1 @c -*- coding: utf-8; mode: texinfo; -*-
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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,quote,ragged-right,texidoc,doctitle]
146 {alternative-breve-note.ly}
148 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
149 {changing-the-number-of-augmentation-dots-per-note.ly}
158 @rglos{Duration names notes and rests}.
161 @ref{Automatic beams},
164 @ref{Writing rhythms},
167 @ref{Ancient notation},
168 @ref{Proportional notation}.
175 @rinternals{DotColumn}.
180 @c Deliberately duplicated in Durations and Rests. -gp
181 There is no fundamental limit to rest durations (both in terms of
182 longest and shortest), but the number of glyphs is limited:
183 rests from 128th to maxima (8 x whole) may be printed.
187 @unnumberedsubsubsec Tuplets
195 Tuplets are made from a music expression by multiplying all the
196 durations with a fraction:
199 \times @var{fraction} @{ @var{music} @}
203 The duration of @code{@var{music}} will be multiplied by the
204 fraction. The fraction's denominator will be printed over or
205 under the notes, optionally with a bracket. The most common
206 tuplet is the triplet in which 3 notes have the duration of 2, so
207 the notes are 2/3 of their written length.
209 @lilypond[quote,verbatim,relative=2]
210 a2 \times 2/3 { b4 b b }
211 c4 c \times 2/3 { b4 a g }
214 @cindex tuplet bracket placement
218 @funindex \tupletDown
220 @funindex \tupletNeutral
221 @funindex tupletNeutral
223 Tuplet brackets may be manually placed above or below the staff;
224 see @ref{Direction and placement}.
226 Tuplets may be nested:
228 @lilypond[quote,verbatim,relative=2]
230 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
233 Modifying nested tuplets which begin at the same musical moment
234 must be done with @code{\tweak}.
236 To modify the duration of notes without printing a tuplet bracket,
237 see @ref{Scaling durations}.
243 @code{\tupletNeutral}.
249 @cindex tuplet formatting
250 @cindex triplet formatting
252 @funindex tupletNumberFormatFunction
253 @funindex tupletSpannerDuration
255 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
256 {entering-several-tuplets-using-only-one--times-command.ly}
258 @cindex Tuplet number changes
260 @funindex TupletNumber
262 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
263 {changing-the-tuplet-number.ly}
265 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
266 {non-default-tuplet-numbers.ly}
268 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
269 {controlling-tuplet-bracket-visibility.ly}
271 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
272 {permitting-line-breaks-within-beamed-tuplets.ly}
282 @rlearning{Tweaking methods}.
285 @ref{Time administration},
286 @ref{Scaling durations},
287 @ref{The tweak command},
288 @ref{Polymetric notation}.
294 @rinternals{TupletBracket},
295 @rinternals{TupletNumber},
296 @rinternals{TimeScaledMusic}.
299 @cindex grace notes within tuplet brackets
302 Grace notes may be placed within tuplet brackets, @emph{except}
303 when a staff begins with a grace note followed by a tuplet. In this
304 particular case, the grace note must be placed before the @code{\times}
305 command to avoid errors.
307 @cindex tempo marks within tuplet brackets
309 When using a tuplet at the beginning of a piece with a @code{\tempo}
310 mark, the music must be explicitly entered in a @code{\new Voice}
311 block, as discussed in @rlearning{Voices contain music}.
314 @node Scaling durations
315 @unnumberedsubsubsec Scaling durations
317 @cindex scaling durations
318 @cindex durations, scaling
320 You can alter the duration of single notes, rests or chords by a
321 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
322 is 1) to the duration. This will not affect the appearance of the
323 notes or rests produced, but the altered duration will be used in
324 calculating the position within the measure and setting the duration
325 in the MIDI output. Multiplying factors may be combined such as
328 In the following example, the first three notes take up exactly
329 two beats, but no triplet bracket is printed.
331 @lilypond[quote,relative=2,verbatim]
333 % Alter durations to triplets
334 a4*2/3 gis4*2/3 a4*2/3
337 % Double the duration of chord
339 % Duration of quarter, appears like sixteenth
343 The duration of spacing notes may also be modified by
344 a multiplier. This is useful for skipping many measures, e.g.,
347 @cindex compressing music
348 @cindex expanding music
350 @funindex \scaleDurations
351 @funindex scaleDurations
353 Longer stretches of music may be compressed by a fraction in the
354 same way, as if every note, chord or rest had the fraction as a
355 multiplier. This leaves the appearance of the music unchanged but
356 the internal duration of the notes will be multiplied by the
357 fraction @emph{num}/@emph{den}. The spaces around the dot are
358 required. Here is an example showing how music can be compressed
361 @lilypond[quote,relative=2,verbatim]
365 % Scale music by *2/3
366 \scaleDurations #'(2 . 3) {
370 \scaleDurations #'(2 . 1) {
375 One application of this command is in polymetric
376 notation, see @ref{Polymetric notation}.
382 @ref{Invisible rests},
383 @ref{Polymetric notation}.
390 @unnumberedsubsubsec Ties
396 A tie connects two adjacent note heads of the same pitch. The tie
397 in effect extends the duration of a note.
399 @warning{Ties should not be confused with @emph{slurs}, which
400 indicate articulation, or @emph{phrasing slurs}, which indicate
401 musical phrasing. A tie is just a way of extending a note
402 duration, similar to the augmentation dot.}
404 A tie is entered using the tilde symbol (@code{~}).
406 @lilypond[quote,verbatim,relative=2]
410 Ties are used either when the note crosses a bar line, or when
411 dots cannot be used to denote the rhythm. Ties should also be
412 used when note values cross larger subdivisions of the measure:
414 @lilypond[verbatim,quote]
421 If you need to tie many notes across bar lines, it may be
422 easier to use automatic note splitting, see @ref{Automatic note
423 splitting}. This mechanism automatically splits long notes, and
424 ties them across bar lines.
426 @cindex ties and chords
427 @cindex chords and ties
429 When a tie is applied to a chord, all note heads whose pitches
430 match are connected. When no note heads match, no ties will be
431 created. Chords may be partially tied by placing the tie inside
434 @lilypond[quote,verbatim,relative=1]
436 <c~ e g~ b> <c e g b>
439 @cindex repeating ties
440 @cindex ties, repeating
441 @cindex volta brackets and ties
442 @cindex ties and volta brackets
447 When a second alternative of a repeat starts with a tied note, you
448 have to specify the repeated tie as follows:
450 @lilypond[quote,relative=2,verbatim]
451 \repeat volta 2 { c g <c e>2 ~ }
453 % First alternative: following note is tied normally
455 % Second alternative: following note has a repeated tie
456 { <c e>2\repeatTie d4 c } }
459 @cindex laissez vibrer
460 @cindex ties, laissez vibrer
462 @funindex \laissezVibrer
463 @funindex laissezVibrer
465 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
466 notes must not be damped at the end. It is used in notation for
467 piano, harp and other string and percussion instruments. They can
468 be entered as follows:
470 @lilypond[quote,verbatim,relative=1]
471 <c f g>1\laissezVibrer
474 @cindex ties, placement
480 @funindex \tieNeutral
483 Ties may be manually placed above or below the staff; see
484 @ref{Direction and placement}.
486 @cindex ties, appearance
499 Ties may be made dashed, dotted, or a combination of solid and
502 @lilypond[quote, verbatim, relative=1]
515 Custom dash patterns can be specified:
517 @lilypond[quote, verbatim, relative=1]
518 \tieDashPattern #0.3 #0.75
520 \tieDashPattern #0.7 #1.5
526 Dash pattern definitions for ties have the same structure as
527 dash pattern definitions for slurs.
528 For more information about complex dash patterns,
529 see the snippets under @ref{Slurs}.
537 @code{\tieDashPattern},
538 @code{\tieHalfDashed},
539 @code{\tieHalfSolid},
546 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
547 {using-ties-with-arpeggios.ly}
549 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
550 {engraving-ties-manually.ly}
556 @rglos{laissez vibrer}.
560 @ref{Automatic note splitting}.
566 @rinternals{LaissezVibrerTie},
567 @rinternals{LaissezVibrerTieColumn},
568 @rinternals{TieColumn},
573 Switching staves when a tie is active will not produce a slanted
576 Changing clefs or ottavations during a tie is not really
577 well-defined. In these cases, a slur may be preferable.
582 @subsection Writing rests
584 Rests are entered as part of the music in music expressions.
589 * Full measure rests::
593 @unnumberedsubsubsec Rests
596 @cindex rest, entering durations
611 Rests are entered like notes with the note name @code{r}.
612 Durations longer than a whole rest use the following predefined
615 @c \time 16/1 is used to avoid spurious bar lines
616 @c and long tracts of empty measures
617 @lilypond[quote,verbatim,relative=2]
619 % These two lines are just to prettify this example
621 \override Staff.TimeSignature #'stencil = ##f
622 % Print a maxima rest, equal to four breves
624 % Print a longa rest, equal to two breves
628 r1 r2 r4 r8 r16 r32 r64 r128
632 @cindex rest, multi-measure
633 @cindex rest, whole-measure
635 Whole measure rests, centered in the middle of the measure, must be
636 entered as multi-measure rests. They can be used for a single
637 measure as well as many measures and are discussed in
638 @ref{Full measure rests}.
640 @cindex rest, specifying vertical position
642 To explicitly specify a rest's vertical position, write a note
643 followed by @code{\rest}. A rest of the duration of the note will
644 be placed at the staff position where the note would appear. This
645 allows for precise manual formatting of polyphonic music, since the
646 automatic rest collision formatter will not move these rests.
648 @lilypond[quote,verbatim,relative=2]
654 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
665 @ref{Full measure rests}.
676 @c Deliberately duplicated in Durations and Rests. -gp
677 There is no fundamental limit to rest durations (both in terms of
678 longest and shortest), but the number of glyphs is limited: there
679 are rests from 128th to maxima (8 x whole).
682 @node Invisible rests
683 @unnumberedsubsubsec Invisible rests
686 @cindex invisible rest
687 @cindex rest, invisible
695 An invisible rest (also called a @q{spacer rest}) can be entered
696 like a note with the note name@tie{}@code{s}:
698 @lilypond[verbatim,quote,relative=2]
705 Spacer rests are available only in note mode and chord mode. In
706 other situations, for example, when entering lyrics, the
707 command @code{\skip} is used to skip a musical moment.
708 @code{\skip} requires an explicit duration, but this is ignored if
709 the lyrics derive their durations from the notes in an associated
710 melody through @code{\addlyrics} or @code{\lyricsto}.
712 @lilypond[quote,verbatim,relative=2]
725 Because @code{\skip} is a command, it does not affect the default
726 durations of following notes, unlike@tie{}@code{s}.
728 @lilypond[quote,verbatim,relative=2]
731 \repeat unfold 8 { a4 }
741 A spacer rest implicitly causes @code{Staff} and @code{Voice}
742 contexts to be created if none exist, just like notes and rests
745 @lilypond[quote,verbatim,relative=2]
749 @code{\skip} simply skips musical time; it creates no output of
752 @lilypond[quote,verbatim,relative=2]
753 % This is valid input, but does nothing
754 \skip 1 \skip1 \skip 1
760 @rlearning{Visibility and color of objects}.
764 @ref{Visibility of objects}.
770 @rinternals{SkipMusic}.
773 @node Full measure rests
774 @unnumberedsubsubsec Full measure rests
776 @cindex multi-measure rests
777 @cindex full-measure rests
778 @cindex rest, multi-measure
779 @cindex rest, full-measure
780 @cindex whole rest for a full measure
781 @cindex rest, whole for a full measure
785 Rests for one or more full measures are entered like notes with
786 the note name uppercase @code{R}:
788 @lilypond[quote,verbatim,relative=2]
789 % Rest measures contracted to single measure
790 \compressFullBarRests
797 The duration of full-measure rests is identical to the duration
798 notation used for notes. The duration in a multi-measure rest must
799 always be an integral number of measure-lengths, so augmentation dots
800 or fractions must often be used:
802 @lilypond[quote,verbatim,relative=2]
803 \compressFullBarRests
809 R1*13/8 | R1*13/8*12 |
814 A full-measure rest is printed as either a whole or breve rest,
815 centered in the measure, depending on the time signature.
817 @lilypond[quote,verbatim,relative=2]
826 @cindex multi-measure rest, expanding
827 @cindex multi-measure rest, contracting
829 @funindex \expandFullBarRests
830 @funindex expandFullBarRests
831 @funindex \compressFullBarRests
832 @funindex compressFullBarRests
834 By default a multi-measure rest is expanded in the printed score to
835 show all the rest measures explicitly. Alternatively, a multi-measure
836 rest can be shown as a single measure containing a multi-measure rest
837 symbol, with the number of measures of rest printed above the measure:
839 @lilypond[quote,verbatim,relative=2]
841 \time 3/4 r2. | R2.*2 |
844 % Rest measures contracted to single measure
845 \compressFullBarRests
847 % Rest measures expanded
854 @cindex text on multi-measure rest
855 @cindex multi-measure rest, attaching text
856 @cindex script on multi-measure rest
857 @cindex multi-measure rest, script
858 @cindex fermata on multi-measure rest
859 @cindex multi-measure rest, attaching fermata
860 @cindex markup on multi-measure rest
861 @cindex multi-measure rest with markup
863 @funindex \fermataMarkup
864 @funindex fermataMarkup
865 @funindex MultiMeasureRestText
867 Markups can be added to multi-measure rests.
868 The predefined command @code{\fermataMarkup}
869 is provided for adding fermatas.
871 @lilypond[quote,verbatim,relative=2]
872 \compressFullBarRests
874 R2.*10^\markup { \italic "ad lib." }
878 @warning{Markups attached to a multi-measure rest are objects of type
879 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
880 be directed to the correct object, or they will be ignored. See the
883 @lilypond[quote,verbatim,relative=2]
884 % This fails, as the wrong object name is specified
885 \override TextScript #'padding = #5
887 % This is the correct object name to be specified
888 \override MultiMeasureRestText #'padding = #5
892 When a multi-measure rest immediately follows a @code{\partial}
893 setting, resulting bar-check warnings may not be displayed.
896 @funindex \textLengthOn
897 @funindex textLengthOn
898 @funindex \textLengthOff
899 @funindex textLengthOff
900 @funindex \fermataMarkup
901 @funindex fermataMarkup
902 @funindex \compressFullBarRests
903 @funindex compressFullBarRests
904 @funindex \expandFullBarRests
905 @funindex expandFullBarRests
908 @code{\textLengthOn},
909 @code{\textLengthOff},
910 @code{\fermataMarkup},
911 @code{\compressFullBarRests},
912 @code{\expandFullBarRests}.
920 @cindex kirchenpausen
922 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
923 {changing-form-of-multi-measure-rests.ly}
925 @cindex multi-measure rests, positioning
926 @cindex positioning multi-measure rests
928 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
929 {positioning-multi-measure-rests.ly}
931 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
932 {multi-measure-rest-markup.ly}
937 @rglos{multi-measure rest}.
942 @ref{Formatting text},
949 @rinternals{MultiMeasureRest},
950 @rinternals{MultiMeasureRestNumber},
951 @rinternals{MultiMeasureRestText}.
954 @cindex fingerings and multi-measure rests
955 @cindex multi-measure rests and fingerings
958 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
959 in the fingering numeral colliding with the bar counter
962 @cindex condensing rests
963 @cindex rest, condensing ordinary
965 There is no way to automatically condense multiple ordinary rests
966 into a single multi-measure rest.
968 @cindex rest, collisions of
970 Multi-measure rests do not take part in rest collisions.
972 @node Displaying rhythms
973 @subsection Displaying rhythms
980 * Polymetric notation::
981 * Automatic note splitting::
982 * Showing melody rhythms::
986 @unnumberedsubsubsec Time signature
988 @cindex time signature
994 The time signature is set as follows:
996 @lilypond[quote,verbatim,relative=2]
1001 @cindex time signature, visibility of
1003 Time signatures are printed at the beginning of a piece
1004 and whenever the time signature changes. If a change takes place
1005 at the end of a line a warning time signature sign is printed
1006 there. This default behavior may be changed, see
1007 @ref{Visibility of objects}.
1009 @lilypond[quote,verbatim,relative=2]
1019 @cindex time signature style
1022 @funindex \numericTimeSignature
1023 @funindex numericTimeSignature
1024 @funindex \defaultTimeSignature
1025 @funindex defaultTimeSignature
1027 The time signature symbol that is used in 2/2 and 4/4 time can be
1028 changed to a numeric style:
1030 @lilypond[quote,verbatim,relative=2]
1034 % Change to numeric style
1035 \numericTimeSignature
1038 % Revert to default style
1039 \defaultTimeSignature
1045 Mensural time signatures are covered in
1046 @ref{Mensural time signatures}.
1048 @cindex time signature default settings
1049 @cindex autobeaming properties for time signatures
1050 @cindex beaming, time signature default properties
1051 @funindex \overrideTimeSignatureSettings
1053 In addition to setting the printed time signature, the @code{\time}
1054 command also sets time-signature-based default values for the properties
1055 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1056 predefined default values for these properties can be found in
1057 @file{scm/time-signature-settings.scm}. The existing default values can
1058 be changed, or new default values can be added:
1060 @lilypond[quote,verbatim]
1064 \overrideTimeSignatureSettings
1065 #'(4 . 4) % timeSignatureFraction
1066 #'(1 . 4) % baseMomentFraction
1067 #'(3 1) % beatStructure
1068 #'() % beamExceptions
1070 \repeat unfold 8 { c8 } |
1076 @code{\overrideTimeSignatureSettings} takes four arguments:
1081 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1085 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1086 and denominator of the basic timing unit for the time signature.
1089 @code{@var{beatStructure}}, a Scheme list indicating the structure
1090 of the beats in the measure, in units of the base moment.
1093 @code{@var{beamExceptions}}, an alist containing any beaming rules
1094 for the time signature that go beyond ending at every beat, as
1095 described in @ref{Setting automatic beam behavior}.
1098 The context containing @code{\overrideTimeSignatureSettings} must
1099 be instantiated before the @code{\overrideTimeSignatureSettings}
1100 call is executed. That means it must either be explicitly
1101 instantiated or there must be music in the context before the
1102 @code{\overrideTimeSignatureSettings} call:
1104 @lilypond[quote,verbatim]
1107 % This call will fail because the context isn't yet instantiated
1108 \overrideTimeSignatureSettings
1109 #'(4 . 4) % timeSignatureFraction
1110 #'(1 . 4) % baseMomentFraction
1111 #'(3 1) % beatStructure
1112 #'() % beamExceptions
1114 c8^\markup {"Beamed (2 2)"}
1115 \repeat unfold 7 { c8 } |
1116 % This call will succeed
1117 \overrideTimeSignatureSettings
1118 #'(4 . 4) % timeSignatureFraction
1119 #'(1 . 4) % baseMomentFraction
1120 #'(3 1) % beatStructure
1121 #'() % beamExceptions
1123 c8^\markup {"Beamed (3 1)"}
1124 \repeat unfold 7 { c8 } |
1130 @cindex time signature properties, restoring default values
1131 @cindex restoring default properties for time signatures
1132 @funindex \revertTimeSignatureSettings
1134 Changed values of default time signature properties can be restored
1135 to the original values:
1137 @lilypond[quote,verbatim]
1140 \repeat unfold 8 { c8 } |
1141 \overrideTimeSignatureSettings
1142 #'(4 . 4) % timeSignatureFraction
1143 #'(1 . 4) % baseMomentFraction
1144 #'(3 1) % beatStructure
1145 #'() % beamExceptions
1147 \repeat unfold 8 { c8 } |
1148 \revertTimeSignatureSettings #'(4 . 4)
1150 \repeat unfold 8 { c8 } |
1155 Different values of default time signature properties can be established
1156 for different staves by moving the @code{Timing_translator} and the
1157 @code{Default_bar_line_engraver} from the @code{Score} context to the
1158 @code{Staff} context.
1160 @lilypond[quote, verbatim]
1164 \overrideTimeSignatureSettings
1165 #'(4 . 4) % timeSignatureFraction
1166 #'(1 . 4) % baseMomentFraction
1167 #'(3 1) % beatStructure
1168 #'() % beamExceptions
1170 \repeat unfold 8 {c''8}
1173 \overrideTimeSignatureSettings
1174 #'(4 . 4) % timeSignatureFraction
1175 #'(1 . 4) % baseMomentFraction
1176 #'(1 3) % beatStructure
1177 #'() % beamExceptions
1179 \repeat unfold 8 {c''8}
1185 \remove "Timing_translator"
1186 \remove "Default_bar_line_engraver"
1190 \consists "Timing_translator"
1191 \consists "Default_bar_line_engraver"
1198 @code{\numericTimeSignature},
1199 @code{\defaultTimeSignature}.
1205 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1206 {changing-the-time-signature-without-affecting-the-beaming.ly}
1208 @lilypondfile[verbatim,quote,texidoc,doctitle]
1209 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1214 @rglos{time signature}
1217 @ref{Mensural time signatures},
1218 @ref{Time administration}.
1223 Internals Reference:
1224 @rinternals{TimeSignature},
1225 @rinternals{Timing_translator}.
1227 @node Metronome marks
1228 @unnumberedsubsubsec Metronome marks
1231 @cindex beats per minute
1232 @cindex metronome mark
1233 @cindex metronome marking with text
1238 A basic metronome mark is simple to write:
1240 @lilypond[verbatim,quote,relative=1]
1246 Metronome marks may also be printed as a range of two numbers:
1248 @lilypond[verbatim,quote,relative=1]
1254 Tempo indications with text can be used instead:
1256 @lilypond[verbatim,quote,relative=2]
1262 Combining a metronome mark and text will automatically place the
1263 metronome mark within parentheses:
1265 @lilypond[verbatim,quote,relative=2]
1266 \tempo "Allegro" 4 = 160
1271 In general, the text can be any markup object:
1273 @lilypond[verbatim,quote,relative=2]
1274 \tempo \markup { \italic Faster } 4 = 132
1275 a8-. r8 b-. r gis-. r a-. r
1278 A parenthesized metronome mark with no textual indication may be
1279 written by including an empty string in the input:
1281 @lilypond[verbatim,quote,relative=2]
1289 @lilypondfile[verbatim,quote,texidoc,doctitle]
1290 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1292 @c perhaps also an example of how to move it horizontally?
1294 @lilypondfile[verbatim,quote,texidoc,doctitle]
1295 {changing-the-tempo-without-a-metronome-mark.ly}
1297 @lilypondfile[verbatim,quote,texidoc,doctitle]
1298 {creating-metronome-marks-in-markup-mode.ly}
1300 For more details, see @ref{Formatting text}.
1306 @rglos{metronomic indication},
1307 @rglos{tempo indication},
1308 @rglos{metronome mark}.
1311 @ref{Formatting text},
1315 @rlsr{Staff notation}.
1317 Internals Reference:
1318 @rinternals{MetronomeMark}.
1322 @unnumberedsubsubsec Upbeats
1326 @cindex partial measure
1327 @cindex measure, partial
1328 @cindex pickup measure
1329 @cindex measure, change length
1331 @funindex measurePosition
1335 Partial or pick-up measures, such as an anacrusis or upbeat, are
1336 entered using the @code{\partial} command, with the syntax
1339 \partial @var{duration}
1343 where @code{@var{duration}} is the rhythmic length of the
1344 remaining interval of the current measure before the start of the
1347 @lilypond[quote,verbatim,relative=2]
1352 The partial measure can be any duration less than the full measure:
1354 @lilypond[quote,verbatim,relative=2]
1355 \partial 8*3 c8 d e |
1359 Internally, @code{\partial @var{duration}} is translated into:
1362 \set Timing.measurePosition -@var{duration}
1365 For example, @code{\partial 8*3} becomes:
1368 \set Timing.measurePosition = #(ly:make-moment -3 8)
1371 The property @code{measurePosition} contains a rational number
1372 indicating how much of the measure has passed at this point. Note
1373 that this is set to a negative number by the @code{\partial} command:
1374 i.e., @code{\partial 4} is internally translated to @w{@code{-4}}, meaning
1375 @qq{there is a quarter note left in the measure.}
1388 @rinternals{Timing_translator}.
1392 The @code{\partial} command is intended to be used only at the
1393 beginning of a piece. If you use it after the beginning, some
1394 odd warnings or effects may occur, in this case use
1395 @code{\set Timing.measurePosition} instead.
1397 @node Unmetered music
1398 @unnumberedsubsubsec Unmetered music
1400 @cindex bar lines, turning off
1401 @cindex bar numbering, turning off
1403 @cindex unmetered music
1405 @funindex \cadenzaOn
1407 @funindex \cadenzaOff
1408 @funindex cadenzaOff
1410 Bar lines and bar numbers are calculated automatically. For
1411 unmetered music (some cadenzas, for example), this is not desirable.
1412 To turn off automatic calculation of bar lines and bar numbers,
1413 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1414 to turn them on again.
1416 @lilypond[verbatim,relative=2,quote]
1419 c4 c d8[ d d] f4 g4.
1425 Bar numbering is resumed at the end of the cadenza as if the
1426 cadenza were not there:
1428 @lilypond[verbatim,relative=2,quote]
1429 % Show all bar numbers
1430 \override Score.BarNumber #'break-visibility = #all-visible
1433 c4 c d8[ d d] f4 g4.
1439 @cindex beams, in cadenzas
1440 @cindex beams, in unmetered music
1441 @cindex cadenza, with beams
1442 @cindex unmetered music, with beams
1444 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1445 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1446 must be entered manually (@ref{Manual beams}).
1448 @lilypond[verbatim,relative=2,quote]
1449 \repeat unfold 8 { c8 }
1451 \repeat unfold 5 { c8 }
1454 \repeat unfold 8 { c8 }
1457 Note that these predefined commands affect all staves in the
1458 score, even when they are placed in just one @code{Voice}
1459 context. To change this, move the @code{Timing_translator}
1460 from the @code{Score} context to the @code{Staff} context, as
1461 shown in @ref{Polymetric notation}.
1474 @ref{Visibility of objects},
1475 @ref{Polymetric notation},
1482 @cindex cadenza line breaks
1483 @cindex cadenza page breaks
1484 @cindex unmetered music, line breaks
1485 @cindex unmetered music, page breaks
1486 @cindex breaks in unmetered music
1487 @cindex line breaks in cadenzas
1488 @cindex page breaks in cadenzas
1489 @cindex line breaks in unmetered music
1490 @cindex page breaks in unmetered music
1494 LilyPond will insert line breaks and page breaks only at a
1495 bar line. Unless the unmetered music ends before the end of the
1496 staff line, you will need to insert invisible bar lines with
1503 to indicate where breaks can occur.
1505 You should explicitly create a @code{Voice} context when starting a
1506 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1512 c16[^"Solo Free Time" d e f] g2.
1520 @node Polymetric notation
1521 @unnumberedsubsubsec Polymetric notation
1523 @c This section necessarily uses \set
1524 @c This is acceptable -td
1526 @cindex double time signatures
1527 @cindex signatures, polymetric
1528 @cindex time signatures, polymetric
1529 @cindex time signatures, double
1530 @cindex polymetric signatures
1531 @cindex meter, polymetric
1533 @funindex timeSignatureFraction
1534 @funindex \scaleDurations
1535 @funindex scaleDurations
1539 Polymetric notation is supported explicitly or by manually modifying the
1540 visible time signature symbol and/or scaling note durations.
1542 @subsubheading Different time signatures with equal-length measures
1544 Set a common time signature for each staff, and set the
1545 @code{timeSignatureFraction} to the desired fraction. Then use the
1546 @code{\scaleDurations} function to scale the durations of the notes in
1547 each staff to the common time signature.
1549 @cindex beams, with polymetric meters
1550 @cindex polymetric meters, with beams
1552 In the following example, music with the time signatures of 3/4, 9/8 and
1553 10/8 are used in parallel. In the second staff, shown durations are
1554 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1555 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1556 may be necessary to insert beams manually, as the duration scaling will
1557 affect the autobeaming rules.
1559 @lilypond[quote,verbatim]
1568 \set Staff.timeSignatureFraction = #'(9 . 8)
1569 \scaleDurations #'(2 . 3)
1570 \repeat unfold 6 { c8[ c c] }
1574 \set Staff.timeSignatureFraction = #'(10 . 8)
1575 \scaleDurations #'(3 . 5) {
1576 \repeat unfold 2 { c8[ c c] }
1577 \repeat unfold 2 { c8[ c] } |
1578 c4. c \times 2/3 { c8[ c c] } c4
1584 @subsubheading Different time signatures with unequal-length measures
1586 Each staff can be given its own independent time signature by
1587 moving the @code{Timing_translator} and the
1588 @code{Default_bar_line_engraver} to the @code{Staff} context.
1590 @lilypond[quote,verbatim]
1594 \remove "Timing_translator"
1595 \remove "Default_bar_line_engraver"
1599 \consists "Timing_translator"
1600 \consists "Default_bar_line_engraver"
1604 % Now each staff has its own time signature.
1628 @funindex \compoundMeter
1629 @cindex compound time signatures
1630 @cindex time signature, compound
1632 @subsubheading Compound time signatures
1634 These are created using the @code{\compoundMeter} function. The syntax
1638 \compoundMeter #'@code{(list of lists)}
1641 The simplest construction is a single list, where the @emph{last} number
1642 indicates the bottom number of the time signature and those that come
1643 before it, the top numbers.
1645 @lilypond[quote,verbatim]
1647 \compoundMeter #'((2 2 2 8))
1648 \repeat unfold 6 c8 \repeat unfold 12 c16
1652 More complex meters can be constructed using additional lists. Also,
1653 automatic beaming settings will be adjusted depending on the values.
1655 @lilypond[quote,verbatim]
1657 \compoundMeter #'((1 4) (3 8))
1658 \repeat unfold 5 c8 \repeat unfold 10 c16
1662 \compoundMeter #'((1 2 3 8) (3 4))
1663 \repeat unfold 12 c8
1670 @rglos{polymetric time signature},
1674 @ref{Automatic beams},
1676 @ref{Time signature},
1677 @ref{Scaling durations}.
1682 Internals Reference:
1683 @rinternals{TimeSignature},
1684 @rinternals{Timing_translator},
1685 @rinternals{Default_bar_line_engraver},
1690 When using different time signatures in parallel, notes at the same
1691 moment will be placed at the same horizontal location. However, the bar
1692 lines in the different staves will cause the note spacing to be less
1693 regular in each of the individual staves than would be normal without
1694 the different time signatures.
1696 @node Automatic note splitting
1697 @unnumberedsubsubsec Automatic note splitting
1699 @cindex notes, splitting
1700 @cindex splitting notes
1701 @cindex rests, splitting
1702 @cindex splitting rests
1704 @funindex Note_heads_engraver
1705 @funindex Completion_heads_engraver
1706 @funindex Completion_rest_engraver
1708 Long notes which overrun bar lines can be converted automatically to
1709 tied notes. This is done by replacing the @code{Note_heads_engraver}
1710 with the @code{Completion_heads_engraver}. Similarly, long rests which
1711 overrun bar lines are split automatically by replacing the
1712 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1713 following example, notes and rests crossing the bar lines are split,
1714 notes are also tied.
1716 @lilypond[quote,verbatim,relative=1]
1718 \remove "Note_heads_engraver"
1719 \consists "Completion_heads_engraver"
1720 \remove "Rest_engraver"
1721 \consists "Completion_rest_engraver"
1724 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1727 These engravers split all running notes and rests at the bar line, and
1728 inserts ties for notes. One of its uses is to debug complex scores: if
1729 the measures are not entirely filled, then the ties show exactly how
1730 much each measure is off.
1738 @rlearning{Engravers explained},
1739 @rlearning{Adding and removing engravers}.
1744 Internals Reference:
1745 @rinternals{Note_heads_engraver},
1746 @rinternals{Completion_heads_engraver},
1747 @rinternals{Rest_engraver},
1748 @rinternals{Completion_rest_engraver},
1749 @rinternals{Forbid_line_break_engraver}.
1754 Not all durations (especially those containing tuplets) can be
1755 represented exactly with normal notes and dots, but the
1756 @code{Completion_heads_engraver} will not insert tuplets.
1758 The @code{Completion_heads_engraver} only affects notes; it does not
1762 @node Showing melody rhythms
1763 @unnumberedsubsubsec Showing melody rhythms
1765 @cindex melody rhythms, showing
1766 @cindex rhythms, showing melody
1768 Sometimes you might want to show only the rhythm of a melody. This
1769 can be done with the rhythmic staff. All pitches of notes on such a
1770 staff are squashed, and the staff itself has a single line
1772 @lilypond[quote,relative=1,verbatim]
1774 \new RhythmicStaff {
1775 \new Voice = "myRhythm" {
1783 \lyricsto "myRhythm" {
1791 @cindex guitar chord charts
1792 @cindex strumming rhythms, showing
1793 @cindex guitar strumming rhythms, showing
1795 @funindex Pitch_squash_engraver
1796 @funindex \improvisationOn
1797 @funindex improvisationOn
1798 @funindex \improvisationOff
1799 @funindex improvisationOff
1801 Guitar chord charts often show the strumming rhythms. This can
1802 be done with the @code{Pitch_squash_engraver} and
1803 @code{\improvisationOn}.
1806 @lilypond[quote,verbatim]
1814 \consists Pitch_squash_engraver
1827 @code{\improvisationOn},
1828 @code{\improvisationOff}.
1834 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1835 {guitar-strum-rhythms.ly}
1842 Internals Reference:
1843 @rinternals{RhythmicStaff},
1844 @rinternals{Pitch_squash_engraver}.
1852 * Setting automatic beam behavior::
1857 @node Automatic beams
1858 @unnumberedsubsubsec Automatic beams
1860 By default, beams are inserted automatically:
1862 @cindex beams, manual
1863 @cindex manual beams
1864 @cindex beams, customizing rules
1866 @funindex \autoBeamOn
1867 @funindex autoBeamOn
1868 @funindex \autoBeamOff
1869 @funindex autoBeamOff
1871 @lilypond[quote,verbatim,relative=2]
1873 \time 6/8 c8 c c c8. c16 c8
1876 If these automatic decisions are not satisfactory, beaming can be
1877 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1878 entered manually if beams are to be extended over rests.
1880 If automatic beaming is not required, it may be turned off with
1881 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1883 @lilypond[quote,relative=1,verbatim]
1884 c4 c8 c8. c16 c8. c16 c8
1891 @cindex melismata, with beams
1892 @cindex beams, with melismata
1894 @warning{If beams are used to indicate melismata in songs, then
1895 automatic beaming should be switched off with @code{\autoBeamOff}
1896 and the beams indicated manually.}
1898 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1899 produce unintended results. See the snippet below for more information.}
1901 Beaming patterns that differ from the automatic defaults can be
1902 created; see @ref{Setting automatic beam behavior}.
1905 @code{\autoBeamOff},
1909 @cindex beams, line breaks
1910 @cindex line breaks, beams
1911 @cindex beams, with knee gap
1912 @cindex knee gap, with beams
1916 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1917 {beams-across-line-breaks.ly}
1919 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1920 {changing-beam-knee-gap.ly}
1922 @cindex beams, \partcombine with \autoBeamOff
1923 @cindex voices, \partcombine with \autoBeamOff
1925 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1926 {partcombine-and-autobeamoff.ly}
1931 @ref{Setting automatic beam behavior}.
1934 @file{scm/auto-beam.scm}.
1939 Internals Reference:
1940 @rinternals{Auto_beam_engraver},
1941 @rinternals{Beam_engraver},
1943 @rinternals{BeamEvent},
1944 @rinternals{BeamForbidEvent},
1945 @rinternals{beam-interface},
1946 @rinternals{unbreakable-spanner-interface}.
1948 @node Setting automatic beam behavior
1949 @unnumberedsubsubsec Setting automatic beam behavior
1951 @cindex beams, with lyrics
1952 @cindex lyrics, with beams
1954 @funindex autoBeaming
1955 @funindex baseMoment
1956 @funindex beamExceptions
1957 @funindex beatStructure
1958 @funindex measureLength
1964 In most instances, automatic beams will end at the end of a beat.
1965 The ending points for beats are determined by the context properties
1966 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1967 is a scheme list that defines the length of each beat in the measure
1968 in units of @code{baseMoment}. By default, @code{baseMoment} is
1969 the one over numerator of the time signature. By default,
1970 each unit of length @code{baseMoment} is a single beat.
1972 @lilypond[quote,relative=2,verbatim]
1974 c16^"default" c c c c |
1975 \set Timing.beatStructure = #'(2 3)
1976 c16^"(2+3)" c c c c |
1977 \set Timing.beatStructure = #'(3 2)
1978 c16^"(3+2)" c c c c |
1981 Beam setting changes can be limited to specific contexts. If no
1982 setting is included in a lower-level context, the setting of the
1983 enclosing context will apply.
1985 @lilypond[quote, verbatim,relative=1]
1988 \set Staff.beatStructure = #'(2 3 2)
1998 \set Voice.beatStructure = #'(1 3 3)
2006 When multiple voices are used the @code{Staff} context must be
2007 specified if the beaming is to be applied to all voices in the
2010 @lilypond[quote,verbatim,relative=2]
2013 % Change applied to Voice by default -- does not work correctly
2014 % Because of autogenerated voices, all beating will
2015 % be at baseMoment (1 . 8)
2016 \set beatStructure = #'(3 1 1 2)
2017 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2019 % Works correctly with context Staff specified
2020 \set Staff.beatStructure = #'(3 1 1 2)
2021 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2024 The value of @code{baseMoment} can be adjusted to change
2025 the beaming behavior, if desired. When this is done,
2026 the value of @code{beatStructure} must be set to be
2027 compatible with the new value of @code{baseMoment}.
2029 @lilypond[quote,verbatim,relative=2]
2031 \set Timing.baseMoment = #(ly:make-moment 1 16)
2032 \set Timing.beatStructure = #'(7 3)
2033 \repeat unfold 10 { a16 }
2036 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2037 quantity of type @i{moment} is created by the scheme function
2038 @code{ly:make-moment}. For more information about this function,
2039 see @ref{Time administration}.
2041 By default @code{baseMoment} is set to one over the denominator of
2042 the time signature. Any exceptions to this default can be found in
2043 @file{scm/time-signature-settings.scm}.
2045 Special autobeaming rules (other than ending a beam on a beat)
2046 are defined in the @code{beamExceptions} property.
2048 @lilypond[quote,relative=2,verbatim]
2050 \set Timing.beatStructure = #'(2 1)
2051 \set Timing.beamExceptions =
2053 (end . ;entry for end of beams
2054 ( ;start of alist of end points
2055 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2056 ))) %close all entries
2058 \repeat unfold 6 { c32 } |
2061 @code{beamExceptions} is an alist with a key of rule-type and a value
2064 At this time the only available value of rule-type is
2065 @code{'end} for beam ending.
2067 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2068 beam type and the grouping to be applied to beams containing notes with
2069 a shortest duration of that beam type.
2072 #'((beam-type1 . grouping-1)
2073 (beam-type2 . grouping-2)
2074 (beam-type3 . grouping-3))
2077 Beam type is a scheme pair indicating the duration of the beam,
2078 e.g., @code{(1 . 16)}.
2080 Grouping is a scheme list indicating the grouping to be applied to
2081 the beam. The grouping is in units of the beam type.
2083 @warning{ A @code{beamExceptions} value must be @emph{complete}
2084 exceptions list. That is, every exception that should be applied
2085 must be included in the setting. It is not possible to add, remove,
2086 or change only one of the exceptions. While this may seem cumbersome,
2087 it means that the current beaming settings need not be known in order
2088 to specify a new beaming pattern.}
2090 When the time signature is changed, default values of
2091 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2092 and @code{Timing.beamExceptions} are set. Setting the time signature
2093 will reset the automatic beaming settings for the @code{Timing}
2094 context to the default behavior.
2096 @lilypond[quote,verbatim,relative=2]
2098 \repeat unfold 6 { a8 }
2100 \set Timing.beatStructure = #'(4 2)
2101 \repeat unfold 6 { a8 }
2102 % go back to default behavior
2104 \repeat unfold 6 { a8 }
2107 The default automatic beaming settings for a time signature
2108 are determined in @file{scm/time-signature-settings.scm}.
2109 Changing the default automatic beaming settings
2110 for a time signature is described in @ref{Time signature}.
2112 Many automatic beaming settings for a time signature contain an
2113 entry for @code{beamExceptions}. For example, 4/4 time tries to
2114 beam the measure in two if there are only eighth notes. The
2115 @code{beamExceptions} rule can override the @code{beatStructure} setting
2116 if @code{beamExceptions} is not reset.
2118 @lilypond[quote,verbatim,relative=2]
2120 \set Timing.baseMoment = #(ly:make-moment 1 8)
2121 \set Timing.beatStructure = #'(3 3 2)
2122 % This won't beam (3 3 2) because of beamExceptions
2123 \repeat unfold 8 {c8} |
2124 % This will beam (3 3 2) because we clear beamExceptions
2125 \set Timing.beamExceptions = #'()
2126 \repeat unfold 8 {c8}
2129 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2130 measure by default. To beam eighth notes in 3/4 time on the beat,
2131 reset @code{beamExceptions}.
2133 @lilypond[quote,verbatim,relative=2]
2135 % by default we beam in (3) due to beamExceptions
2136 \repeat unfold 6 {a8} |
2137 % This will beam (1 1 1) due to beatLength
2138 \set Timing.beamExceptions = #'()
2139 \repeat unfold 6 {a8}
2142 @i{@strong{How automatic beaming works}}
2144 When automatic beaming is enabled, the placement of automatic beams
2145 is determined by the context properties
2146 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2148 The following rules, in order of priority, apply when determining
2149 the appearance of beams:
2153 If a manual beam is specified with @code{[..]} set the beam
2154 as specified, otherwise
2157 if a beam-ending rule is defined in @code{beamExceptions}
2158 for the beam-type, use it to determine the valid places where
2159 beams may end, otherwise
2162 if a beam-ending rule is defined in @code{beamExceptions}
2163 for a longer beam-type, use it to determined the valid places
2164 where beams may end, otherwise
2167 use the values of @code{baseMoment} and @code{beatStructure} to
2168 determine the ends of the beats in the measure, and
2169 end beams at the end of beats.
2173 In the rules above, the @emph{beam-type} is the duration of the
2174 shortest note in the beamed group.
2176 The default beaming rules can be found in
2177 @file{scm/time-signature-settings.scm}.
2181 @cindex beams, subdividing
2183 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2184 {subdividing-beams.ly}
2186 @cindex measure groupings
2187 @cindex beats, grouping
2188 @cindex grouping beats
2189 @cindex measure sub-grouping
2191 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2192 {conducting-signs,-measure-grouping-signs.ly}
2194 @cindex beam, endings in a score
2195 @cindex beam, endings with multiple voices
2197 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2198 {beam-endings-in-score-context.ly}
2203 @file{scm/beam-settings.scm}.
2208 Internals Reference:
2209 @rinternals{Auto_beam_engraver},
2211 @rinternals{BeamForbidEvent},
2212 @rinternals{beam-interface}.
2216 If a score ends while an automatic beam has not been ended and is
2217 still accepting notes, this last beam will not be typeset at all.
2218 The same holds for polyphonic voices, entered with
2219 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2220 automatic beam is still accepting notes, it is not typeset.
2221 The workaround for these problems is to manually beam the last
2222 beam in the voice or score.
2224 By default, the @code{Timing} translator is aliased to the
2225 @code{Score} context. This means that setting the time signature
2226 in one staff will affect the beaming of the other staves as well.
2227 Thus, a time signature setting in a later staff will reset custom
2228 beaming that was set in an earlier staff.
2229 One way to avoid this problem is to set the time signature
2232 @lilypond[quote,verbatim,relative=2]
2236 \set Timing.baseMoment = #(ly:make-moment 1 8)
2237 \set Timing.beatStructure = #'(1 5)
2238 \repeat unfold 6 { a8 }
2241 \repeat unfold 6 { a8 }
2246 The default beam settings for the time signature can also be changed, so
2247 that the desired beaming will always be used. Changes in automatic
2248 beaming settings for a time signature are described in
2249 @ref{Time signature}.
2251 @lilypond[quote,verbatim,relative=2]
2254 \overrideTimeSignatureSettings
2255 #'(3 . 4) % timeSignatureFraction
2256 #'(1 . 8) % baseMomentFraction
2257 #'(1 5) % beatStructure
2258 #'() % beamExceptions
2260 \repeat unfold 6 { a8 }
2264 \repeat unfold 6 { a8 }
2270 @unnumberedsubsubsec Manual beams
2272 @cindex beams, manual
2273 @cindex manual beams
2278 In some cases it may be necessary to override the automatic
2279 beaming algorithm. For example, the autobeamer will not put beams
2280 over rests or bar lines, and in choral scores the beaming is
2281 often set to follow the meter of the lyrics rather than the
2282 notes. Such beams can be specified manually by
2283 marking the begin and end point with @code{[} and @code{]}.
2285 @lilypond[quote,relative=1,verbatim]
2286 r4 r8[ g' a r] r g[ | a] r
2289 @cindex manual beams, direction shorthand for
2290 @cindex manual beams, grace notes
2292 Beaming direction can be set manually using direction indicators:
2294 @lilypond[quote,relative=2,verbatim]
2295 c8^[ d e] c,_[ d e f g]
2301 Individual notes may be marked with @code{\noBeam} to prevent them
2304 @lilypond[quote,verbatim,relative=2]
2309 Grace note beams and normal note beams can occur simultaneously.
2310 Unbeamed grace notes are not put into normal note beams.
2312 @lilypond[quote,verbatim,relative=2]
2314 \grace { e32[ d c d] }
2320 @funindex stemLeftBeamCount
2321 @funindex stemRightBeamCount
2323 Even more strict manual control with the beams can be achieved by
2324 setting the properties @code{stemLeftBeamCount} and
2325 @code{stemRightBeamCount}. They specify the number of beams to
2326 draw on the left and right side, respectively, of the next note.
2327 If either property is set, its value will be used only once, and
2328 then it is erased. In this example, the last @code{f} is printed
2329 with only one beam on the left side, i.e., the eighth-note beam of
2330 the group as a whole.
2332 @lilypond[quote,relative=2,verbatim]
2335 \set stemLeftBeamCount = #2
2336 \set stemRightBeamCount = #1
2338 \set stemLeftBeamCount = #1
2350 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2351 {flat-flags-and-beam-nibs.ly}
2356 @ref{Direction and placement},
2362 Internals Reference:
2364 @rinternals{BeamEvent},
2365 @rinternals{Beam_engraver},
2366 @rinternals{beam-interface},
2367 @rinternals{Stem_engraver}.
2370 @node Feathered beams
2371 @unnumberedsubsubsec Feathered beams
2373 @cindex beams, feathered
2374 @cindex feathered beams
2376 @funindex \featherDurations
2377 @funindex featherDurations
2378 @funindex grow-direction
2380 Feathered beams are used to indicate that a small group of notes
2381 should be played at an increasing (or decreasing) tempo, without
2382 changing the overall tempo of the piece. The extent of the
2383 feathered beam must be indicated manually using @code{[} and
2384 @code{]}, and the beam feathering is turned on by specifying a
2385 direction to the @code{Beam} property @code{grow-direction}.
2387 If the placement of the notes and the sound in the MIDI output is to
2388 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2389 feathered beam the notes must be grouped as a music expression delimited
2390 by braces and preceded by a @code{featherDurations} command which specifies
2391 the ratio between the durations of the first and last notes in the
2394 The square brackets show the extent of the beam and the braces show
2395 which notes are to have their durations modified. Normally these
2396 would delimit the same group of notes, but this is not required: the
2397 two commands are independent.
2399 In the following example the eight 16th notes occupy exactly the
2400 same time as a half note, but the first note is one half as long
2401 as the last one, with the intermediate notes gradually
2402 lengthening. The first four 32nd notes gradually speed up, while
2403 the last four 32nd notes are at a constant tempo.
2405 @lilypond[relative=1,verbatim,quote]
2406 \override Beam #'grow-direction = #LEFT
2407 \featherDurations #(ly:make-moment 2 1)
2408 { c16[ c c c c c c c] }
2409 \override Beam #'grow-direction = #RIGHT
2410 \featherDurations #(ly:make-moment 2 3)
2412 % revert to non-feathered beams
2413 \override Beam #'grow-direction = #'()
2418 The spacing in the printed output represents the
2419 note durations only approximately, but the MIDI output is exact.
2423 @code{\featherDurations}.
2433 The @code{\featherDurations} command only works with very short
2434 music snippets, and when numbers in the fraction are small.
2444 * Bar and bar number checks::
2449 @unnumberedsubsubsec Bar lines
2452 @cindex measure lines
2453 @cindex closing bar lines
2454 @cindex bar lines, closing
2455 @cindex double bar lines
2456 @cindex bar lines, double
2462 Bar lines delimit measures, and are also used to indicate
2463 repeats. Normally, simple bar lines are automatically inserted
2464 into the printed output at places based on the current time
2467 The simple bar lines inserted automatically can be changed to
2468 other types with the @code{\bar} command. For example, a closing
2469 double bar line is usually placed at the end of a piece:
2471 @lilypond[quote,relative=1,verbatim]
2475 It is not invalid if the final note in a measure does not
2476 end on the automatically entered bar line: the note is assumed
2477 to carry over into the next measure. But if a long sequence
2478 of such carry-over measures appears the music can appear compressed
2479 or even flowing off the page. This is because automatic line
2480 breaks happen only at the end of complete measures, i.e., where
2481 all notes end before the end of a measure.
2483 @warning{An incorrect duration can cause line breaks to be
2484 inhibited, leading to a line of highly compressed music or
2485 music which flows off the page.}
2488 @cindex bar lines, invisible
2489 @cindex measure lines, invisible
2491 Line breaks are also permitted at manually inserted bar lines
2492 even within incomplete measures. To allow a line break without
2493 printing a bar line, use the following:
2500 This will insert an invisible bar line and allow (but not
2501 force) a line break to occur at this point. The bar number
2502 counter is not increased. To force a line break see
2503 @ref{Line breaking}.
2505 @cindex manual bar lines
2506 @cindex manual measure lines
2507 @cindex bar lines, manual
2508 @cindex measure lines, manual
2510 This and other special bar lines may be inserted manually at any
2511 point. When they coincide with the end of a measure they replace
2512 the simple bar line which would have been inserted there
2513 automatically. When they do not coincide with the end of a measure
2514 the specified bar line is inserted at that point in the printed
2517 Note that manual bar lines are purely visual. They do not affect
2518 any of the properties that a normal bar line would affect, such as
2519 measure numbers, accidentals, line breaks, etc. They do not affect
2520 the calculation and placement of subsequent automatic bar lines.
2521 When a manual bar line is placed where a normal bar line already
2522 exists, the effects of the original bar line are not altered.
2524 Two types of simple bar lines and five types of double bar lines are
2525 available for manual insertion:
2527 @lilypond[quote,relative=1,verbatim]
2539 together with dotted and dashed bar lines:
2541 @lilypond[quote,relative=1,verbatim]
2548 and five types of repeat bar line:
2550 @lilypond[quote,relative=1,verbatim]
2559 Additionally, a bar line can be printed as a simple tick:
2560 @lilypond[quote,relative=1,verbatim]
2563 However, as such ticks are typically used in Gregorian chant, it is
2564 preferable to use @code{\divisioMinima} there instead, described in
2565 the section @ref{Divisiones} in Gregorian chant.
2569 For in-line segno signs, there are three types of bar lines which
2570 differ in their behavior at line breaks:
2572 @lilypond[quote,relative=2,verbatim]
2590 Although the bar line types signifying repeats may be inserted
2591 manually they do not in themselves cause LilyPond to recognize
2592 a repeated section. Such repeated sections are better entered
2593 using the various repeat commands (see @ref{Repeats}), which
2594 automatically print the appropriate bar lines.
2596 In addition, you can specify @code{"||:"}, which is equivalent to
2597 @code{"|:"} except at line breaks, where it gives a double bar
2598 line at the end of the line and a start repeat at the beginning of
2601 @lilypond[quote,relative=2,verbatim]
2609 For combinations of repeats with the segno sign, there are six different
2612 @lilypond[quote,relative=2,verbatim]
2641 In scores with many staves, a @code{\bar} command in one staff is
2642 automatically applied to all staves. The resulting bar lines are
2643 connected between different staves of a @code{StaffGroup},
2644 @code{PianoStaff}, or @code{GrandStaff}.
2646 @lilypond[quote,relative=1,verbatim]
2654 \new Staff { \clef bass c4 g e g }
2656 \new Staff { \clef bass c2 c2 }
2661 @cindex default bar lines, changing
2662 @cindex bar lines, default, changing
2667 @funindex defaultBarType
2672 The command @samp{\bar @var{bartype}} is a shortcut for
2673 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2674 created whenever the @code{whichBar} property is set.
2676 The default bar type used for automatically inserted bar lines is
2677 @code{"|"}. This may be changed at any time with
2678 @samp{\set Timing.defaultBarType = @var{bartype}}.
2683 @ref{Line breaking},
2685 @ref{Grouping staves}.
2690 Internals Reference:
2691 @rinternals{BarLine} (created at @code{Staff} level),
2692 @rinternals{SpanBar} (across staves),
2693 @rinternals{Timing_translator} (for Timing properties).
2697 @unnumberedsubsubsec Bar numbers
2700 @cindex measure numbers
2701 @cindex numbers, bar
2702 @cindex numbers, measure
2704 @funindex currentBarNumber
2706 Bar numbers are typeset by default at the start of every line except
2707 the first line. The number itself is stored in the
2708 @code{currentBarNumber} property, which is normally updated
2709 automatically for every measure. It may also be set manually:
2711 @lilypond[verbatim,quote,relative=1]
2714 \set Score.currentBarNumber = #50
2718 @cindex bar numbers, regular spacing
2720 @funindex barNumberVisibility
2723 Bar numbers can be typeset at regular intervals instead of just at
2724 the beginning of every line. To do this the default behavior
2725 must be overridden to permit bar numbers to be printed at places
2726 other than the start of a line. This is controlled by the
2727 @code{break-visibility} property of @code{BarNumber}. This takes
2728 three values which may be set to @code{#t} or @code{#f} to specify
2729 whether the corresponding bar number is visible or not. The order
2730 of the three values is @code{end of line visible}, @code{middle of
2731 line visible}, @code{beginning of line visible}. In the following
2732 example bar numbers are printed at all possible places:
2734 @lilypond[verbatim,quote,relative=1]
2735 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2736 \set Score.currentBarNumber = #11
2737 % Permit first bar number to be printed
2747 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2748 {printing-the-bar-number-for-the-first-measure.ly}
2750 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2751 {printing-bar-numbers-at-regular-intervals.ly}
2753 @cindex measure number, format
2754 @cindex bar number, format
2756 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2757 {printing-bar-numbers-inside-boxes-or-circles.ly}
2759 @cindex bar number alignment
2761 @lilypondfile[verbatim,quote,texidoc,doctitle]
2762 {aligning-bar-numbers.ly}
2764 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2765 {removing-bar-numbers-from-a-score.ly}
2772 Internals Reference:
2773 @rinternals{BarNumber},
2774 @rinternals{Bar_number_engraver}.
2777 @cindex bar number collision
2778 @cindex collision, bar number
2781 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2782 if there is one. To solve this, the @code{padding} property of
2783 @code{BarNumber} can be used to position the number correctly. See
2784 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2787 @node Bar and bar number checks
2788 @unnumberedsubsubsec Bar and bar number checks
2791 @cindex bar number check
2792 @cindex measure check
2793 @cindex measure number check
2795 @funindex barCheckSynchronize
2798 Bar checks help detect errors in the entered durations. A bar check
2799 may be entered using the bar symbol, @code{|}, at any place where a
2800 bar line is expected to fall. If bar check lines are encountered at
2801 other places, a list of warnings is printed in the log file, showing
2802 the line numbers and lines in which the bar checks failed. In the
2803 next example, the second bar check will signal an error.
2806 \time 3/4 c2 e4 | g2 |
2809 Bar checks can also be used in lyrics:
2814 Twin -- kle | Twin -- kle |
2818 An incorrect duration can result in a completely garbled score,
2819 especially if the score is polyphonic, so a good place to start
2820 correcting input is by scanning for failed bar checks and
2821 incorrect durations.
2823 If successive bar checks are off by the same musical interval,
2824 only the first warning message is displayed. This allows the
2825 warning to focus on the source of the timing error.
2829 @funindex pipeSymbol
2831 It is also possible to redefine the action taken when a bar check
2832 or pipe symbol, @code{|}, is encountered in the input, so that
2833 it does something other than a bar check. This is done by
2834 assigning a music expression to @code{pipeSymbol}.
2835 In the following example @code{|} is set to insert a double bar
2836 line wherever it appears in the input, rather than checking
2839 @lilypond[quote,verbatim]
2840 pipeSymbol = \bar "||"
2849 @funindex \barNumberCheck
2850 @funindex barNumberCheck
2852 When copying large pieces of music, it can be helpful to check that
2853 the LilyPond bar number corresponds to the original that you are
2854 entering from. This can be checked with @code{\barNumberCheck}, for
2858 \barNumberCheck #123
2862 will print a warning if the @code{currentBarNumber} is not 123
2863 when it is processed.
2871 @node Rehearsal marks
2872 @unnumberedsubsubsec Rehearsal marks
2874 @cindex rehearsal marks
2875 @cindex mark, rehearsal
2880 To print a rehearsal mark, use the @code{\mark} command.
2882 @lilypond[quote,verbatim,relative=2]
2890 The mark is incremented automatically if you use @code{\mark
2891 \default}, but you can also use an integer argument to set the
2892 mark manually. The value to use is stored in the property
2893 @code{rehearsalMark}.
2895 @lilypond[quote,verbatim,relative=2]
2904 The letter@tie{}@q{I} is skipped in accordance with engraving
2905 traditions. If you wish to include the letter @q{I}, then use one
2906 of the following commands, depending on which style of rehearsal mark
2907 you want (letters only, letters in a hollow box, or letters in a
2911 \set Score.markFormatter = #format-mark-alphabet
2912 \set Score.markFormatter = #format-mark-box-alphabet
2913 \set Score.markFormatter = #format-mark-circle-alphabet
2916 @lilypond[quote,verbatim,relative=2]
2917 \set Score.markFormatter = #format-mark-box-alphabet
2925 @cindex rehearsal mark format
2926 @cindex rehearsal mark style
2927 @cindex style, rehearsal mark
2928 @cindex format, rehearsal mark
2929 @cindex mark, rehearsal, style
2930 @cindex mark, rehearsal, format
2931 @cindex rehearsal mark, manual
2932 @cindex mark, rehearsal, manual
2933 @cindex custom rehearsal mark
2934 @cindex manual rehearsal mark
2936 The style is defined by the property @code{markFormatter}. It is
2937 a function taking the current mark (an integer) and the current
2938 context as argument. It should return a markup object. In the
2939 following example, @code{markFormatter} is set to a pre-defined
2940 procedure. After a few measures, it is set to a procedure that
2941 produces a boxed number.
2943 @lilypond[quote,verbatim,relative=2]
2944 \set Score.markFormatter = #format-mark-numbers
2947 \set Score.markFormatter = #format-mark-box-numbers
2949 \set Score.markFormatter = #format-mark-circle-numbers
2951 \set Score.markFormatter = #format-mark-circle-letters
2955 The file @file{scm/translation-functions.scm} contains the
2956 definitions of @code{format-mark-numbers} (the default format),
2957 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2958 @code{format-mark-box-letters}. These can be used as inspiration
2959 for other formatting functions.
2961 You may use @code{format-mark-barnumbers},
2962 @code{format-mark-box-barnumbers}, and
2963 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2964 incremented numbers or letters.
2966 Other styles of rehearsal mark can be specified manually:
2973 Note that @code{Score.markFormatter} does not affect marks specified
2974 in this manner. However, it is possible to apply a @code{\markup} to the
2978 \mark \markup@{ \box A1 @}
2983 @cindex D.S. al Fine
2985 @cindex music glyphs
2986 @cindex glyphs, music
2988 @funindex \musicglyph
2989 @funindex musicglyph
2991 Music glyphs (such as the segno sign) may be printed inside a
2994 @lilypond[quote,verbatim,relative=1]
2995 c1 \mark \markup { \musicglyph #"scripts.segno" }
2996 c1 \mark \markup { \musicglyph #"scripts.coda" }
2997 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3002 See @ref{The Feta font}, for a list of symbols which may be
3003 printed with @code{\musicglyph}.
3005 For common tweaks to the positioning of rehearsal marks, see
3006 @ref{Formatting text}. For more precise control, see
3007 @code{break-alignable-interface} in @ref{Aligning objects}.
3012 @ref{The Feta font},
3013 @ref{Formatting text},
3014 @ref{Aligning objects}.
3017 @file{scm/translation-functions.scm} contains
3018 the definitions of @code{format-mark-numbers} and
3019 @code{format-mark-letters}. They can be used as inspiration for
3020 other formatting functions.
3025 Internals Reference:
3026 @rinternals{MarkEvent},
3027 @rinternals{Mark_engraver},
3028 @rinternals{RehearsalMark}.
3031 @node Special rhythmic concerns
3032 @subsection Special rhythmic concerns
3037 * Aligning to cadenzas::
3038 * Time administration::
3042 @unnumberedsubsubsec Grace notes
3046 @cindex appoggiatura
3047 @cindex acciaccatura
3052 Grace notes are ornaments that are written out. Grace notes
3053 are printed in a smaller font and take up no logical time
3056 @lilypond[quote,relative=2,verbatim]
3058 \grace { c16[ d16] } c2
3061 LilyPond also supports two special types of grace notes, the
3062 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3063 small note with a slashed stem -- and the @emph{appoggiatura}, which
3064 takes a fixed fraction of the main note and appears in small print
3067 @lilypond[quote,relative=2,verbatim]
3071 \acciaccatura { g16[ f] } e4
3074 The placement of grace notes is synchronized between different
3075 staves. In the following example, there are two sixteenth grace
3076 notes for every eighth grace note
3078 @lilypond[quote,relative=2,verbatim]
3080 \new Staff { e2 \grace { c16[ d e f] } e2 }
3081 \new Staff { c2 \grace { g8[ b] } c2 }
3085 @cindex grace notes, following
3087 @funindex \afterGrace
3088 @funindex afterGrace
3090 If you want to end a note with a grace, use the @code{\afterGrace}
3091 command. It takes two arguments: the main note, and the grace
3092 notes following the main note.
3094 @lilypond[quote,verbatim,relative=2]
3095 c1 \afterGrace d1 { c16[ d] } c1
3098 This will put the grace notes after a space lasting 3/4 of the
3099 length of the main note. The default fraction 3/4 can be changed by
3100 setting @code{afterGraceFraction}. The following example shows
3101 the results from setting the space at the default, at 15/16, and
3102 finally at 1/2 of the main note.
3104 @lilypond[quote,verbatim,relative=2]
3107 c1 \afterGrace d1 { c16[ d] } c1
3110 #(define afterGraceFraction (cons 15 16))
3111 c1 \afterGrace d1 { c16[ d] } c1
3114 #(define afterGraceFraction (cons 1 2))
3115 c1 \afterGrace d1 { c16[ d] } c1
3120 The space between the main note and the grace note may also be
3121 specified using spacers. The following example places the grace
3122 note after a space lasting 7/8 of the main note.
3124 @lilypond[quote,verbatim,relative=2]
3128 { s2 s4. \grace { c16[ d] } }
3134 @cindex tweaking grace notes
3135 @cindex grace notes, tweaking
3136 @cindex grace notes, changing layout settings
3138 A @code{\grace} music expression will introduce special
3139 typesetting settings, for example, to produce smaller type, and
3140 set directions. Hence, when introducing layout tweaks to
3141 override the special settings, they should be placed inside
3142 the grace expression. The overrides should also be reverted
3143 inside the grace expression. Here, the grace note's default stem
3144 direction is overridden and then reverted.
3146 @lilypond[quote,verbatim,relative=2]
3158 @cindex stem, with slash
3163 @lilypondfile[verbatim,quote,texidoc,doctitle]
3164 {using-grace-note-slashes-with-normal-heads.ly}
3166 @lilypondfile[verbatim,quote,texidoc,doctitle]
3167 {tweaking-grace-layout-within-music.ly}
3169 @lilypondfile[verbatim,quote,texidoc,doctitle]
3170 {redefining-grace-note-global-defaults.ly}
3172 @lilypondfile[verbatim,quote,texidoc,doctitle]
3173 {positioning-grace-notes-with-floating-space.ly}
3178 @rglos{grace notes},
3179 @rglos{acciaccatura},
3180 @rglos{appoggiatura}.
3186 @file{ly/grace-init.ly}.
3191 Internals Reference:
3192 @rinternals{GraceMusic},
3193 @rinternals{Grace_beam_engraver},
3194 @rinternals{Grace_engraver},
3195 @rinternals{Grace_spacing_engraver}.
3200 @cindex acciaccatura, multi-note
3201 @cindex multi-note acciaccatura
3202 @cindex grace-note synchronization
3204 A multi-note beamed @i{acciaccatura} is printed without a slash,
3205 and looks exactly the same as a multi-note beamed
3208 @c TODO Add link to LSR snippet to add slash when available
3210 Grace note synchronization can also lead to surprises. Staff
3211 notation, such as key signatures, bar lines, etc., are also
3212 synchronized. Take care when you mix staves with grace notes and
3213 staves without, for example,
3215 @lilypond[quote,relative=2,verbatim]
3217 \new Staff { e4 \bar "|:" \grace c16 d2. }
3218 \new Staff { c4 \bar "|:" d2. }
3223 This can be remedied by inserting grace skips of the corresponding
3224 durations in the other staves. For the above example
3226 @lilypond[quote,relative=2,verbatim]
3228 \new Staff { e4 \bar "|:" \grace c16 d2. }
3229 \new Staff { c4 \bar "|:" \grace s16 d2. }
3233 The use of grace notes within voice contexts confuses the way the voice
3234 is typeset. This can be overcome by inserting a rest or note between the
3235 voice command and the grace note.
3237 @lilypond[quote,verbatim]
3239 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3246 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3247 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3252 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3253 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3260 Grace sections should only be used within sequential music expressions.
3261 Nesting or juxtaposing grace sections is not supported, and might
3262 produce crashes or other errors.
3264 Each grace note in MIDI output has a length of 1/4 of its actual
3265 duration. If the combined length of the grace notes is greater than the
3266 length of the preceding note a @qq{@code{Going back in MIDI time}}
3267 error will be generated. Either make the grace notes shorter in
3268 duration, for example:
3271 \acciaccatura @{ c'8[ d' e' f' g'] @}
3277 \acciaccatura @{ c'16[ d' e' f' g'] @}
3280 Or explicitly change the musical duration:
3283 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3286 See @ref{Scaling durations}.
3289 @node Aligning to cadenzas
3290 @unnumberedsubsubsec Aligning to cadenzas
3293 @cindex cadenza, aligning to
3294 @cindex aligning to cadenza
3296 In an orchestral context, cadenzas present a special problem: when
3297 constructing a score that includes a measured cadenza or other solo
3298 passage, all other instruments should skip just as many notes as the
3299 length of the cadenza, otherwise they will start too soon or too late.
3301 One solution to this problem is to use the functions
3302 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3303 functions take a defined piece of music as an argument and generate a
3304 multi-measure rest or @code{\skip} exactly as long as the piece.
3306 @lilypond[verbatim,quote]
3307 MyCadenza = \relative c' {
3318 #(ly:export (mmrest-of-length MyCadenza))
3320 #(ly:export (skip-of-length MyCadenza))
3335 @node Time administration
3336 @unnumberedsubsubsec Time administration
3338 @cindex time administration
3339 @cindex timing (within the score)
3340 @cindex music, unmetered
3341 @cindex unmetered music
3343 @funindex currentBarNumber
3344 @funindex measurePosition
3345 @funindex measureLength
3347 Time is administered by the @code{Timing_translator}, which by
3348 default is to be found in the @code{Score} context. An alias,
3349 @code{Timing}, is added to the context in which the
3350 @code{Timing_translator} is placed. To ensure that the
3351 @code{Timing} alias is available, you may need to explicitly
3352 instantiate the containing context (such as @code{Voice} or
3355 The following properties of @code{Timing} are used
3356 to keep track of timing within the score.
3359 @cindex measure number
3362 @item currentBarNumber
3363 The current measure number. For an example showing the
3364 use of this property see @ref{Bar numbers}.
3367 The length of the measures in the current time signature. For a
3368 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3369 determines when bar lines are inserted and how automatic beams
3370 should be generated.
3372 @item measurePosition
3373 The point within the measure where we currently are. This
3374 quantity is reset by subtracting @code{measureLength} whenever
3375 @code{measureLength} is reached or exceeded. When that happens,
3376 @code{currentBarNumber} is incremented.
3379 If set to true, the above variables are updated for every time
3380 step. When set to false, the engraver stays in the current
3381 measure indefinitely.
3385 Timing can be changed by setting any of these variables
3386 explicitly. In the next example, the default 4/4 time
3387 signature is printed, but @code{measureLength} is set to 5/4.
3388 At 4/8 through the third measure, the @code{measurePosition} is
3389 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3390 The next bar line then falls at 9/8 rather than 5/4.
3392 @lilypond[quote,verbatim]
3393 \new Voice \relative c' {
3394 \set Timing.measureLength = #(ly:make-moment 5 4)
3398 \set Timing.measurePosition = #(ly:make-moment 5 8)
3405 As the example illustrates, @code{ly:make-moment n m} constructs a
3406 duration of n/m of a whole note. For example,
3407 @code{ly:make-moment 1 8} is an eighth note duration and
3408 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3415 @ref{Unmetered music}.
3420 Internals Reference:
3421 @rinternals{Timing_translator},