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}.
1204 @lilypondfile[verbatim,quote,texidoc,doctitle]
1205 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1210 @rglos{time signature}
1213 @ref{Mensural time signatures},
1214 @ref{Time administration}.
1219 Internals Reference:
1220 @rinternals{TimeSignature},
1221 @rinternals{Timing_translator}.
1223 @node Metronome marks
1224 @unnumberedsubsubsec Metronome marks
1227 @cindex beats per minute
1228 @cindex metronome mark
1229 @cindex metronome marking with text
1234 A basic metronome mark is simple to write:
1236 @lilypond[verbatim,quote,relative=1]
1242 Metronome marks may also be printed as a range of two numbers:
1244 @lilypond[verbatim,quote,relative=1]
1250 Tempo indications with text can be used instead:
1252 @lilypond[verbatim,quote,relative=2]
1258 Combining a metronome mark and text will automatically place the
1259 metronome mark within parentheses:
1261 @lilypond[verbatim,quote,relative=2]
1262 \tempo "Allegro" 4 = 160
1267 In general, the text can be any markup object:
1269 @lilypond[verbatim,quote,relative=2]
1270 \tempo \markup { \italic Faster } 4 = 132
1271 a8-. r8 b-. r gis-. r a-. r
1274 A parenthesized metronome mark with no textual indication may be
1275 written by including an empty string in the input:
1277 @lilypond[verbatim,quote,relative=2]
1285 @lilypondfile[verbatim,quote,texidoc,doctitle]
1286 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1288 @c perhaps also an example of how to move it horizontally?
1290 @lilypondfile[verbatim,quote,texidoc,doctitle]
1291 {changing-the-tempo-without-a-metronome-mark.ly}
1293 @lilypondfile[verbatim,quote,texidoc,doctitle]
1294 {creating-metronome-marks-in-markup-mode.ly}
1296 For more details, see @ref{Formatting text}.
1302 @rglos{metronomic indication},
1303 @rglos{tempo indication},
1304 @rglos{metronome mark}.
1307 @ref{Formatting text},
1311 @rlsr{Staff notation}.
1313 Internals Reference:
1314 @rinternals{MetronomeMark}.
1318 @unnumberedsubsubsec Upbeats
1322 @cindex partial measure
1323 @cindex measure, partial
1324 @cindex pickup measure
1325 @cindex measure, change length
1327 @funindex measurePosition
1331 Partial or pick-up measures, such as an anacrusis or upbeat, are
1332 entered using the @code{\partial} command, with the syntax
1335 \partial @var{duration}
1339 where @code{@var{duration}} is the rhythmic length of the
1340 remaining interval of the current measure before the start of the
1343 @lilypond[quote,verbatim,relative=2]
1348 The partial measure can be any duration less than the full measure:
1350 @lilypond[quote,verbatim,relative=2]
1351 \partial 8*3 c8 d e |
1355 Internally, @code{\partial @var{duration}} is translated into:
1358 \set Timing.measurePosition -@var{duration}
1361 For example, @code{\partial 8*3} becomes:
1364 \set Timing.measurePosition = #(ly:make-moment -3 8)
1367 The property @code{measurePosition} contains a rational number
1368 indicating how much of the measure has passed at this point. Note
1369 that this is set to a negative number by the @code{\partial} command:
1370 i.e., @code{\partial 4} is internally translated to @w{@code{-4}}, meaning
1371 @qq{there is a quarter note left in the measure.}
1384 @rinternals{Timing_translator}.
1388 The @code{\partial} command is intended to be used only at the
1389 beginning of a piece. If you use it after the beginning, some
1390 odd warnings or effects may occur, in this case use
1391 @code{\set Timing.measurePosition} instead.
1393 @node Unmetered music
1394 @unnumberedsubsubsec Unmetered music
1396 @cindex bar lines, turning off
1397 @cindex bar numbering, turning off
1399 @cindex unmetered music
1401 @funindex \cadenzaOn
1403 @funindex \cadenzaOff
1404 @funindex cadenzaOff
1406 Bar lines and bar numbers are calculated automatically. For
1407 unmetered music (some cadenzas, for example), this is not desirable.
1408 To turn off automatic calculation of bar lines and bar numbers,
1409 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1410 to turn them on again.
1412 @lilypond[verbatim,relative=2,quote]
1415 c4 c d8[ d d] f4 g4.
1421 Bar numbering is resumed at the end of the cadenza as if the
1422 cadenza were not there:
1424 @lilypond[verbatim,relative=2,quote]
1425 % Show all bar numbers
1426 \override Score.BarNumber #'break-visibility = #all-visible
1429 c4 c d8[ d d] f4 g4.
1435 @cindex beams, in cadenzas
1436 @cindex beams, in unmetered music
1437 @cindex cadenza, with beams
1438 @cindex unmetered music, with beams
1440 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1441 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1442 must be entered manually (@ref{Manual beams}).
1444 @lilypond[verbatim,relative=2,quote]
1445 \repeat unfold 8 { c8 }
1447 \repeat unfold 5 { c8 }
1450 \repeat unfold 8 { c8 }
1453 Note that these predefined commands affect all staves in the
1454 score, even when they are placed in just one @code{Voice}
1455 context. To change this, move the @code{Timing_translator}
1456 from the @code{Score} context to the @code{Staff} context, as
1457 shown in @ref{Polymetric notation}.
1470 @ref{Visibility of objects},
1471 @ref{Polymetric notation},
1478 @cindex cadenza line breaks
1479 @cindex cadenza page breaks
1480 @cindex unmetered music, line breaks
1481 @cindex unmetered music, page breaks
1482 @cindex breaks in unmetered music
1483 @cindex line breaks in cadenzas
1484 @cindex page breaks in cadenzas
1485 @cindex line breaks in unmetered music
1486 @cindex page breaks in unmetered music
1490 LilyPond will insert line breaks and page breaks only at a
1491 bar line. Unless the unmetered music ends before the end of the
1492 staff line, you will need to insert invisible bar lines with
1499 to indicate where breaks can occur.
1501 You should explicitly create a @code{Voice} context when starting a
1502 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1508 c16[^"Solo Free Time" d e f] g2.
1516 @node Polymetric notation
1517 @unnumberedsubsubsec Polymetric notation
1519 @c This section necessarily uses \set
1520 @c This is acceptable -td
1522 @cindex double time signatures
1523 @cindex signatures, polymetric
1524 @cindex time signatures, polymetric
1525 @cindex time signatures, double
1526 @cindex polymetric signatures
1527 @cindex meter, polymetric
1529 @funindex timeSignatureFraction
1530 @funindex \scaleDurations
1531 @funindex scaleDurations
1535 Polymetric notation is supported explicitly or by manually modifying the
1536 visible time signature symbol and/or scaling note durations.
1538 @subsubheading Different time signatures with equal-length measures
1540 Set a common time signature for each staff, and set the
1541 @code{timeSignatureFraction} to the desired fraction. Then use the
1542 @code{\scaleDurations} function to scale the durations of the notes in
1543 each staff to the common time signature.
1545 @cindex beams, with polymetric meters
1546 @cindex polymetric meters, with beams
1548 In the following example, music with the time signatures of 3/4, 9/8 and
1549 10/8 are used in parallel. In the second staff, shown durations are
1550 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1551 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1552 may be necessary to insert beams manually, as the duration scaling will
1553 affect the autobeaming rules.
1555 @lilypond[quote,verbatim]
1564 \set Staff.timeSignatureFraction = #'(9 . 8)
1565 \scaleDurations #'(2 . 3)
1566 \repeat unfold 6 { c8[ c c] }
1570 \set Staff.timeSignatureFraction = #'(10 . 8)
1571 \scaleDurations #'(3 . 5) {
1572 \repeat unfold 2 { c8[ c c] }
1573 \repeat unfold 2 { c8[ c] } |
1574 c4. c \times 2/3 { c8[ c c] } c4
1580 @subsubheading Different time signatures with unequal-length measures
1582 Each staff can be given its own independent time signature by
1583 moving the @code{Timing_translator} and the
1584 @code{Default_bar_line_engraver} to the @code{Staff} context.
1586 @lilypond[quote,verbatim]
1590 \remove "Timing_translator"
1591 \remove "Default_bar_line_engraver"
1595 \consists "Timing_translator"
1596 \consists "Default_bar_line_engraver"
1600 % Now each staff has its own time signature.
1624 @funindex \compoundMeter
1625 @cindex compound time signatures
1626 @cindex time signature, compound
1628 @subsubheading Compound time signatures
1630 These are created using the @code{\compoundMeter} function. The syntax
1634 \compoundMeter #'@code{(list of lists)}
1637 The simplest construction is a single list, where the @emph{last} number
1638 indicates the bottom number of the time signature and those that come
1639 before it, the top numbers.
1641 @lilypond[quote,verbatim]
1643 \compoundMeter #'((2 2 2 8))
1644 \repeat unfold 6 c8 \repeat unfold 12 c16
1648 More complex meters can be constructed using additional lists. Also,
1649 automatic beaming settings will be adjusted depending on the values.
1651 @lilypond[quote,verbatim]
1653 \compoundMeter #'((1 4) (3 8))
1654 \repeat unfold 5 c8 \repeat unfold 10 c16
1658 \compoundMeter #'((1 2 3 8) (3 4))
1659 \repeat unfold 12 c8
1666 @rglos{polymetric time signature},
1670 @ref{Automatic beams},
1672 @ref{Time signature},
1673 @ref{Scaling durations}.
1678 Internals Reference:
1679 @rinternals{TimeSignature},
1680 @rinternals{Timing_translator},
1681 @rinternals{Default_bar_line_engraver},
1686 When using different time signatures in parallel, notes at the same
1687 moment will be placed at the same horizontal location. However, the bar
1688 lines in the different staves will cause the note spacing to be less
1689 regular in each of the individual staves than would be normal without
1690 the different time signatures.
1692 @node Automatic note splitting
1693 @unnumberedsubsubsec Automatic note splitting
1695 @cindex notes, splitting
1696 @cindex splitting notes
1697 @cindex rests, splitting
1698 @cindex splitting rests
1700 @funindex Note_heads_engraver
1701 @funindex Completion_heads_engraver
1702 @funindex Completion_rest_engraver
1704 Long notes which overrun bar lines can be converted automatically to
1705 tied notes. This is done by replacing the @code{Note_heads_engraver}
1706 with the @code{Completion_heads_engraver}. Similarly, long rests which
1707 overrun bar lines are split automatically by replacing the
1708 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1709 following example, notes and rests crossing the bar lines are split,
1710 notes are also tied.
1712 @lilypond[quote,verbatim,relative=1]
1714 \remove "Note_heads_engraver"
1715 \consists "Completion_heads_engraver"
1716 \remove "Rest_engraver"
1717 \consists "Completion_rest_engraver"
1720 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1723 These engravers split all running notes and rests at the bar line, and
1724 inserts ties for notes. One of its uses is to debug complex scores: if
1725 the measures are not entirely filled, then the ties show exactly how
1726 much each measure is off.
1734 @rlearning{Engravers explained},
1735 @rlearning{Adding and removing engravers}.
1740 Internals Reference:
1741 @rinternals{Note_heads_engraver},
1742 @rinternals{Completion_heads_engraver},
1743 @rinternals{Rest_engraver},
1744 @rinternals{Completion_rest_engraver},
1745 @rinternals{Forbid_line_break_engraver}.
1750 Not all durations (especially those containing tuplets) can be
1751 represented exactly with normal notes and dots, but the
1752 @code{Completion_heads_engraver} will not insert tuplets.
1754 The @code{Completion_heads_engraver} only affects notes; it does not
1758 @node Showing melody rhythms
1759 @unnumberedsubsubsec Showing melody rhythms
1761 @cindex melody rhythms, showing
1762 @cindex rhythms, showing melody
1764 Sometimes you might want to show only the rhythm of a melody. This
1765 can be done with the rhythmic staff. All pitches of notes on such a
1766 staff are squashed, and the staff itself has a single line
1768 @lilypond[quote,relative=1,verbatim]
1770 \new RhythmicStaff {
1771 \new Voice = "myRhythm" {
1779 \lyricsto "myRhythm" {
1787 @cindex guitar chord charts
1788 @cindex strumming rhythms, showing
1789 @cindex guitar strumming rhythms, showing
1791 @funindex Pitch_squash_engraver
1792 @funindex \improvisationOn
1793 @funindex improvisationOn
1794 @funindex \improvisationOff
1795 @funindex improvisationOff
1797 Guitar chord charts often show the strumming rhythms. This can
1798 be done with the @code{Pitch_squash_engraver} and
1799 @code{\improvisationOn}.
1802 @lilypond[quote,verbatim]
1810 \consists Pitch_squash_engraver
1823 @code{\improvisationOn},
1824 @code{\improvisationOff}.
1830 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1831 {guitar-strum-rhythms.ly}
1838 Internals Reference:
1839 @rinternals{RhythmicStaff},
1840 @rinternals{Pitch_squash_engraver}.
1848 * Setting automatic beam behavior::
1853 @node Automatic beams
1854 @unnumberedsubsubsec Automatic beams
1856 By default, beams are inserted automatically:
1858 @cindex beams, manual
1859 @cindex manual beams
1860 @cindex beams, customizing rules
1862 @funindex \autoBeamOn
1863 @funindex autoBeamOn
1864 @funindex \autoBeamOff
1865 @funindex autoBeamOff
1867 @lilypond[quote,verbatim,relative=2]
1869 \time 6/8 c8 c c c8. c16 c8
1872 If these automatic decisions are not satisfactory, beaming can be
1873 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1874 entered manually if beams are to be extended over rests.
1876 If automatic beaming is not required, it may be turned off with
1877 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1879 @lilypond[quote,relative=1,verbatim]
1880 c4 c8 c8. c16 c8. c16 c8
1887 @cindex melismata, with beams
1888 @cindex beams, with melismata
1890 @warning{If beams are used to indicate melismata in songs, then
1891 automatic beaming should be switched off with @code{\autoBeamOff}
1892 and the beams indicated manually.}
1894 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1895 produce unintended results. See the snippet below for more information.}
1897 Beaming patterns that differ from the automatic defaults can be
1898 created; see @ref{Setting automatic beam behavior}.
1901 @code{\autoBeamOff},
1905 @cindex beams, line breaks
1906 @cindex line breaks, beams
1907 @cindex beams, with knee gap
1908 @cindex knee gap, with beams
1912 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1913 {beams-across-line-breaks.ly}
1915 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1916 {changing-beam-knee-gap.ly}
1918 @cindex beams, \partcombine with \autoBeamOff
1919 @cindex voices, \partcombine with \autoBeamOff
1921 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1922 {partcombine-and-autobeamoff.ly}
1927 @ref{Setting automatic beam behavior}.
1930 @file{scm/auto-beam.scm}.
1935 Internals Reference:
1936 @rinternals{Auto_beam_engraver},
1937 @rinternals{Beam_engraver},
1939 @rinternals{BeamEvent},
1940 @rinternals{BeamForbidEvent},
1941 @rinternals{beam-interface},
1942 @rinternals{unbreakable-spanner-interface}.
1944 @node Setting automatic beam behavior
1945 @unnumberedsubsubsec Setting automatic beam behavior
1947 @cindex beams, with lyrics
1948 @cindex lyrics, with beams
1950 @funindex autoBeaming
1951 @funindex baseMoment
1952 @funindex beamExceptions
1953 @funindex beatStructure
1954 @funindex measureLength
1960 In most instances, automatic beams will end at the end of a beat.
1961 The ending points for beats are determined by the context properties
1962 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1963 is a scheme list that defines the length of each beat in the measure
1964 in units of @code{baseMoment}. By default, @code{baseMoment} is
1965 the one over numerator of the time signature. By default,
1966 each unit of length @code{baseMoment} is a single beat.
1968 @lilypond[quote,relative=2,verbatim]
1970 c16^"default" c c c c |
1971 \set Timing.beatStructure = #'(2 3)
1972 c16^"(2+3)" c c c c |
1973 \set Timing.beatStructure = #'(3 2)
1974 c16^"(3+2)" c c c c |
1977 Beam setting changes can be limited to specific contexts. If no
1978 setting is included in a lower-level context, the setting of the
1979 enclosing context will apply.
1981 @lilypond[quote, verbatim,relative=1]
1984 \set Staff.beatStructure = #'(2 3 2)
1994 \set Voice.beatStructure = #'(1 3 3)
2002 When multiple voices are used the @code{Staff} context must be
2003 specified if the beaming is to be applied to all voices in the
2006 @lilypond[quote,verbatim,relative=2]
2009 % Change applied to Voice by default -- does not work correctly
2010 % Because of autogenerated voices, all beating will
2011 % be at baseMoment (1 . 8)
2012 \set beatStructure = #'(3 1 1 2)
2013 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2015 % Works correctly with context Staff specified
2016 \set Staff.beatStructure = #'(3 1 1 2)
2017 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2020 The value of @code{baseMoment} can be adjusted to change
2021 the beaming behavior, if desired. When this is done,
2022 the value of @code{beatStructure} must be set to be
2023 compatible with the new value of @code{baseMoment}.
2025 @lilypond[quote,verbatim,relative=2]
2027 \set Timing.baseMoment = #(ly:make-moment 1 16)
2028 \set Timing.beatStructure = #'(7 3)
2029 \repeat unfold 10 { a16 }
2032 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2033 quantity of type @i{moment} is created by the scheme function
2034 @code{ly:make-moment}. For more information about this function,
2035 see @ref{Time administration}.
2037 By default @code{baseMoment} is set to one over the denominator of
2038 the time signature. Any exceptions to this default can be found in
2039 @file{scm/time-signature-settings.scm}.
2041 Special autobeaming rules (other than ending a beam on a beat)
2042 are defined in the @code{beamExceptions} property.
2044 @lilypond[quote,relative=2,verbatim]
2046 \set Timing.beatStructure = #'(2 1)
2047 \set Timing.beamExceptions =
2049 (end . ;entry for end of beams
2050 ( ;start of alist of end points
2051 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2052 ))) %close all entries
2054 \repeat unfold 6 { c32 } |
2057 @code{beamExceptions} is an alist with a key of rule-type and a value
2060 At this time the only available value of rule-type is
2061 @code{'end} for beam ending.
2063 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2064 beam type and the grouping to be applied to beams containing notes with
2065 a shortest duration of that beam type.
2068 #'((beam-type1 . grouping-1)
2069 (beam-type2 . grouping-2)
2070 (beam-type3 . grouping-3))
2073 Beam type is a scheme pair indicating the duration of the beam,
2074 e.g., @code{(1 . 16)}.
2076 Grouping is a scheme list indicating the grouping to be applied to
2077 the beam. The grouping is in units of the beam type.
2079 @warning{ A @code{beamExceptions} value must be @emph{complete}
2080 exceptions list. That is, every exception that should be applied
2081 must be included in the setting. It is not possible to add, remove,
2082 or change only one of the exceptions. While this may seem cumbersome,
2083 it means that the current beaming settings need not be known in order
2084 to specify a new beaming pattern.}
2086 When the time signature is changed, default values of
2087 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2088 and @code{Timing.beamExceptions} are set. Setting the time signature
2089 will reset the automatic beaming settings for the @code{Timing}
2090 context to the default behavior.
2092 @lilypond[quote,verbatim,relative=2]
2094 \repeat unfold 6 { a8 }
2096 \set Timing.beatStructure = #'(4 2)
2097 \repeat unfold 6 { a8 }
2098 % go back to default behavior
2100 \repeat unfold 6 { a8 }
2103 The default automatic beaming settings for a time signature
2104 are determined in @file{scm/time-signature-settings.scm}.
2105 Changing the default automatic beaming settings
2106 for a time signature is described in @ref{Time signature}.
2108 Many automatic beaming settings for a time signature contain an
2109 entry for @code{beamExceptions}. For example, 4/4 time tries to
2110 beam the measure in two if there are only eighth notes. The
2111 @code{beamExceptions} rule can override the @code{beatStructure} setting
2112 if @code{beamExceptions} is not reset.
2114 @lilypond[quote,verbatim,relative=2]
2116 \set Timing.baseMoment = #(ly:make-moment 1 8)
2117 \set Timing.beatStructure = #'(3 3 2)
2118 % This won't beam (3 3 2) because of beamExceptions
2119 \repeat unfold 8 {c8} |
2120 % This will beam (3 3 2) because we clear beamExceptions
2121 \set Timing.beamExceptions = #'()
2122 \repeat unfold 8 {c8}
2125 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2126 measure by default. To beam eighth notes in 3/4 time on the beat,
2127 reset @code{beamExceptions}.
2129 @lilypond[quote,verbatim,relative=2]
2131 % by default we beam in (3) due to beamExceptions
2132 \repeat unfold 6 {a8} |
2133 % This will beam (1 1 1) due to beatLength
2134 \set Timing.beamExceptions = #'()
2135 \repeat unfold 6 {a8}
2138 @i{@strong{How automatic beaming works}}
2140 When automatic beaming is enabled, the placement of automatic beams
2141 is determined by the context properties
2142 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2144 The following rules, in order of priority, apply when determining
2145 the appearance of beams:
2149 If a manual beam is specified with @code{[..]} set the beam
2150 as specified, otherwise
2153 if a beam-ending rule is defined in @code{beamExceptions}
2154 for the beam-type, use it to determine the valid places where
2155 beams may end, otherwise
2158 if a beam-ending rule is defined in @code{beamExceptions}
2159 for a longer beam-type, use it to determined the valid places
2160 where beams may end, otherwise
2163 use the values of @code{baseMoment} and @code{beatStructure} to
2164 determine the ends of the beats in the measure, and
2165 end beams at the end of beats.
2169 In the rules above, the @emph{beam-type} is the duration of the
2170 shortest note in the beamed group.
2172 The default beaming rules can be found in
2173 @file{scm/time-signature-settings.scm}.
2177 @cindex beams, subdividing
2179 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2180 {subdividing-beams.ly}
2182 @cindex measure groupings
2183 @cindex beats, grouping
2184 @cindex grouping beats
2185 @cindex measure sub-grouping
2187 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2188 {conducting-signs,-measure-grouping-signs.ly}
2190 @cindex beam, endings in a score
2191 @cindex beam, endings with multiple voices
2193 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2194 {beam-endings-in-score-context.ly}
2199 @file{scm/beam-settings.scm}.
2204 Internals Reference:
2205 @rinternals{Auto_beam_engraver},
2207 @rinternals{BeamForbidEvent},
2208 @rinternals{beam-interface}.
2212 If a score ends while an automatic beam has not been ended and is
2213 still accepting notes, this last beam will not be typeset at all.
2214 The same holds for polyphonic voices, entered with
2215 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2216 automatic beam is still accepting notes, it is not typeset.
2217 The workaround for these problems is to manually beam the last
2218 beam in the voice or score.
2220 By default, the @code{Timing} translator is aliased to the
2221 @code{Score} context. This means that setting the time signature
2222 in one staff will affect the beaming of the other staves as well.
2223 Thus, a time signature setting in a later staff will reset custom
2224 beaming that was set in an earlier staff.
2225 One way to avoid this problem is to set the time signature
2228 @lilypond[quote,verbatim,relative=2]
2232 \set Timing.baseMoment = #(ly:make-moment 1 8)
2233 \set Timing.beatStructure = #'(1 5)
2234 \repeat unfold 6 { a8 }
2237 \repeat unfold 6 { a8 }
2242 The default beam settings for the time signature can also be changed, so
2243 that the desired beaming will always be used. Changes in automatic
2244 beaming settings for a time signature are described in
2245 @ref{Time signature}.
2247 @lilypond[quote,verbatim,relative=2]
2250 \overrideTimeSignatureSettings
2251 #'(3 . 4) % timeSignatureFraction
2252 #'(1 . 8) % baseMomentFraction
2253 #'(1 5) % beatStructure
2254 #'() % beamExceptions
2256 \repeat unfold 6 { a8 }
2260 \repeat unfold 6 { a8 }
2266 @unnumberedsubsubsec Manual beams
2268 @cindex beams, manual
2269 @cindex manual beams
2274 In some cases it may be necessary to override the automatic
2275 beaming algorithm. For example, the autobeamer will not put beams
2276 over rests or bar lines, and in choral scores the beaming is
2277 often set to follow the meter of the lyrics rather than the
2278 notes. Such beams can be specified manually by
2279 marking the begin and end point with @code{[} and @code{]}.
2281 @lilypond[quote,relative=1,verbatim]
2282 r4 r8[ g' a r] r g[ | a] r
2285 @cindex manual beams, direction shorthand for
2286 @cindex manual beams, grace notes
2288 Beaming direction can be set manually using direction indicators:
2290 @lilypond[quote,relative=2,verbatim]
2291 c8^[ d e] c,_[ d e f g]
2297 Individual notes may be marked with @code{\noBeam} to prevent them
2300 @lilypond[quote,verbatim,relative=2]
2305 Grace note beams and normal note beams can occur simultaneously.
2306 Unbeamed grace notes are not put into normal note beams.
2308 @lilypond[quote,verbatim,relative=2]
2310 \grace { e32[ d c d] }
2316 @funindex stemLeftBeamCount
2317 @funindex stemRightBeamCount
2319 Even more strict manual control with the beams can be achieved by
2320 setting the properties @code{stemLeftBeamCount} and
2321 @code{stemRightBeamCount}. They specify the number of beams to
2322 draw on the left and right side, respectively, of the next note.
2323 If either property is set, its value will be used only once, and
2324 then it is erased. In this example, the last @code{f} is printed
2325 with only one beam on the left side, i.e., the eighth-note beam of
2326 the group as a whole.
2328 @lilypond[quote,relative=2,verbatim]
2331 \set stemLeftBeamCount = #2
2332 \set stemRightBeamCount = #1
2334 \set stemLeftBeamCount = #1
2346 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2347 {flat-flags-and-beam-nibs.ly}
2352 @ref{Direction and placement},
2358 Internals Reference:
2360 @rinternals{BeamEvent},
2361 @rinternals{Beam_engraver},
2362 @rinternals{beam-interface},
2363 @rinternals{Stem_engraver}.
2366 @node Feathered beams
2367 @unnumberedsubsubsec Feathered beams
2369 @cindex beams, feathered
2370 @cindex feathered beams
2372 @funindex \featherDurations
2373 @funindex featherDurations
2374 @funindex grow-direction
2376 Feathered beams are used to indicate that a small group of notes
2377 should be played at an increasing (or decreasing) tempo, without
2378 changing the overall tempo of the piece. The extent of the
2379 feathered beam must be indicated manually using @code{[} and
2380 @code{]}, and the beam feathering is turned on by specifying a
2381 direction to the @code{Beam} property @code{grow-direction}.
2383 If the placement of the notes and the sound in the MIDI output is to
2384 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2385 feathered beam the notes must be grouped as a music expression delimited
2386 by braces and preceded by a @code{featherDurations} command which specifies
2387 the ratio between the durations of the first and last notes in the
2390 The square brackets show the extent of the beam and the braces show
2391 which notes are to have their durations modified. Normally these
2392 would delimit the same group of notes, but this is not required: the
2393 two commands are independent.
2395 In the following example the eight 16th notes occupy exactly the
2396 same time as a half note, but the first note is one half as long
2397 as the last one, with the intermediate notes gradually
2398 lengthening. The first four 32nd notes gradually speed up, while
2399 the last four 32nd notes are at a constant tempo.
2401 @lilypond[relative=1,verbatim,quote]
2402 \override Beam #'grow-direction = #LEFT
2403 \featherDurations #(ly:make-moment 2 1)
2404 { c16[ c c c c c c c] }
2405 \override Beam #'grow-direction = #RIGHT
2406 \featherDurations #(ly:make-moment 2 3)
2408 % revert to non-feathered beams
2409 \override Beam #'grow-direction = #'()
2414 The spacing in the printed output represents the
2415 note durations only approximately, but the MIDI output is exact.
2419 @code{\featherDurations}.
2429 The @code{\featherDurations} command only works with very short
2430 music snippets, and when numbers in the fraction are small.
2440 * Bar and bar number checks::
2445 @unnumberedsubsubsec Bar lines
2448 @cindex measure lines
2449 @cindex closing bar lines
2450 @cindex bar lines, closing
2451 @cindex double bar lines
2452 @cindex bar lines, double
2458 Bar lines delimit measures, and are also used to indicate
2459 repeats. Normally, simple bar lines are automatically inserted
2460 into the printed output at places based on the current time
2463 The simple bar lines inserted automatically can be changed to
2464 other types with the @code{\bar} command. For example, a closing
2465 double bar line is usually placed at the end of a piece:
2467 @lilypond[quote,relative=1,verbatim]
2471 It is not invalid if the final note in a measure does not
2472 end on the automatically entered bar line: the note is assumed
2473 to carry over into the next measure. But if a long sequence
2474 of such carry-over measures appears the music can appear compressed
2475 or even flowing off the page. This is because automatic line
2476 breaks happen only at the end of complete measures, i.e., where
2477 all notes end before the end of a measure.
2479 @warning{An incorrect duration can cause line breaks to be
2480 inhibited, leading to a line of highly compressed music or
2481 music which flows off the page.}
2484 @cindex bar lines, invisible
2485 @cindex measure lines, invisible
2487 Line breaks are also permitted at manually inserted bar lines
2488 even within incomplete measures. To allow a line break without
2489 printing a bar line, use the following:
2496 This will insert an invisible bar line and allow (but not
2497 force) a line break to occur at this point. The bar number
2498 counter is not increased. To force a line break see
2499 @ref{Line breaking}.
2501 @cindex manual bar lines
2502 @cindex manual measure lines
2503 @cindex bar lines, manual
2504 @cindex measure lines, manual
2506 This and other special bar lines may be inserted manually at any
2507 point. When they coincide with the end of a measure they replace
2508 the simple bar line which would have been inserted there
2509 automatically. When they do not coincide with the end of a measure
2510 the specified bar line is inserted at that point in the printed
2513 Note that manual bar lines are purely visual. They do not affect
2514 any of the properties that a normal bar line would affect, such as
2515 measure numbers, accidentals, line breaks, etc. They do not affect
2516 the calculation and placement of subsequent automatic bar lines.
2517 When a manual bar line is placed where a normal bar line already
2518 exists, the effects of the original bar line are not altered.
2520 Two types of simple bar lines and five types of double bar lines are
2521 available for manual insertion:
2523 @lilypond[quote,relative=1,verbatim]
2535 together with dotted and dashed bar lines:
2537 @lilypond[quote,relative=1,verbatim]
2544 and five types of repeat bar line:
2546 @lilypond[quote,relative=1,verbatim]
2555 Additionally, a bar line can be printed as a simple tick:
2556 @lilypond[quote,relative=1,verbatim]
2559 However, as such ticks are typically used in Gregorian chant, it is
2560 preferable to use @code{\divisioMinima} there instead, described in
2561 the section @ref{Divisiones} in Gregorian chant.
2565 For in-line segno signs, there are three types of bar lines which
2566 differ in their behavior at line breaks:
2568 @lilypond[quote,relative=2,verbatim]
2586 Although the bar line types signifying repeats may be inserted
2587 manually they do not in themselves cause LilyPond to recognize
2588 a repeated section. Such repeated sections are better entered
2589 using the various repeat commands (see @ref{Repeats}), which
2590 automatically print the appropriate bar lines.
2592 In addition, you can specify @code{"||:"}, which is equivalent to
2593 @code{"|:"} except at line breaks, where it gives a double bar
2594 line at the end of the line and a start repeat at the beginning of
2597 @lilypond[quote,relative=2,verbatim]
2605 For combinations of repeats with the segno sign, there are six different
2608 @lilypond[quote,relative=2,verbatim]
2637 In scores with many staves, a @code{\bar} command in one staff is
2638 automatically applied to all staves. The resulting bar lines are
2639 connected between different staves of a @code{StaffGroup},
2640 @code{PianoStaff}, or @code{GrandStaff}.
2642 @lilypond[quote,relative=1,verbatim]
2650 \new Staff { \clef bass c4 g e g }
2652 \new Staff { \clef bass c2 c2 }
2657 @cindex default bar lines, changing
2658 @cindex bar lines, default, changing
2663 @funindex defaultBarType
2668 The command @samp{\bar @var{bartype}} is a shortcut for
2669 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2670 created whenever the @code{whichBar} property is set.
2672 The default bar type used for automatically inserted bar lines is
2673 @code{"|"}. This may be changed at any time with
2674 @samp{\set Timing.defaultBarType = @var{bartype}}.
2679 @ref{Line breaking},
2681 @ref{Grouping staves}.
2686 Internals Reference:
2687 @rinternals{BarLine} (created at @code{Staff} level),
2688 @rinternals{SpanBar} (across staves),
2689 @rinternals{Timing_translator} (for Timing properties).
2693 @unnumberedsubsubsec Bar numbers
2696 @cindex measure numbers
2697 @cindex numbers, bar
2698 @cindex numbers, measure
2700 @funindex currentBarNumber
2702 Bar numbers are typeset by default at the start of every line except
2703 the first line. The number itself is stored in the
2704 @code{currentBarNumber} property, which is normally updated
2705 automatically for every measure. It may also be set manually:
2707 @lilypond[verbatim,quote,relative=1]
2710 \set Score.currentBarNumber = #50
2714 @cindex bar numbers, regular spacing
2716 @funindex barNumberVisibility
2719 Bar numbers can be typeset at regular intervals instead of just at
2720 the beginning of every line. To do this the default behavior
2721 must be overridden to permit bar numbers to be printed at places
2722 other than the start of a line. This is controlled by the
2723 @code{break-visibility} property of @code{BarNumber}. This takes
2724 three values which may be set to @code{#t} or @code{#f} to specify
2725 whether the corresponding bar number is visible or not. The order
2726 of the three values is @code{end of line visible}, @code{middle of
2727 line visible}, @code{beginning of line visible}. In the following
2728 example bar numbers are printed at all possible places:
2730 @lilypond[verbatim,quote,relative=1]
2731 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2732 \set Score.currentBarNumber = #11
2733 % Permit first bar number to be printed
2743 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2744 {printing-the-bar-number-for-the-first-measure.ly}
2746 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2747 {printing-bar-numbers-at-regular-intervals.ly}
2749 @cindex measure number, format
2750 @cindex bar number, format
2752 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2753 {printing-bar-numbers-inside-boxes-or-circles.ly}
2755 @cindex bar number alignment
2757 @lilypondfile[verbatim,quote,texidoc,doctitle]
2758 {aligning-bar-numbers.ly}
2760 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2761 {removing-bar-numbers-from-a-score.ly}
2768 Internals Reference:
2769 @rinternals{BarNumber},
2770 @rinternals{Bar_number_engraver}.
2773 @cindex bar number collision
2774 @cindex collision, bar number
2777 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2778 if there is one. To solve this, the @code{padding} property of
2779 @code{BarNumber} can be used to position the number correctly. See
2780 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2783 @node Bar and bar number checks
2784 @unnumberedsubsubsec Bar and bar number checks
2787 @cindex bar number check
2788 @cindex measure check
2789 @cindex measure number check
2791 @funindex barCheckSynchronize
2794 Bar checks help detect errors in the entered durations. A bar check
2795 may be entered using the bar symbol, @code{|}, at any place where a
2796 bar line is expected to fall. If bar check lines are encountered at
2797 other places, a list of warnings is printed in the log file, showing
2798 the line numbers and lines in which the bar checks failed. In the
2799 next example, the second bar check will signal an error.
2802 \time 3/4 c2 e4 | g2 |
2805 Bar checks can also be used in lyrics:
2810 Twin -- kle | Twin -- kle |
2814 An incorrect duration can result in a completely garbled score,
2815 especially if the score is polyphonic, so a good place to start
2816 correcting input is by scanning for failed bar checks and
2817 incorrect durations.
2819 If successive bar checks are off by the same musical interval,
2820 only the first warning message is displayed. This allows the
2821 warning to focus on the source of the timing error.
2825 @funindex pipeSymbol
2827 It is also possible to redefine the action taken when a bar check
2828 or pipe symbol, @code{|}, is encountered in the input, so that
2829 it does something other than a bar check. This is done by
2830 assigning a music expression to @code{pipeSymbol}.
2831 In the following example @code{|} is set to insert a double bar
2832 line wherever it appears in the input, rather than checking
2835 @lilypond[quote,verbatim]
2836 pipeSymbol = \bar "||"
2845 @funindex \barNumberCheck
2846 @funindex barNumberCheck
2848 When copying large pieces of music, it can be helpful to check that
2849 the LilyPond bar number corresponds to the original that you are
2850 entering from. This can be checked with @code{\barNumberCheck}, for
2854 \barNumberCheck #123
2858 will print a warning if the @code{currentBarNumber} is not 123
2859 when it is processed.
2867 @node Rehearsal marks
2868 @unnumberedsubsubsec Rehearsal marks
2870 @cindex rehearsal marks
2871 @cindex mark, rehearsal
2876 To print a rehearsal mark, use the @code{\mark} command.
2878 @lilypond[quote,verbatim,relative=2]
2886 The mark is incremented automatically if you use @code{\mark
2887 \default}, but you can also use an integer argument to set the
2888 mark manually. The value to use is stored in the property
2889 @code{rehearsalMark}.
2891 @lilypond[quote,verbatim,relative=2]
2900 The letter@tie{}@q{I} is skipped in accordance with engraving
2901 traditions. If you wish to include the letter @q{I}, then use one
2902 of the following commands, depending on which style of rehearsal mark
2903 you want (letters only, letters in a hollow box, or letters in a
2907 \set Score.markFormatter = #format-mark-alphabet
2908 \set Score.markFormatter = #format-mark-box-alphabet
2909 \set Score.markFormatter = #format-mark-circle-alphabet
2912 @lilypond[quote,verbatim,relative=2]
2913 \set Score.markFormatter = #format-mark-box-alphabet
2921 @cindex rehearsal mark format
2922 @cindex rehearsal mark style
2923 @cindex style, rehearsal mark
2924 @cindex format, rehearsal mark
2925 @cindex mark, rehearsal, style
2926 @cindex mark, rehearsal, format
2927 @cindex rehearsal mark, manual
2928 @cindex mark, rehearsal, manual
2929 @cindex custom rehearsal mark
2930 @cindex manual rehearsal mark
2932 The style is defined by the property @code{markFormatter}. It is
2933 a function taking the current mark (an integer) and the current
2934 context as argument. It should return a markup object. In the
2935 following example, @code{markFormatter} is set to a pre-defined
2936 procedure. After a few measures, it is set to a procedure that
2937 produces a boxed number.
2939 @lilypond[quote,verbatim,relative=2]
2940 \set Score.markFormatter = #format-mark-numbers
2943 \set Score.markFormatter = #format-mark-box-numbers
2945 \set Score.markFormatter = #format-mark-circle-numbers
2947 \set Score.markFormatter = #format-mark-circle-letters
2951 The file @file{scm/translation-functions.scm} contains the
2952 definitions of @code{format-mark-numbers} (the default format),
2953 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2954 @code{format-mark-box-letters}. These can be used as inspiration
2955 for other formatting functions.
2957 You may use @code{format-mark-barnumbers},
2958 @code{format-mark-box-barnumbers}, and
2959 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2960 incremented numbers or letters.
2962 Other styles of rehearsal mark can be specified manually:
2969 Note that @code{Score.markFormatter} does not affect marks specified
2970 in this manner. However, it is possible to apply a @code{\markup} to the
2974 \mark \markup@{ \box A1 @}
2979 @cindex D.S. al Fine
2981 @cindex music glyphs
2982 @cindex glyphs, music
2984 @funindex \musicglyph
2985 @funindex musicglyph
2987 Music glyphs (such as the segno sign) may be printed inside a
2990 @lilypond[quote,verbatim,relative=1]
2991 c1 \mark \markup { \musicglyph #"scripts.segno" }
2992 c1 \mark \markup { \musicglyph #"scripts.coda" }
2993 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2998 See @ref{The Feta font}, for a list of symbols which may be
2999 printed with @code{\musicglyph}.
3001 For common tweaks to the positioning of rehearsal marks, see
3002 @ref{Formatting text}. For more precise control, see
3003 @code{break-alignable-interface} in @ref{Aligning objects}.
3008 @ref{The Feta font},
3009 @ref{Formatting text},
3010 @ref{Aligning objects}.
3013 @file{scm/translation-functions.scm} contains
3014 the definitions of @code{format-mark-numbers} and
3015 @code{format-mark-letters}. They can be used as inspiration for
3016 other formatting functions.
3021 Internals Reference:
3022 @rinternals{MarkEvent},
3023 @rinternals{Mark_engraver},
3024 @rinternals{RehearsalMark}.
3027 @node Special rhythmic concerns
3028 @subsection Special rhythmic concerns
3033 * Aligning to cadenzas::
3034 * Time administration::
3038 @unnumberedsubsubsec Grace notes
3042 @cindex appoggiatura
3043 @cindex acciaccatura
3048 Grace notes are ornaments that are written out. Grace notes
3049 are printed in a smaller font and take up no logical time
3052 @lilypond[quote,relative=2,verbatim]
3054 \grace { c16[ d16] } c2
3057 LilyPond also supports two special types of grace notes, the
3058 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3059 small note with a slashed stem -- and the @emph{appoggiatura}, which
3060 takes a fixed fraction of the main note and appears in small print
3063 @lilypond[quote,relative=2,verbatim]
3067 \acciaccatura { g16[ f] } e4
3070 The placement of grace notes is synchronized between different
3071 staves. In the following example, there are two sixteenth grace
3072 notes for every eighth grace note
3074 @lilypond[quote,relative=2,verbatim]
3076 \new Staff { e2 \grace { c16[ d e f] } e2 }
3077 \new Staff { c2 \grace { g8[ b] } c2 }
3081 @cindex grace notes, following
3083 @funindex \afterGrace
3084 @funindex afterGrace
3086 If you want to end a note with a grace, use the @code{\afterGrace}
3087 command. It takes two arguments: the main note, and the grace
3088 notes following the main note.
3090 @lilypond[quote,verbatim,relative=2]
3091 c1 \afterGrace d1 { c16[ d] } c1
3094 This will put the grace notes after a space lasting 3/4 of the
3095 length of the main note. The default fraction 3/4 can be changed by
3096 setting @code{afterGraceFraction}. The following example shows
3097 the results from setting the space at the default, at 15/16, and
3098 finally at 1/2 of the main note.
3100 @lilypond[quote,verbatim,relative=2]
3103 c1 \afterGrace d1 { c16[ d] } c1
3106 #(define afterGraceFraction (cons 15 16))
3107 c1 \afterGrace d1 { c16[ d] } c1
3110 #(define afterGraceFraction (cons 1 2))
3111 c1 \afterGrace d1 { c16[ d] } c1
3116 The space between the main note and the grace note may also be
3117 specified using spacers. The following example places the grace
3118 note after a space lasting 7/8 of the main note.
3120 @lilypond[quote,verbatim,relative=2]
3124 { s2 s4. \grace { c16[ d] } }
3130 @cindex tweaking grace notes
3131 @cindex grace notes, tweaking
3132 @cindex grace notes, changing layout settings
3134 A @code{\grace} music expression will introduce special
3135 typesetting settings, for example, to produce smaller type, and
3136 set directions. Hence, when introducing layout tweaks to
3137 override the special settings, they should be placed inside
3138 the grace expression. The overrides should also be reverted
3139 inside the grace expression. Here, the grace note's default stem
3140 direction is overridden and then reverted.
3142 @lilypond[quote,verbatim,relative=2]
3154 @cindex stem, with slash
3159 @lilypondfile[verbatim,quote,texidoc,doctitle]
3160 {using-grace-note-slashes-with-normal-heads.ly}
3162 @lilypondfile[verbatim,quote,texidoc,doctitle]
3163 {tweaking-grace-layout-within-music.ly}
3165 @lilypondfile[verbatim,quote,texidoc,doctitle]
3166 {redefining-grace-note-global-defaults.ly}
3168 @lilypondfile[verbatim,quote,texidoc,doctitle]
3169 {positioning-grace-notes-with-floating-space.ly}
3174 @rglos{grace notes},
3175 @rglos{acciaccatura},
3176 @rglos{appoggiatura}.
3182 @file{ly/grace-init.ly}.
3187 Internals Reference:
3188 @rinternals{GraceMusic},
3189 @rinternals{Grace_beam_engraver},
3190 @rinternals{Grace_engraver},
3191 @rinternals{Grace_spacing_engraver}.
3196 @cindex acciaccatura, multi-note
3197 @cindex multi-note acciaccatura
3198 @cindex grace-note synchronization
3200 A multi-note beamed @i{acciaccatura} is printed without a slash,
3201 and looks exactly the same as a multi-note beamed
3204 @c TODO Add link to LSR snippet to add slash when available
3206 Grace note synchronization can also lead to surprises. Staff
3207 notation, such as key signatures, bar lines, etc., are also
3208 synchronized. Take care when you mix staves with grace notes and
3209 staves without, for example,
3211 @lilypond[quote,relative=2,verbatim]
3213 \new Staff { e4 \bar "|:" \grace c16 d2. }
3214 \new Staff { c4 \bar "|:" d2. }
3219 This can be remedied by inserting grace skips of the corresponding
3220 durations in the other staves. For the above example
3222 @lilypond[quote,relative=2,verbatim]
3224 \new Staff { e4 \bar "|:" \grace c16 d2. }
3225 \new Staff { c4 \bar "|:" \grace s16 d2. }
3229 The use of grace notes within voice contexts confuses the way the voice
3230 is typeset. This can be overcome by inserting a rest or note between the
3231 voice command and the grace note.
3233 @lilypond[quote,verbatim]
3235 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3242 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3243 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3248 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3249 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3256 Grace sections should only be used within sequential music expressions.
3257 Nesting or juxtaposing grace sections is not supported, and might
3258 produce crashes or other errors.
3260 Each grace note in MIDI output has a length of 1/4 of its actual
3261 duration. If the combined length of the grace notes is greater than the
3262 length of the preceding note a @qq{@code{Going back in MIDI time}}
3263 error will be generated. Either make the grace notes shorter in
3264 duration, for example:
3267 \acciaccatura @{ c'8[ d' e' f' g'] @}
3273 \acciaccatura @{ c'16[ d' e' f' g'] @}
3276 Or explicitly change the musical duration:
3279 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3282 See @ref{Scaling durations}.
3285 @node Aligning to cadenzas
3286 @unnumberedsubsubsec Aligning to cadenzas
3289 @cindex cadenza, aligning to
3290 @cindex aligning to cadenza
3292 In an orchestral context, cadenzas present a special problem: when
3293 constructing a score that includes a measured cadenza or other solo
3294 passage, all other instruments should skip just as many notes as the
3295 length of the cadenza, otherwise they will start too soon or too late.
3297 One solution to this problem is to use the functions
3298 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3299 functions take a defined piece of music as an argument and generate a
3300 multi-measure rest or @code{\skip} exactly as long as the piece.
3302 @lilypond[verbatim,quote]
3303 MyCadenza = \relative c' {
3314 #(ly:export (mmrest-of-length MyCadenza))
3316 #(ly:export (skip-of-length MyCadenza))
3331 @node Time administration
3332 @unnumberedsubsubsec Time administration
3334 @cindex time administration
3335 @cindex timing (within the score)
3336 @cindex music, unmetered
3337 @cindex unmetered music
3339 @funindex currentBarNumber
3340 @funindex measurePosition
3341 @funindex measureLength
3343 Time is administered by the @code{Timing_translator}, which by
3344 default is to be found in the @code{Score} context. An alias,
3345 @code{Timing}, is added to the context in which the
3346 @code{Timing_translator} is placed. To ensure that the
3347 @code{Timing} alias is available, you may need to explicitly
3348 instantiate the containing context (such as @code{Voice} or
3351 The following properties of @code{Timing} are used
3352 to keep track of timing within the score.
3355 @cindex measure number
3358 @item currentBarNumber
3359 The current measure number. For an example showing the
3360 use of this property see @ref{Bar numbers}.
3363 The length of the measures in the current time signature. For a
3364 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3365 determines when bar lines are inserted and how automatic beams
3366 should be generated.
3368 @item measurePosition
3369 The point within the measure where we currently are. This
3370 quantity is reset by subtracting @code{measureLength} whenever
3371 @code{measureLength} is reached or exceeded. When that happens,
3372 @code{currentBarNumber} is incremented.
3375 If set to true, the above variables are updated for every time
3376 step. When set to false, the engraver stays in the current
3377 measure indefinitely.
3381 Timing can be changed by setting any of these variables
3382 explicitly. In the next example, the default 4/4 time
3383 signature is printed, but @code{measureLength} is set to 5/4.
3384 At 4/8 through the third measure, the @code{measurePosition} is
3385 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3386 The next bar line then falls at 9/8 rather than 5/4.
3388 @lilypond[quote,verbatim]
3389 \new Voice \relative c' {
3390 \set Timing.measureLength = #(ly:make-moment 5 4)
3394 \set Timing.measurePosition = #(ly:make-moment 5 8)
3401 As the example illustrates, @code{ly:make-moment n m} constructs a
3402 duration of n/m of a whole note. For example,
3403 @code{ly:make-moment 1 8} is an eighth note duration and
3404 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3411 @ref{Unmetered music}.
3416 Internals Reference:
3417 @rinternals{Timing_translator},