 . grouping-2)
1976 (beam-type3 . grouping-3))
1979 Beam type is a scheme pair indicating the duration of the beam,
1980 e.g., @code{(1 . 16)}.
1982 Grouping is a scheme list indicating the grouping to be applied to
1983 the beam. The grouping is in units of the beam type.
1985 @warning{ A @code{beamExceptions} value must be @emph{complete}
1986 exceptions list. That is, every exception that should be applied
1987 must be included in the setting. It is not possible to add, remove,
1988 or change only one of the exceptions. While this may seem cumbersome,
1989 it means that the current beaming settings need not be known in order
1990 to specify a new beaming pattern.}
1992 When the time signature is changed, default values of
1993 @code{Timing.baseMoment}, @code{Timing.beatStructure},
1994 and @code{Timing.beamExceptions} are set. Setting the time signature
1995 will reset the automatic beaming settings for the @code{Timing}
1996 context to the default behavior.
1998 @lilypond[quote,verbatim,relative=2]
2000 \repeat unfold 6 { a8 }
2002 \set Timing.beatStructure = #'(4 2)
2003 \repeat unfold 6 { a8 }
2004 % go back to default behavior
2006 \repeat unfold 6 { a8 }
2009 These default automatic beaming settings for a time signature
2010 are determined in @file{scm/time-signature-settings.scm}.
2011 The automatic beaming settings for a time signature can be changed
2012 as described in @ref{Time signature}.
2014 @i{@strong{How automatic beaming works}}
2016 When automatic beaming is enabled, the placement of automatic beams
2017 is determined by the context properties
2018 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2020 The following rules, in order of priority, apply when determining
2021 the appearance of beams:
2025 If a manual beam is specified with @code{[..]} set the beam
2026 as specified, otherwise
2029 if a beam-ending rule is defined in @code{beamExceptions}
2030 for the beam-type, use it to determine the valid places where
2031 beams may end, otherwise
2034 if a beam-ending rule is defined in @code{beamExceptions}
2035 for a longer beam-type, use it to determined the valid places
2036 where beams may end, otherwise
2039 use the values of @code{baseMoment} and @code{beatStructure} to
2040 determine the ends of the beats in the measure, and
2041 end beams at the end of beats.
2045 In the rules above, the beam-type is the duration of the
2046 shortest note in the beamed group.
2048 For reference, the default beaming rules are found in
2049 @file{scm/time-signature-settings.scm}.
2053 @cindex beams, subdividing
2055 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2056 {subdividing-beams.ly}
2058 @cindex measure groupings
2059 @cindex beats, grouping
2060 @cindex grouping beats
2061 @cindex measure sub-grouping
2063 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2064 {conducting-signs,-measure-grouping-signs.ly}
2066 @cindex beam, last in score
2067 @cindex beam, last in polyphonic voice
2069 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2070 {beam-endings-in-score-context.ly}
2075 @file{scm/beam-settings.scm}.
2080 Internals Reference:
2081 @rinternals{Auto_beam_engraver},
2083 @rinternals{BeamForbidEvent},
2084 @rinternals{beam-interface}.
2088 If a score ends while an automatic beam has not been ended and is
2089 still accepting notes, this last beam will not be typeset at all.
2090 The same holds for polyphonic voices, entered with
2091 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2092 automatic beam is still accepting notes, it is not typeset.
2093 The workaround for these problems is to manually beam the last
2094 beam in the voice or score.
2097 @unnumberedsubsubsec Manual beams
2099 @cindex beams, manual
2100 @cindex manual beams
2105 In some cases it may be necessary to override the automatic
2106 beaming algorithm. For example, the autobeamer will not put beams
2107 over rests or bar lines, and in choral scores the beaming is
2108 often set to follow the meter of the lyrics rather than the
2109 notes. Such beams can be specified manually by
2110 marking the begin and end point with @code{[} and @code{]}.
2112 @lilypond[quote,relative=1,verbatim]
2113 r4 r8[ g' a r] r g[ | a] r
2116 @cindex manual beams, direction shorthand for
2117 @cindex manual beams, grace notes
2119 Beaming direction can be set manually using direction indicators:
2121 @lilypond[quote,relative=2,verbatim]
2122 c8^[ d e] c,_[ d e f g]
2128 Individual notes may be marked with @code{\noBeam} to prevent them
2131 @lilypond[quote,verbatim,relative=2]
2136 Grace note beams and normal note beams can occur simultaneously.
2137 Unbeamed grace notes are not put into normal note beams.
2139 @lilypond[quote,verbatim,relative=2]
2141 \grace { e32[ d c d] }
2147 @funindex stemLeftBeamCount
2148 @funindex stemRightBeamCount
2150 Even more strict manual control with the beams can be achieved by
2151 setting the properties @code{stemLeftBeamCount} and
2152 @code{stemRightBeamCount}. They specify the number of beams to
2153 draw on the left and right side, respectively, of the next note.
2154 If either property is set, its value will be used only once, and
2155 then it is erased. In this example, the last @code{f} is printed
2156 with only one beam on the left side, i.e., the eighth-note beam of
2157 the group as a whole.
2159 @lilypond[quote,relative=2,verbatim]
2162 \set stemLeftBeamCount = #2
2163 \set stemRightBeamCount = #1
2165 \set stemLeftBeamCount = #1
2177 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2178 {flat-flags-and-beam-nibs.ly}
2183 @ref{Direction and placement},
2189 Internals Reference:
2191 @rinternals{BeamEvent},
2192 @rinternals{Beam_engraver},
2193 @rinternals{beam-interface},
2194 @rinternals{Stem_engraver}.
2197 @node Feathered beams
2198 @unnumberedsubsubsec Feathered beams
2200 @cindex beams, feathered
2201 @cindex feathered beams
2203 @funindex \featherDurations
2204 @funindex featherDurations
2205 @funindex grow-direction
2207 Feathered beams are used to indicate that a small group of notes
2208 should be played at an increasing (or decreasing) tempo, without
2209 changing the overall tempo of the piece. The extent of the
2210 feathered beam must be indicated manually using @code{[} and
2211 @code{]}, and the beam feathering is turned on by specifying a
2212 direction to the @code{Beam} property @code{grow-direction}.
2214 If the placement of the notes and the sound in the MIDI output is to
2215 reflect the ritardando or accelerando indicated by the feathered beam
2216 the notes must be grouped as a music expression delimited by braces
2217 and preceded by a @code{featherDurations} command which specifies
2218 the ratio between the durations of the first and last notes in the
2221 The square brackets show the extent of the beam and the braces show
2222 which notes are to have their durations modified. Normally these
2223 would delimit the same group of notes, but this is not required: the
2224 two commands are independent.
2226 In the following example the eight 16th notes occupy exactly the
2227 same time as a half note, but the first note is one half as long
2228 as the last one, with the intermediate notes gradually
2229 lengthening. The first four 32nd notes gradually speed up, while
2230 the last four 32nd notes are at a constant tempo.
2232 @lilypond[relative=1,verbatim,quote]
2233 \override Beam #'grow-direction = #LEFT
2234 \featherDurations #(ly:make-moment 2 1)
2235 { c16[ c c c c c c c] }
2236 \override Beam #'grow-direction = #RIGHT
2237 \featherDurations #(ly:make-moment 2 3)
2239 % revert to non-feathered beams
2240 \override Beam #'grow-direction = #'()
2245 The spacing in the printed output represents the
2246 note durations only approximately, but the MIDI output is exact.
2250 @code{\featherDurations}.
2260 The @code{\featherDurations} command only works with very short
2261 music snippets, and when numbers in the fraction are small.
2271 * Bar and bar number checks::
2276 @unnumberedsubsubsec Bar lines
2279 @cindex measure lines
2280 @cindex closing bar lines
2281 @cindex bar lines, closing
2282 @cindex double bar lines
2283 @cindex bar lines, double
2289 Bar lines delimit measures, and are also used to indicate
2290 repeats. Normally, simple bar lines are automatically inserted
2291 into the printed output at places based on the current time
2294 The simple bar lines inserted automatically can be changed to
2295 other types with the @code{\bar} command. For example, a closing
2296 double bar line is usually placed at the end of a piece:
2298 @lilypond[quote,relative=1,verbatim]
2302 It is not invalid if the final note in a measure does not
2303 end on the automatically entered bar line: the note is assumed
2304 to carry over into the next measure. But if a long sequence
2305 of such carry-over measures appears the music can appear compressed
2306 or even flowing off the page. This is because automatic line
2307 breaks happen only at the end of complete measures, i.e., where
2308 all notes end before the end of a measure.
2310 @warning{An incorrect duration can cause line breaks to be
2311 inhibited, leading to a line of highly compressed music or
2312 music which flows off the page.}
2315 @cindex bar lines, invisible
2316 @cindex measure lines, invisible
2318 Line breaks are also permitted at manually inserted bar lines
2319 even within incomplete measures. To allow a line break without
2320 printing a bar line, use the following:
2327 This will insert an invisible bar line and allow (but not
2328 force) a line break to occur at this point. The bar number
2329 counter is not increased. To force a line break see
2330 @ref{Line breaking}.
2332 @cindex manual bar lines
2333 @cindex manual measure lines
2334 @cindex bar lines, manual
2335 @cindex measure lines, manual
2337 This and other special bar lines may be inserted manually at any
2338 point. When they coincide with the end of a measure they replace
2339 the simple bar line which would have been inserted there
2340 automatically. When they do not coincide with the end of a measure
2341 the specified bar line is inserted at that point in the printed
2344 Note that manual bar lines are purely visual. They do not affect
2345 any of the properties that a normal bar line would affect, such as
2346 measure numbers, accidentals, line breaks, etc. They do not affect
2347 the calculation and placement of subsequent automatic bar lines.
2348 When a manual bar line is placed where a normal bar line already
2349 exists, the effects of the original bar line are not altered.
2351 Two types of simple bar lines and five types of double bar lines are
2352 available for manual insertion:
2354 @lilypond[quote,relative=1,verbatim]
2366 together with dotted and dashed bar lines:
2368 @lilypond[quote,relative=1,verbatim]
2375 and five types of repeat bar line:
2377 @lilypond[quote,relative=1,verbatim]
2386 Additionally, a bar line can be printed as a simple tick:
2387 @lilypond[quote,relative=1,verbatim]
2390 However, as such ticks are typically used in Gregorian chant, it is
2391 preferable to use @code{\divisioMinima} there instead, described in
2392 the section @ref{Divisiones} in Gregorian chant.
2396 For in-line segno signs, there are three types of bar lines which
2397 differ in their behavior at line breaks:
2399 @lilypond[quote,relative=2,verbatim]
2417 Although the bar line types signifying repeats may be inserted
2418 manually they do not in themselves cause LilyPond to recognize
2419 a repeated section. Such repeated sections are better entered
2420 using the various repeat commands (see @ref{Repeats}), which
2421 automatically print the appropriate bar lines.
2423 In addition, you can specify @code{"||:"}, which is equivalent to
2424 @code{"|:"} except at line breaks, where it gives a double bar
2425 line at the end of the line and a start repeat at the beginning of
2428 @lilypond[quote,relative=2,verbatim]
2436 For combinations of repeats with the segno sign, there are six different
2439 @lilypond[quote,relative=2,verbatim]
2468 In scores with many staves, a @code{\bar} command in one staff is
2469 automatically applied to all staves. The resulting bar lines are
2470 connected between different staves of a @code{StaffGroup},
2471 @code{PianoStaff}, or @code{GrandStaff}.
2473 @lilypond[quote,relative=1,verbatim]
2481 \new Staff { \clef bass c4 g e g }
2483 \new Staff { \clef bass c2 c2 }
2488 @cindex default bar lines, changing
2489 @cindex bar lines, default, changing
2494 @funindex defaultBarType
2499 The command @samp{\bar @var{bartype}} is a shortcut for
2500 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2501 created whenever the @code{whichBar} property is set.
2503 The default bar type used for automatically inserted bar lines is
2504 @code{"|"}. This may be changed at any time with
2505 @samp{\set Timing.defaultBarType = @var{bartype}}.
2510 @ref{Line breaking},
2512 @ref{Grouping staves}.
2517 Internals Reference:
2518 @rinternals{BarLine} (created at @code{Staff} level),
2519 @rinternals{SpanBar} (across staves),
2520 @rinternals{Timing_translator} (for Timing properties).
2524 @unnumberedsubsubsec Bar numbers
2527 @cindex measure numbers
2528 @cindex numbers, bar
2529 @cindex numbers, measure
2531 @funindex currentBarNumber
2533 Bar numbers are typeset by default at the start of every line except
2534 the first line. The number itself is stored in the
2535 @code{currentBarNumber} property, which is normally updated
2536 automatically for every measure. It may also be set manually:
2538 @lilypond[verbatim,quote,relative=1]
2541 \set Score.currentBarNumber = #50
2545 @cindex bar numbers, regular spacing
2547 @funindex barNumberVisibility
2550 Bar numbers can be typeset at regular intervals instead of just at
2551 the beginning of every line. To do this the default behavior
2552 must be overridden to permit bar numbers to be printed at places
2553 other than the start of a line. This is controlled by the
2554 @code{break-visibility} property of @code{BarNumber}. This takes
2555 three values which may be set to @code{#t} or @code{#f} to specify
2556 whether the corresponding bar number is visible or not. The order
2557 of the three values is @code{end of line visible}, @code{middle of
2558 line visible}, @code{beginning of line visible}. In the following
2559 example bar numbers are printed at all possible places:
2561 @lilypond[verbatim,quote,relative=1]
2562 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2563 \set Score.currentBarNumber = #11
2564 % Permit first bar number to be printed
2574 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2575 {printing-the-bar-number-for-the-first-measure.ly}
2577 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2578 {printing-bar-numbers-at-regular-intervals.ly}
2580 @cindex measure number, format
2581 @cindex bar number, format
2583 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2584 {printing-bar-numbers-inside-boxes-or-circles.ly}
2586 @cindex bar number alignment
2588 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2589 {aligning-bar-numbers.ly}
2591 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2592 {removing-bar-numbers-from-a-score.ly}
2599 Internals Reference:
2600 @rinternals{BarNumber},
2601 @rinternals{Bar_number_engraver}.
2604 @cindex bar number collision
2605 @cindex collision, bar number
2608 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2609 if there is one. To solve this, the @code{padding} property of
2610 @code{BarNumber} can be used to position the number correctly. See
2611 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2614 @node Bar and bar number checks
2615 @unnumberedsubsubsec Bar and bar number checks
2618 @cindex bar number check
2619 @cindex measure check
2620 @cindex measure number check
2622 @funindex barCheckSynchronize
2625 Bar checks help detect errors in the entered durations. A bar check
2626 may be entered using the bar symbol, @code{|}, at any place where a
2627 bar line is expected to fall. If bar check lines are encountered at
2628 other places, a list of warnings is printed in the log file, showing
2629 the line numbers and lines in which the bar checks failed. In the
2630 next example, the second bar check will signal an error.
2633 \time 3/4 c2 e4 | g2 |
2636 Bar checks can also be used in lyrics:
2641 Twin -- kle | Twin -- kle |
2645 An incorrect duration can result in a completely garbled score,
2646 especially if the score is polyphonic, so a good place to start
2647 correcting input is by scanning for failed bar checks and
2648 incorrect durations.
2650 If successive bar checks are off by the same musical interval,
2651 only the first warning message is displayed. This allows the
2652 warning to focus on the source of the timing error.
2656 @funindex pipeSymbol
2658 It is also possible to redefine the action taken when a bar check
2659 or pipe symbol, @code{|}, is encountered in the input, so that
2660 it does something other than a bar check. This is done by
2661 assigning a music expression to @code{pipeSymbol}.
2662 In the following example @code{|} is set to insert a double bar
2663 line wherever it appears in the input, rather than checking
2666 @lilypond[quote,verbatim]
2667 pipeSymbol = \bar "||"
2676 @funindex \barNumberCheck
2677 @funindex barNumberCheck
2679 When copying large pieces of music, it can be helpful to check that
2680 the LilyPond bar number corresponds to the original that you are
2681 entering from. This can be checked with @code{\barNumberCheck}, for
2685 \barNumberCheck #123
2689 will print a warning if the @code{currentBarNumber} is not 123
2690 when it is processed.
2698 @node Rehearsal marks
2699 @unnumberedsubsubsec Rehearsal marks
2701 @cindex rehearsal marks
2702 @cindex mark, rehearsal
2707 To print a rehearsal mark, use the @code{\mark} command.
2709 @lilypond[quote,verbatim,relative=2]
2717 The mark is incremented automatically if you use @code{\mark
2718 \default}, but you can also use an integer argument to set the
2719 mark manually. The value to use is stored in the property
2720 @code{rehearsalMark}.
2722 @lilypond[quote,verbatim,relative=2]
2731 The letter@tie{}@q{I} is skipped in accordance with engraving
2732 traditions. If you wish to include the letter @q{I}, then use one
2733 of the following commands, depending on which style of rehearsal mark
2734 you want (letters only, letters in a hollow box, or letters in a
2738 \set Score.markFormatter = #format-mark-alphabet
2739 \set Score.markFormatter = #format-mark-box-alphabet
2740 \set Score.markFormatter = #format-mark-circle-alphabet
2743 @lilypond[quote,verbatim,relative=2]
2744 \set Score.markFormatter = #format-mark-box-alphabet
2752 @cindex rehearsal mark format
2753 @cindex rehearsal mark style
2754 @cindex style, rehearsal mark
2755 @cindex format, rehearsal mark
2756 @cindex mark, rehearsal, style
2757 @cindex mark, rehearsal, format
2758 @cindex rehearsal mark, manual
2759 @cindex mark, rehearsal, manual
2760 @cindex custom rehearsal mark
2761 @cindex manual rehearsal mark
2763 The style is defined by the property @code{markFormatter}. It is
2764 a function taking the current mark (an integer) and the current
2765 context as argument. It should return a markup object. In the
2766 following example, @code{markFormatter} is set to a pre-defined
2767 procedure. After a few measures, it is set to a procedure that
2768 produces a boxed number.
2770 @lilypond[quote,verbatim,relative=2]
2771 \set Score.markFormatter = #format-mark-numbers
2774 \set Score.markFormatter = #format-mark-box-numbers
2776 \set Score.markFormatter = #format-mark-circle-numbers
2778 \set Score.markFormatter = #format-mark-circle-letters
2782 The file @file{scm/translation-functions.scm} contains the
2783 definitions of @code{format-mark-numbers} (the default format),
2784 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2785 @code{format-mark-box-letters}. These can be used as inspiration
2786 for other formatting functions.
2788 You may use @code{format-mark-barnumbers},
2789 @code{format-mark-box-barnumbers}, and
2790 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2791 incremented numbers or letters.
2793 Other styles of rehearsal mark can be specified manually:
2800 Note that @code{Score.markFormatter} does not affect marks specified
2801 in this manner. However, it is possible to apply a @code{\markup} to the
2805 \mark \markup@{ \box A1 @}
2810 @cindex D.S. al Fine
2812 @cindex music glyphs
2813 @cindex glyphs, music
2815 @funindex \musicglyph
2816 @funindex musicglyph
2818 Music glyphs (such as the segno sign) may be printed inside a
2821 @lilypond[quote,verbatim,relative=1]
2822 c1 \mark \markup { \musicglyph #"scripts.segno" }
2823 c1 \mark \markup { \musicglyph #"scripts.coda" }
2824 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2829 See @ref{The Feta font}, for a list of symbols which may be
2830 printed with @code{\musicglyph}.
2832 For common tweaks to the positioning of rehearsal marks, see
2833 @ref{Formatting text}. For more precise control, see
2834 @code{break-alignable-interface} in @ref{Aligning objects}.
2839 @ref{The Feta font},
2840 @ref{Formatting text},
2841 @ref{Aligning objects}.
2844 @file{scm/translation-functions.scm} contains
2845 the definitions of @code{format-mark-numbers} and
2846 @code{format-mark-letters}. They can be used as inspiration for
2847 other formatting functions.
2852 Internals Reference:
2853 @rinternals{MarkEvent},
2854 @rinternals{Mark_engraver},
2855 @rinternals{RehearsalMark}.
2858 @node Special rhythmic concerns
2859 @subsection Special rhythmic concerns
2864 * Aligning to cadenzas::
2865 * Time administration::
2869 @unnumberedsubsubsec Grace notes
2873 @cindex appoggiatura
2874 @cindex acciaccatura
2879 Grace notes are ornaments that are written out. Grace notes
2880 are printed in a smaller font and take up no logical time
2883 @lilypond[quote,relative=2,verbatim]
2885 \grace { c16[ d16] } c2
2888 LilyPond also supports two special types of grace notes, the
2889 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
2890 small note with a slashed stem -- and the @emph{appoggiatura}, which
2891 takes a fixed fraction of the main note and appears in small print
2894 @lilypond[quote,relative=2,verbatim]
2898 \acciaccatura { g16[ f] } e4
2901 The placement of grace notes is synchronized between different
2902 staves. In the following example, there are two sixteenth grace
2903 notes for every eighth grace note
2905 @lilypond[quote,relative=2,verbatim]
2907 \new Staff { e2 \grace { c16[ d e f] } e2 }
2908 \new Staff { c2 \grace { g8[ b] } c2 }
2912 @cindex grace notes, following
2914 @funindex \afterGrace
2915 @funindex afterGrace
2917 If you want to end a note with a grace, use the @code{\afterGrace}
2918 command. It takes two arguments: the main note, and the grace
2919 notes following the main note.
2921 @lilypond[quote,verbatim,relative=2]
2922 c1 \afterGrace d1 { c16[ d] } c1
2925 This will put the grace notes after a space lasting 3/4 of the
2926 length of the main note. The default fraction 3/4 can be changed by
2927 setting @code{afterGraceFraction}. The following example shows
2928 the results from setting the space at the default, at 15/16, and
2929 finally at 1/2 of the main note.
2931 @lilypond[quote,verbatim,relative=2]
2934 c1 \afterGrace d1 { c16[ d] } c1
2937 #(define afterGraceFraction (cons 15 16))
2938 c1 \afterGrace d1 { c16[ d] } c1
2941 #(define afterGraceFraction (cons 1 2))
2942 c1 \afterGrace d1 { c16[ d] } c1
2947 The space between the main note and the grace note may also be
2948 specified using spacers. The following example places the grace
2949 note after a space lasting 7/8 of the main note.
2951 @lilypond[quote,verbatim,relative=2]
2955 { s2 s4. \grace { c16[ d] } }
2961 @cindex tweaking grace notes
2962 @cindex grace notes, tweaking
2963 @cindex grace notes, changing layout settings
2965 A @code{\grace} music expression will introduce special
2966 typesetting settings, for example, to produce smaller type, and
2967 set directions. Hence, when introducing layout tweaks to
2968 override the special settings, they should be placed inside
2969 the grace expression. The overrides should also be reverted
2970 inside the grace expression. Here, the grace note's default stem
2971 direction is overridden and then reverted.
2973 @lilypond[quote,verbatim,relative=2]
2985 @cindex stem, with slash
2990 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2991 {using-grace-note-slashes-with-normal-heads.ly}
2993 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2994 {tweaking-grace-layout-within-music.ly}
2996 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2997 {redefining-grace-note-global-defaults.ly}
2999 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3000 {positioning-grace-notes-with-floating-space.ly}
3005 @rglos{grace notes},
3006 @rglos{acciaccatura},
3007 @rglos{appoggiatura}.
3013 @file{ly/grace-init.ly}.
3018 Internals Reference:
3019 @rinternals{GraceMusic},
3020 @rinternals{Grace_beam_engraver},
3021 @rinternals{Grace_engraver},
3022 @rinternals{Grace_spacing_engraver}.
3027 @cindex acciaccatura, multi-note
3028 @cindex multi-note acciaccatura
3029 @cindex grace-note synchronization
3031 A multi-note beamed @i{acciaccatura} is printed without a slash,
3032 and looks exactly the same as a multi-note beamed
3035 @c TODO Add link to LSR snippet to add slash when available
3037 Grace note synchronization can also lead to surprises. Staff
3038 notation, such as key signatures, bar lines, etc., are also
3039 synchronized. Take care when you mix staves with grace notes and
3040 staves without, for example,
3042 @lilypond[quote,relative=2,verbatim]
3044 \new Staff { e4 \bar "|:" \grace c16 d2. }
3045 \new Staff { c4 \bar "|:" d2. }
3050 This can be remedied by inserting grace skips of the corresponding
3051 durations in the other staves. For the above example
3053 @lilypond[quote,relative=2,verbatim]
3055 \new Staff { e4 \bar "|:" \grace c16 d2. }
3056 \new Staff { c4 \bar "|:" \grace s16 d2. }
3060 Grace sections should only be used within sequential music
3061 expressions. Nesting or juxtaposing grace sections is not
3062 supported, and might produce crashes or other errors.
3064 @node Aligning to cadenzas
3065 @unnumberedsubsubsec Aligning to cadenzas
3068 @cindex cadenza, aligning to
3069 @cindex aligning to cadenza
3071 In an orchestral context, cadenzas present a special problem: when
3072 constructing a score that includes a measured cadenza or other solo
3073 passage, all other instruments should skip just as many notes as the
3074 length of the cadenza, otherwise they will start too soon or too late.
3076 One solution to this problem is to use the functions
3077 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3078 functions take a defined piece of music as an argument and generate a
3079 multi-measure rest or @code{\skip} exactly as long as the piece.
3081 @lilypond[verbatim,quote]
3082 MyCadenza = \relative c' {
3093 #(ly:export (mmrest-of-length MyCadenza))
3095 #(ly:export (skip-of-length MyCadenza))
3110 @node Time administration
3111 @unnumberedsubsubsec Time administration
3113 @cindex time administration
3114 @cindex timing (within the score)
3115 @cindex music, unmetered
3116 @cindex unmetered music
3118 @funindex currentBarNumber
3119 @funindex measurePosition
3120 @funindex measureLength
3122 Time is administered by the @code{Timing_translator}, which by
3123 default is to be found in the @code{Score} context. An alias,
3124 @code{Timing}, is added to the context in which the
3125 @code{Timing_translator} is placed. To ensure that the
3126 @code{Timing} alias is available, you may need to explicitly
3127 instantiate the containing context (such as @code{Voice} or
3130 The following properties of @code{Timing} are used
3131 to keep track of timing within the score.
3134 @cindex measure number
3137 @item currentBarNumber
3138 The current measure number. For an example showing the
3139 use of this property see @ref{Bar numbers}.
3142 The length of the measures in the current time signature. For a
3143 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3144 determines when bar lines are inserted and how automatic beams
3145 should be generated.
3147 @item measurePosition
3148 The point within the measure where we currently are. This
3149 quantity is reset by subtracting @code{measureLength} whenever
3150 @code{measureLength} is reached or exceeded. When that happens,
3151 @code{currentBarNumber} is incremented.
3154 If set to true, the above variables are updated for every time
3155 step. When set to false, the engraver stays in the current
3156 measure indefinitely.
3160 Timing can be changed by setting any of these variables
3161 explicitly. In the next example, the default 4/4 time
3162 signature is printed, but @code{measureLength} is set to 5/4.
3163 At 4/8 through the third measure, the @code{measurePosition} is
3164 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3165 The next bar line then falls at 9/8 rather than 5/4.
3167 @lilypond[quote,verbatim]
3168 \new Voice \relative c' {
3169 \set Timing.measureLength = #(ly:make-moment 5 4)
3173 \set Timing.measurePosition = #(ly:make-moment 5 8)
3180 As the example illustrates, @code{ly:make-moment n m} constructs a
3181 duration of n/m of a whole note. For example,
3182 @code{ly:make-moment 1 8} is an eighth note duration and
3183 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3190 @ref{Unmetered music}.
3195 Internals Reference:
3196 @rinternals{Timing_translator},