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 dash
527 pattern definitions for slurs. For more information about complex dash
528 patterns, see @ref{Slurs}.
530 Override @var{whiteout} and @var{layer} layout properties for ties that
531 collide with other objects in a staff.
533 @lilypond[verbatim,quote,ragged-right,relative=2]
534 \override Tie #'layer = #-2
535 \override Staff.TimeSignature #'layer = #-1
536 \override Staff.KeySignature #'layer = #-1
537 \override Staff.TimeSignature #'whiteout = ##t
538 \override Staff.KeySignature #'whiteout = ##t
551 @code{\tieDashPattern},
552 @code{\tieHalfDashed},
553 @code{\tieHalfSolid},
559 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
560 {using-ties-with-arpeggios.ly}
562 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
563 {engraving-ties-manually.ly}
568 @rglos{laissez vibrer}.
572 @ref{Automatic note splitting}.
575 @rlsr{Expressive marks},
579 @rinternals{LaissezVibrerTie},
580 @rinternals{LaissezVibrerTieColumn},
581 @rinternals{TieColumn},
585 Switching staves when a tie is active will not produce a slanted tie.
587 Changing clefs or ottavations during a tie is not really well-defined.
588 In these cases, a slur may be preferable.
592 @subsection Writing rests
594 Rests are entered as part of the music in music expressions.
599 * Full measure rests::
603 @unnumberedsubsubsec Rests
606 @cindex rest, entering durations
621 Rests are entered like notes with the note name @code{r}.
622 Durations longer than a whole rest use the following predefined
625 @c \time 16/1 is used to avoid spurious bar lines
626 @c and long tracts of empty measures
627 @lilypond[quote,verbatim,relative=2]
629 % These two lines are just to prettify this example
631 \override Staff.TimeSignature #'stencil = ##f
632 % Print a maxima rest, equal to four breves
634 % Print a longa rest, equal to two breves
638 r1 r2 r4 r8 r16 r32 r64 r128
642 @cindex rest, multi-measure
643 @cindex rest, whole-measure
645 Whole measure rests, centered in the middle of the measure, must be
646 entered as multi-measure rests. They can be used for a single
647 measure as well as many measures and are discussed in
648 @ref{Full measure rests}.
650 @cindex rest, specifying vertical position
652 To explicitly specify a rest's vertical position, write a note
653 followed by @code{\rest}. A rest of the duration of the note will
654 be placed at the staff position where the note would appear. This
655 allows for precise manual formatting of polyphonic music, since the
656 automatic rest collision formatter will not move these rests.
658 @lilypond[quote,verbatim,relative=2]
664 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
675 @ref{Full measure rests}.
686 @c Deliberately duplicated in Durations and Rests. -gp
687 There is no fundamental limit to rest durations (both in terms of
688 longest and shortest), but the number of glyphs is limited: there
689 are rests from 128th to maxima (8 x whole).
692 @node Invisible rests
693 @unnumberedsubsubsec Invisible rests
696 @cindex invisible rest
697 @cindex rest, invisible
705 An invisible rest (also called a @q{spacer rest}) can be entered
706 like a note with the note name@tie{}@code{s}:
708 @lilypond[verbatim,quote,relative=2]
715 Spacer rests are available only in note mode and chord mode. In
716 other situations, for example, when entering lyrics, the
717 command @code{\skip} is used to skip a musical moment.
718 @code{\skip} requires an explicit duration, but this is ignored if
719 the lyrics derive their durations from the notes in an associated
720 melody through @code{\addlyrics} or @code{\lyricsto}.
722 @lilypond[quote,verbatim,relative=2]
735 Because @code{\skip} is a command, it does not affect the default
736 durations of following notes, unlike@tie{}@code{s}.
738 @lilypond[quote,verbatim,relative=2]
741 \repeat unfold 8 { a4 }
751 A spacer rest implicitly causes @code{Staff} and @code{Voice}
752 contexts to be created if none exist, just like notes and rests
755 @lilypond[quote,verbatim,relative=2]
759 @code{\skip} simply skips musical time; it creates no output of
762 @lilypond[quote,verbatim,relative=2]
763 % This is valid input, but does nothing
764 \skip 1 \skip1 \skip 1
770 @rlearning{Visibility and color of objects}.
774 @ref{Visibility of objects}.
780 @rinternals{SkipMusic}.
783 @node Full measure rests
784 @unnumberedsubsubsec Full measure rests
786 @cindex multi-measure rests
787 @cindex full-measure rests
788 @cindex rest, multi-measure
789 @cindex rest, full-measure
790 @cindex whole rest for a full measure
791 @cindex rest, whole for a full measure
795 Rests for one or more full measures are entered like notes with
796 the note name uppercase @code{R}:
798 @lilypond[quote,verbatim,relative=2]
799 % Rest measures contracted to single measure
800 \compressFullBarRests
807 The duration of full-measure rests is identical to the duration
808 notation used for notes. The duration in a multi-measure rest must
809 always be an integral number of measure-lengths, so augmentation dots
810 or fractions must often be used:
812 @lilypond[quote,verbatim,relative=2]
813 \compressFullBarRests
819 R1*13/8 | R1*13/8*12 |
824 A full-measure rest is printed as either a whole or breve rest,
825 centered in the measure, depending on the time signature.
827 @lilypond[quote,verbatim,relative=2]
836 @cindex multi-measure rest, expanding
837 @cindex multi-measure rest, contracting
839 @funindex \expandFullBarRests
840 @funindex expandFullBarRests
841 @funindex \compressFullBarRests
842 @funindex compressFullBarRests
844 By default a multi-measure rest is expanded in the printed score to
845 show all the rest measures explicitly. Alternatively, a multi-measure
846 rest can be shown as a single measure containing a multi-measure rest
847 symbol, with the number of measures of rest printed above the measure:
849 @lilypond[quote,verbatim,relative=2]
851 \time 3/4 r2. | R2.*2 |
854 % Rest measures contracted to single measure
855 \compressFullBarRests
857 % Rest measures expanded
864 @cindex text on multi-measure rest
865 @cindex multi-measure rest, attaching text
866 @cindex script on multi-measure rest
867 @cindex multi-measure rest, script
868 @cindex fermata on multi-measure rest
869 @cindex multi-measure rest, attaching fermata
870 @cindex markup on multi-measure rest
871 @cindex multi-measure rest with markup
873 @funindex \fermataMarkup
874 @funindex fermataMarkup
875 @funindex MultiMeasureRestText
877 Markups can be added to multi-measure rests.
878 The predefined command @code{\fermataMarkup}
879 is provided for adding fermatas.
881 @lilypond[quote,verbatim,relative=2]
882 \compressFullBarRests
884 R2.*10^\markup { \italic "ad lib." }
888 @warning{Markups attached to a multi-measure rest are objects of type
889 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
890 be directed to the correct object, or they will be ignored. See the
893 @lilypond[quote,verbatim,relative=2]
894 % This fails, as the wrong object name is specified
895 \override TextScript #'padding = #5
897 % This is the correct object name to be specified
898 \override MultiMeasureRestText #'padding = #5
902 When a multi-measure rest immediately follows a @code{\partial}
903 setting, resulting bar-check warnings may not be displayed.
906 @funindex \textLengthOn
907 @funindex textLengthOn
908 @funindex \textLengthOff
909 @funindex textLengthOff
910 @funindex \fermataMarkup
911 @funindex fermataMarkup
912 @funindex \compressFullBarRests
913 @funindex compressFullBarRests
914 @funindex \expandFullBarRests
915 @funindex expandFullBarRests
918 @code{\textLengthOn},
919 @code{\textLengthOff},
920 @code{\fermataMarkup},
921 @code{\compressFullBarRests},
922 @code{\expandFullBarRests}.
930 @cindex kirchenpausen
932 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
933 {changing-form-of-multi-measure-rests.ly}
935 @cindex multi-measure rests, positioning
936 @cindex positioning multi-measure rests
938 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
939 {positioning-multi-measure-rests.ly}
941 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
942 {multi-measure-rest-markup.ly}
947 @rglos{multi-measure rest}.
952 @ref{Formatting text},
959 @rinternals{MultiMeasureRest},
960 @rinternals{MultiMeasureRestNumber},
961 @rinternals{MultiMeasureRestText}.
964 @cindex fingerings and multi-measure rests
965 @cindex multi-measure rests and fingerings
968 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
969 in the fingering numeral colliding with the bar counter
972 @cindex condensing rests
973 @cindex rest, condensing ordinary
975 There is no way to automatically condense multiple ordinary rests
976 into a single multi-measure rest.
978 @cindex rest, collisions of
980 Multi-measure rests do not take part in rest collisions.
982 @node Displaying rhythms
983 @subsection Displaying rhythms
990 * Polymetric notation::
991 * Automatic note splitting::
992 * Showing melody rhythms::
996 @unnumberedsubsubsec Time signature
998 @cindex time signature
1004 The time signature is set as follows:
1006 @lilypond[quote,verbatim,relative=2]
1011 @cindex time signature, visibility of
1013 Time signatures are printed at the beginning of a piece
1014 and whenever the time signature changes. If a change takes place
1015 at the end of a line a warning time signature sign is printed
1016 there. This default behavior may be changed, see
1017 @ref{Visibility of objects}.
1019 @lilypond[quote,verbatim,relative=2]
1029 @cindex time signature style
1032 @funindex \numericTimeSignature
1033 @funindex numericTimeSignature
1034 @funindex \defaultTimeSignature
1035 @funindex defaultTimeSignature
1037 The time signature symbol that is used in 2/2 and 4/4 time can be
1038 changed to a numeric style:
1040 @lilypond[quote,verbatim,relative=2]
1044 % Change to numeric style
1045 \numericTimeSignature
1048 % Revert to default style
1049 \defaultTimeSignature
1055 Mensural time signatures are covered in
1056 @ref{Mensural time signatures}.
1058 @cindex time signature default settings
1059 @cindex autobeaming properties for time signatures
1060 @cindex beaming, time signature default properties
1061 @funindex \overrideTimeSignatureSettings
1063 In addition to setting the printed time signature, the @code{\time}
1064 command also sets time-signature-based default values for the properties
1065 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1066 predefined default values for these properties can be found in
1067 @file{scm/time-signature-settings.scm}. The existing default values can
1068 be changed, or new default values can be added:
1070 @lilypond[quote,verbatim]
1074 \overrideTimeSignatureSettings
1075 #'(4 . 4) % timeSignatureFraction
1076 #'(1 . 4) % baseMomentFraction
1077 #'(3 1) % beatStructure
1078 #'() % beamExceptions
1080 \repeat unfold 8 { c8 } |
1086 @code{\overrideTimeSignatureSettings} takes four arguments:
1091 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1095 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1096 and denominator of the basic timing unit for the time signature.
1099 @code{@var{beatStructure}}, a Scheme list indicating the structure
1100 of the beats in the measure, in units of the base moment.
1103 @code{@var{beamExceptions}}, an alist containing any beaming rules
1104 for the time signature that go beyond ending at every beat, as
1105 described in @ref{Setting automatic beam behavior}.
1108 The context containing @code{\overrideTimeSignatureSettings} must
1109 be instantiated before the @code{\overrideTimeSignatureSettings}
1110 call is executed. That means it must either be explicitly
1111 instantiated or there must be music in the context before the
1112 @code{\overrideTimeSignatureSettings} call:
1114 @lilypond[quote,verbatim]
1117 % This call will fail because the context isn't yet instantiated
1118 \overrideTimeSignatureSettings
1119 #'(4 . 4) % timeSignatureFraction
1120 #'(1 . 4) % baseMomentFraction
1121 #'(3 1) % beatStructure
1122 #'() % beamExceptions
1124 c8^\markup {"Beamed (2 2)"}
1125 \repeat unfold 7 { c8 } |
1126 % This call will succeed
1127 \overrideTimeSignatureSettings
1128 #'(4 . 4) % timeSignatureFraction
1129 #'(1 . 4) % baseMomentFraction
1130 #'(3 1) % beatStructure
1131 #'() % beamExceptions
1133 c8^\markup {"Beamed (3 1)"}
1134 \repeat unfold 7 { c8 } |
1140 @cindex time signature properties, restoring default values
1141 @cindex restoring default properties for time signatures
1142 @funindex \revertTimeSignatureSettings
1144 Changed values of default time signature properties can be restored
1145 to the original values:
1147 @lilypond[quote,verbatim]
1150 \repeat unfold 8 { c8 } |
1151 \overrideTimeSignatureSettings
1152 #'(4 . 4) % timeSignatureFraction
1153 #'(1 . 4) % baseMomentFraction
1154 #'(3 1) % beatStructure
1155 #'() % beamExceptions
1157 \repeat unfold 8 { c8 } |
1158 \revertTimeSignatureSettings #'(4 . 4)
1160 \repeat unfold 8 { c8 } |
1165 Different values of default time signature properties can be established
1166 for different staves by moving the @code{Timing_translator} and the
1167 @code{Default_bar_line_engraver} from the @code{Score} context to the
1168 @code{Staff} context.
1170 @lilypond[quote, verbatim]
1174 \overrideTimeSignatureSettings
1175 #'(4 . 4) % timeSignatureFraction
1176 #'(1 . 4) % baseMomentFraction
1177 #'(3 1) % beatStructure
1178 #'() % beamExceptions
1180 \repeat unfold 8 {c''8}
1183 \overrideTimeSignatureSettings
1184 #'(4 . 4) % timeSignatureFraction
1185 #'(1 . 4) % baseMomentFraction
1186 #'(1 3) % beatStructure
1187 #'() % beamExceptions
1189 \repeat unfold 8 {c''8}
1195 \remove "Timing_translator"
1196 \remove "Default_bar_line_engraver"
1200 \consists "Timing_translator"
1201 \consists "Default_bar_line_engraver"
1208 @code{\numericTimeSignature},
1209 @code{\defaultTimeSignature}.
1214 @lilypondfile[verbatim,quote,texidoc,doctitle]
1215 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1220 @rglos{time signature}
1223 @ref{Mensural time signatures},
1224 @ref{Time administration}.
1229 Internals Reference:
1230 @rinternals{TimeSignature},
1231 @rinternals{Timing_translator}.
1233 @node Metronome marks
1234 @unnumberedsubsubsec Metronome marks
1237 @cindex beats per minute
1238 @cindex metronome mark
1239 @cindex metronome marking with text
1244 A basic metronome mark is simple to write:
1246 @lilypond[verbatim,quote,relative=1]
1252 Metronome marks may also be printed as a range of two numbers:
1254 @lilypond[verbatim,quote,relative=1]
1260 Tempo indications with text can be used instead:
1262 @lilypond[verbatim,quote,relative=2]
1268 Combining a metronome mark and text will automatically place the
1269 metronome mark within parentheses:
1271 @lilypond[verbatim,quote,relative=2]
1272 \tempo "Allegro" 4 = 160
1277 In general, the text can be any markup object:
1279 @lilypond[verbatim,quote,relative=2]
1280 \tempo \markup { \italic Faster } 4 = 132
1281 a8-. r8 b-. r gis-. r a-. r
1284 A parenthesized metronome mark with no textual indication may be
1285 written by including an empty string in the input:
1287 @lilypond[verbatim,quote,relative=2]
1295 @lilypondfile[verbatim,quote,texidoc,doctitle]
1296 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1298 @c perhaps also an example of how to move it horizontally?
1300 @lilypondfile[verbatim,quote,texidoc,doctitle]
1301 {changing-the-tempo-without-a-metronome-mark.ly}
1303 @lilypondfile[verbatim,quote,texidoc,doctitle]
1304 {creating-metronome-marks-in-markup-mode.ly}
1306 For more details, see @ref{Formatting text}.
1312 @rglos{metronomic indication},
1313 @rglos{tempo indication},
1314 @rglos{metronome mark}.
1317 @ref{Formatting text},
1321 @rlsr{Staff notation}.
1323 Internals Reference:
1324 @rinternals{MetronomeMark}.
1328 @unnumberedsubsubsec Upbeats
1332 @cindex partial measure
1333 @cindex measure, partial
1334 @cindex measure, pickup
1335 @cindex pickup measure
1337 @funindex measurePosition
1341 Partial or pick-up measures, such as an @emph{anacrusis} or an
1342 @emph{upbeat}, are entered using the @code{\partial} command,
1345 \partial @var{duration}
1349 where @code{@var{duration}} is the @emph{remaining} length of the
1350 partial measure @emph{before} the start of the next full measure.
1352 @lilypond[quote,verbatim,relative=1]
1358 The @var{duration} can be any value less than a full measure:
1360 @lilypond[quote,verbatim,relative=1]
1363 r4 e8 | a4 c8 b c4 |
1366 The @code{\partial @var{duration}} can also be written as;
1369 \set Timing.measurePosition -@var{duration}
1372 So @code{\partial 8} becomes:
1374 @lilypond[quote,verbatim,relative=1]
1376 \set Timing.measurePosition = #(ly:make-moment -1 8)
1380 The property @code{measurePosition} contains a rational number
1381 indicating how much of the measure has passed at this point. Note
1382 that this is set to a negative number by the @code{\partial} command:
1383 i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
1384 meaning @qq{there is a quarter note left in the measure.}
1397 @rinternals{Timing_translator}.
1400 The @code{\partial} command should be used only at the beginning of a
1401 piece. If you use it after the beginning, warnings or problems may
1402 occur, so use @code{\set Timing.measurePosition} instead.
1404 @lilypond[quote,verbatim,relative=1]
1407 e8 | a4 c8 b[ c b] |
1408 \set Timing.measurePosition = #(ly:make-moment -1 4)
1409 r8 e,8 | a4 c8 b[ c b] |
1412 @node Unmetered music
1413 @unnumberedsubsubsec Unmetered music
1415 @cindex bar lines, turning off
1416 @cindex bar numbering, turning off
1418 @cindex unmetered music
1420 @funindex \cadenzaOn
1422 @funindex \cadenzaOff
1423 @funindex cadenzaOff
1425 Bar lines and bar numbers are calculated automatically. For
1426 unmetered music (some cadenzas, for example), this is not desirable.
1427 To turn off automatic calculation of bar lines and bar numbers,
1428 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1429 to turn them on again.
1431 @lilypond[verbatim,relative=2,quote]
1434 c4 c d8[ d d] f4 g4.
1440 Bar numbering is resumed at the end of the cadenza as if the
1441 cadenza were not there:
1443 @lilypond[verbatim,relative=2,quote]
1444 % Show all bar numbers
1445 \override Score.BarNumber #'break-visibility = #all-visible
1448 c4 c d8[ d d] f4 g4.
1454 @cindex beams, in cadenzas
1455 @cindex beams, in unmetered music
1456 @cindex cadenza, with beams
1457 @cindex unmetered music, with beams
1459 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1460 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1461 must be entered manually (@ref{Manual beams}).
1463 @lilypond[verbatim,relative=2,quote]
1464 \repeat unfold 8 { c8 }
1466 \repeat unfold 5 { c8 }
1469 \repeat unfold 8 { c8 }
1472 Note that these predefined commands affect all staves in the
1473 score, even when they are placed in just one @code{Voice}
1474 context. To change this, move the @code{Timing_translator}
1475 from the @code{Score} context to the @code{Staff} context, as
1476 shown in @ref{Polymetric notation}.
1489 @ref{Visibility of objects},
1490 @ref{Polymetric notation},
1497 @cindex cadenza line breaks
1498 @cindex cadenza page breaks
1499 @cindex unmetered music, line breaks
1500 @cindex unmetered music, page breaks
1501 @cindex breaks in unmetered music
1502 @cindex line breaks in cadenzas
1503 @cindex page breaks in cadenzas
1504 @cindex line breaks in unmetered music
1505 @cindex page breaks in unmetered music
1509 LilyPond will insert line breaks and page breaks only at a
1510 bar line. Unless the unmetered music ends before the end of the
1511 staff line, you will need to insert invisible bar lines with
1518 to indicate where breaks can occur.
1520 You should explicitly create a @code{Voice} context when starting a
1521 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1527 c16[^"Solo Free Time" d e f] g2.
1535 @node Polymetric notation
1536 @unnumberedsubsubsec Polymetric notation
1538 @c This section necessarily uses \set
1539 @c This is acceptable -td
1541 @cindex double time signatures
1542 @cindex signatures, polymetric
1543 @cindex time signatures, polymetric
1544 @cindex time signatures, double
1545 @cindex polymetric signatures
1546 @cindex meter, polymetric
1548 @funindex timeSignatureFraction
1549 @funindex \scaleDurations
1550 @funindex scaleDurations
1554 Polymetric notation is supported explicitly or by manually modifying the
1555 visible time signature symbol and/or scaling note durations.
1557 @subsubheading Different time signatures with equal-length measures
1559 Set a common time signature for each staff, and set the
1560 @code{timeSignatureFraction} to the desired fraction. Then use the
1561 @code{\scaleDurations} function to scale the durations of the notes in
1562 each staff to the common time signature.
1564 @cindex beams, with polymetric meters
1565 @cindex polymetric meters, with beams
1567 In the following example, music with the time signatures of 3/4, 9/8 and
1568 10/8 are used in parallel. In the second staff, shown durations are
1569 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1570 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1571 may be necessary to insert beams manually, as the duration scaling will
1572 affect the autobeaming rules.
1574 @lilypond[quote,verbatim]
1583 \set Staff.timeSignatureFraction = #'(9 . 8)
1584 \scaleDurations #'(2 . 3)
1585 \repeat unfold 6 { c8[ c c] }
1589 \set Staff.timeSignatureFraction = #'(10 . 8)
1590 \scaleDurations #'(3 . 5) {
1591 \repeat unfold 2 { c8[ c c] }
1592 \repeat unfold 2 { c8[ c] } |
1593 c4. c \times 2/3 { c8[ c c] } c4
1599 @subsubheading Different time signatures with unequal-length measures
1601 Each staff can be given its own independent time signature by
1602 moving the @code{Timing_translator} and the
1603 @code{Default_bar_line_engraver} to the @code{Staff} context.
1605 @lilypond[quote,verbatim]
1609 \remove "Timing_translator"
1610 \remove "Default_bar_line_engraver"
1614 \consists "Timing_translator"
1615 \consists "Default_bar_line_engraver"
1619 % Now each staff has its own time signature.
1643 @funindex \compoundMeter
1644 @cindex compound time signatures
1645 @cindex time signature, compound
1647 @subsubheading Compound time signatures
1649 These are created using the @code{\compoundMeter} function. The syntax
1653 \compoundMeter #'@code{(list of lists)}
1656 The simplest construction is a single list, where the @emph{last} number
1657 indicates the bottom number of the time signature and those that come
1658 before it, the top numbers.
1660 @lilypond[quote,verbatim]
1662 \compoundMeter #'((2 2 2 8))
1663 \repeat unfold 6 c8 \repeat unfold 12 c16
1667 More complex meters can be constructed using additional lists. Also,
1668 automatic beaming settings will be adjusted depending on the values.
1670 @lilypond[quote,verbatim]
1672 \compoundMeter #'((1 4) (3 8))
1673 \repeat unfold 5 c8 \repeat unfold 10 c16
1677 \compoundMeter #'((1 2 3 8) (3 4))
1678 \repeat unfold 12 c8
1685 @rglos{polymetric time signature},
1689 @ref{Automatic beams},
1691 @ref{Time signature},
1692 @ref{Scaling durations}.
1697 Internals Reference:
1698 @rinternals{TimeSignature},
1699 @rinternals{Timing_translator},
1700 @rinternals{Default_bar_line_engraver},
1705 When using different time signatures in parallel, notes at the same
1706 moment will be placed at the same horizontal location. However, the bar
1707 lines in the different staves will cause the note spacing to be less
1708 regular in each of the individual staves than would be normal without
1709 the different time signatures.
1711 @node Automatic note splitting
1712 @unnumberedsubsubsec Automatic note splitting
1714 @cindex notes, splitting
1715 @cindex splitting notes
1716 @cindex rests, splitting
1717 @cindex splitting rests
1719 @funindex Note_heads_engraver
1720 @funindex Completion_heads_engraver
1721 @funindex Completion_rest_engraver
1723 Long notes which overrun bar lines can be converted automatically to
1724 tied notes. This is done by replacing the @code{Note_heads_engraver}
1725 with the @code{Completion_heads_engraver}. Similarly, long rests which
1726 overrun bar lines are split automatically by replacing the
1727 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1728 following example, notes and rests crossing the bar lines are split,
1729 notes are also tied.
1731 @lilypond[quote,verbatim,relative=1]
1733 \remove "Note_heads_engraver"
1734 \consists "Completion_heads_engraver"
1735 \remove "Rest_engraver"
1736 \consists "Completion_rest_engraver"
1739 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1742 These engravers split all running notes and rests at the bar line, and
1743 inserts ties for notes. One of its uses is to debug complex scores: if
1744 the measures are not entirely filled, then the ties show exactly how
1745 much each measure is off.
1753 @rlearning{Engravers explained},
1754 @rlearning{Adding and removing engravers}.
1759 Internals Reference:
1760 @rinternals{Note_heads_engraver},
1761 @rinternals{Completion_heads_engraver},
1762 @rinternals{Rest_engraver},
1763 @rinternals{Completion_rest_engraver},
1764 @rinternals{Forbid_line_break_engraver}.
1769 Not all durations (especially those containing tuplets) can be
1770 represented exactly with normal notes and dots, but the
1771 @code{Completion_heads_engraver} will not insert tuplets.
1773 The @code{Completion_heads_engraver} only affects notes; it does not
1777 @node Showing melody rhythms
1778 @unnumberedsubsubsec Showing melody rhythms
1780 @cindex melody rhythms, showing
1781 @cindex rhythms, showing melody
1783 Sometimes you might want to show only the rhythm of a melody. This
1784 can be done with the rhythmic staff. All pitches of notes on such a
1785 staff are squashed, and the staff itself has a single line
1787 @lilypond[quote,relative=1,verbatim]
1789 \new RhythmicStaff {
1790 \new Voice = "myRhythm" {
1798 \lyricsto "myRhythm" {
1806 @cindex guitar chord charts
1807 @cindex strumming rhythms, showing
1808 @cindex guitar strumming rhythms, showing
1810 @funindex Pitch_squash_engraver
1811 @funindex \improvisationOn
1812 @funindex improvisationOn
1813 @funindex \improvisationOff
1814 @funindex improvisationOff
1816 Guitar chord charts often show the strumming rhythms. This can
1817 be done with the @code{Pitch_squash_engraver} and
1818 @code{\improvisationOn}.
1821 @lilypond[quote,verbatim]
1829 \consists Pitch_squash_engraver
1842 @code{\improvisationOn},
1843 @code{\improvisationOff}.
1849 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1850 {guitar-strum-rhythms.ly}
1857 Internals Reference:
1858 @rinternals{RhythmicStaff},
1859 @rinternals{Pitch_squash_engraver}.
1867 * Setting automatic beam behavior::
1872 @node Automatic beams
1873 @unnumberedsubsubsec Automatic beams
1875 By default, beams are inserted automatically:
1877 @cindex beams, manual
1878 @cindex manual beams
1879 @cindex beams, customizing rules
1881 @funindex \autoBeamOn
1882 @funindex autoBeamOn
1883 @funindex \autoBeamOff
1884 @funindex autoBeamOff
1886 @lilypond[quote,verbatim,relative=2]
1888 \time 6/8 c8 c c c8. c16 c8
1891 If these automatic decisions are not satisfactory, beaming can be
1892 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1893 entered manually if beams are to be extended over rests.
1895 If automatic beaming is not required, it may be turned off with
1896 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1898 @lilypond[quote,relative=1,verbatim]
1899 c4 c8 c8. c16 c8. c16 c8
1906 @cindex melismata, with beams
1907 @cindex beams, with melismata
1909 @warning{If beams are used to indicate melismata in songs, then
1910 automatic beaming should be switched off with @code{\autoBeamOff}
1911 and the beams indicated manually. Using @code{@bs{}partcombine} with
1912 @code{@bs{}autoBeamOff} can produce unintended results. See the
1913 snippets for more information.}
1915 Beaming patterns that differ from the automatic defaults can be
1916 created; see @ref{Setting automatic beam behavior}.
1919 @code{\autoBeamOff},
1923 @cindex beams, line breaks
1924 @cindex line breaks, beams
1925 @cindex beams, with knee gap
1926 @cindex knee gap, with beams
1930 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1931 {beams-across-line-breaks.ly}
1933 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1934 {changing-beam-knee-gap.ly}
1936 @cindex beams, \partcombine with \autoBeamOff
1937 @cindex voices, \partcombine with \autoBeamOff
1939 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1940 {partcombine-and-autobeamoff.ly}
1945 @ref{Setting automatic beam behavior}.
1948 @file{scm/auto-beam.scm}.
1953 Internals Reference:
1954 @rinternals{Auto_beam_engraver},
1955 @rinternals{Beam_engraver},
1957 @rinternals{BeamEvent},
1958 @rinternals{BeamForbidEvent},
1959 @rinternals{beam-interface},
1960 @rinternals{unbreakable-spanner-interface}.
1963 The properties of a beam are determined at the @emph{start} of its
1964 construction and any additional beam-property changes that occur before
1965 the beam has been completed will not take effect until the @emph{next},
1969 @node Setting automatic beam behavior
1970 @unnumberedsubsubsec Setting automatic beam behavior
1972 @cindex beams, with lyrics
1973 @cindex lyrics, with beams
1975 @funindex autoBeaming
1976 @funindex baseMoment
1977 @funindex beamExceptions
1978 @funindex beatStructure
1979 @funindex measureLength
1985 In most instances, automatic beams will end at the end of a beat.
1986 The ending points for beats are determined by the context properties
1987 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1988 is a scheme list that defines the length of each beat in the measure
1989 in units of @code{baseMoment}. By default, @code{baseMoment} is
1990 the one over numerator of the time signature. By default,
1991 each unit of length @code{baseMoment} is a single beat.
1993 @lilypond[quote,relative=2,verbatim]
1995 c16^"default" c c c c |
1996 \set Timing.beatStructure = #'(2 3)
1997 c16^"(2+3)" c c c c |
1998 \set Timing.beatStructure = #'(3 2)
1999 c16^"(3+2)" c c c c |
2002 Beam setting changes can be limited to specific contexts. If no
2003 setting is included in a lower-level context, the setting of the
2004 enclosing context will apply.
2006 @lilypond[quote, verbatim,relative=1]
2009 \set Staff.beatStructure = #'(2 3 2)
2019 \set Voice.beatStructure = #'(1 3 3)
2027 When multiple voices are used the @code{Staff} context must be
2028 specified if the beaming is to be applied to all voices in the
2031 @lilypond[quote,verbatim,relative=2]
2034 % Change applied to Voice by default -- does not work correctly
2035 % Because of autogenerated voices, all beating will
2036 % be at baseMoment (1 . 8)
2037 \set beatStructure = #'(3 1 1 2)
2038 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2040 % Works correctly with context Staff specified
2041 \set Staff.beatStructure = #'(3 1 1 2)
2042 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2045 The value of @code{baseMoment} can be adjusted to change
2046 the beaming behavior, if desired. When this is done,
2047 the value of @code{beatStructure} must be set to be
2048 compatible with the new value of @code{baseMoment}.
2050 @lilypond[quote,verbatim,relative=2]
2052 \set Timing.baseMoment = #(ly:make-moment 1 16)
2053 \set Timing.beatStructure = #'(7 3)
2054 \repeat unfold 10 { a16 }
2057 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2058 quantity of type @i{moment} is created by the scheme function
2059 @code{ly:make-moment}. For more information about this function,
2060 see @ref{Time administration}.
2062 By default @code{baseMoment} is set to one over the denominator of
2063 the time signature. Any exceptions to this default can be found in
2064 @file{scm/time-signature-settings.scm}.
2066 Special autobeaming rules (other than ending a beam on a beat)
2067 are defined in the @code{beamExceptions} property.
2069 @lilypond[quote,relative=2,verbatim]
2071 \set Timing.beatStructure = #'(2 1)
2072 \set Timing.beamExceptions =
2074 (end . ;entry for end of beams
2075 ( ;start of alist of end points
2076 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2077 ))) %close all entries
2079 \repeat unfold 6 { c32 } |
2082 @code{beamExceptions} is an alist with a key of rule-type and a value
2085 At this time the only available value of rule-type is
2086 @code{'end} for beam ending.
2088 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2089 beam type and the grouping to be applied to beams containing notes with
2090 a shortest duration of that beam type.
2093 #'((beam-type1 . grouping-1)
2094 (beam-type2 . grouping-2)
2095 (beam-type3 . grouping-3))
2098 Beam type is a scheme pair indicating the duration of the beam,
2099 e.g., @code{(1 . 16)}.
2101 Grouping is a scheme list indicating the grouping to be applied to
2102 the beam. The grouping is in units of the beam type.
2104 @warning{ A @code{beamExceptions} value must be @emph{complete}
2105 exceptions list. That is, every exception that should be applied
2106 must be included in the setting. It is not possible to add, remove,
2107 or change only one of the exceptions. While this may seem cumbersome,
2108 it means that the current beaming settings need not be known in order
2109 to specify a new beaming pattern.}
2111 When the time signature is changed, default values of
2112 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2113 and @code{Timing.beamExceptions} are set. Setting the time signature
2114 will reset the automatic beaming settings for the @code{Timing}
2115 context to the default behavior.
2117 @lilypond[quote,verbatim,relative=2]
2119 \repeat unfold 6 { a8 }
2121 \set Timing.beatStructure = #'(4 2)
2122 \repeat unfold 6 { a8 }
2123 % go back to default behavior
2125 \repeat unfold 6 { a8 }
2128 The default automatic beaming settings for a time signature
2129 are determined in @file{scm/time-signature-settings.scm}.
2130 Changing the default automatic beaming settings
2131 for a time signature is described in @ref{Time signature}.
2133 Many automatic beaming settings for a time signature contain an
2134 entry for @code{beamExceptions}. For example, 4/4 time tries to
2135 beam the measure in two if there are only eighth notes. The
2136 @code{beamExceptions} rule can override the @code{beatStructure} setting
2137 if @code{beamExceptions} is not reset.
2139 @lilypond[quote,verbatim,relative=2]
2141 \set Timing.baseMoment = #(ly:make-moment 1 8)
2142 \set Timing.beatStructure = #'(3 3 2)
2143 % This won't beam (3 3 2) because of beamExceptions
2144 \repeat unfold 8 {c8} |
2145 % This will beam (3 3 2) because we clear beamExceptions
2146 \set Timing.beamExceptions = #'()
2147 \repeat unfold 8 {c8}
2150 In traditional engraving, eighth notes can have special beaming rules.
2151 A measure consisting of only eighth notes can be beamed in one. This rule is
2152 controlled by the context property @code{beamWholeMeasure}:
2154 @lilypond[quote,verbatim,relative=2]
2156 % By default we beam in one
2157 \repeat unfold 6 { a8 }
2158 % We can avoid beaming in one
2159 \set Timing.beamWholeMeasure = ##f
2160 \repeat unfold 6 { a8 }
2163 In some engraving from the Romantic and Classical periods,
2164 a half-measure of eighth notes can be beamed
2165 together even though this violates the general rule (see Gould, p. 153).
2166 This behavior is controlled by the context property @code{beamHalfMeasure}:
2168 @lilypond[quote,verbatim,relative=2]
2170 % By default we avoid half-measure beams
2172 % We can allow half-measure beams
2173 \set Timing.beamHalfMeasure = ##t
2177 @i{@strong{How automatic beaming works}}
2179 When automatic beaming is enabled, the placement of automatic beams
2180 is determined by the context properties
2181 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2183 The following rules, in order of priority, apply when determining
2184 the appearance of beams:
2188 If a manual beam is specified with @code{[..]} set the beam
2189 as specified, otherwise
2192 if a beam-ending rule is defined in @code{beamExceptions}
2193 for the beam-type, use it to determine the valid places where
2194 beams may end, otherwise
2197 if a beam-ending rule is defined in @code{beamExceptions}
2198 for a longer beam-type, use it to determined the valid places
2199 where beams may end, otherwise
2202 use the values of @code{baseMoment} and @code{beatStructure} to
2203 determine the ends of the beats in the measure, and
2204 end beams at the end of beats.
2208 In the rules above, the @emph{beam-type} is the duration of the
2209 shortest note in the beamed group.
2211 The default beaming rules can be found in
2212 @file{scm/time-signature-settings.scm}.
2216 @cindex beams, subdividing
2218 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2219 {subdividing-beams.ly}
2221 @cindex beamlets, orienting
2223 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2224 {strict-beat-beaming.ly}
2226 @cindex measure groupings
2227 @cindex beats, grouping
2228 @cindex grouping beats
2229 @cindex measure sub-grouping
2231 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2232 {conducting-signs,-measure-grouping-signs.ly}
2234 @cindex beam, endings in a score
2235 @cindex beam, endings with multiple voices
2237 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2238 {beam-endings-in-score-context.ly}
2243 @file{scm/beam-settings.scm}.
2248 Internals Reference:
2249 @rinternals{Auto_beam_engraver},
2251 @rinternals{BeamForbidEvent},
2252 @rinternals{beam-interface}.
2256 If a score ends while an automatic beam has not been ended and is
2257 still accepting notes, this last beam will not be typeset at all.
2258 The same holds for polyphonic voices, entered with
2259 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2260 automatic beam is still accepting notes, it is not typeset.
2261 The workaround for these problems is to manually beam the last
2262 beam in the voice or score.
2264 By default, the @code{Timing} translator is aliased to the
2265 @code{Score} context. This means that setting the time signature
2266 in one staff will affect the beaming of the other staves as well.
2267 Thus, a time signature setting in a later staff will reset custom
2268 beaming that was set in an earlier staff.
2269 One way to avoid this problem is to set the time signature
2272 @lilypond[quote,verbatim,relative=2]
2276 \set Timing.baseMoment = #(ly:make-moment 1 8)
2277 \set Timing.beatStructure = #'(1 5)
2278 \repeat unfold 6 { a8 }
2281 \repeat unfold 6 { a8 }
2286 The default beam settings for the time signature can also be changed, so
2287 that the desired beaming will always be used. Changes in automatic
2288 beaming settings for a time signature are described in
2289 @ref{Time signature}.
2291 @lilypond[quote,verbatim,relative=2]
2294 \overrideTimeSignatureSettings
2295 #'(3 . 4) % timeSignatureFraction
2296 #'(1 . 8) % baseMomentFraction
2297 #'(1 5) % beatStructure
2298 #'() % beamExceptions
2300 \repeat unfold 6 { a8 }
2304 \repeat unfold 6 { a8 }
2310 @unnumberedsubsubsec Manual beams
2312 @cindex beams, manual
2313 @cindex manual beams
2318 In some cases it may be necessary to override the automatic
2319 beaming algorithm. For example, the autobeamer will not put beams
2320 over rests or bar lines, and in choral scores the beaming is
2321 often set to follow the meter of the lyrics rather than the
2322 notes. Such beams can be specified manually by
2323 marking the begin and end point with @code{[} and @code{]}.
2325 @lilypond[quote,relative=1,verbatim]
2326 r4 r8[ g' a r] r g[ | a] r
2329 @cindex manual beams, direction shorthand for
2330 @cindex manual beams, grace notes
2332 Beaming direction can be set manually using direction indicators:
2334 @lilypond[quote,relative=2,verbatim]
2335 c8^[ d e] c,_[ d e f g]
2341 Individual notes may be marked with @code{\noBeam} to prevent them
2344 @lilypond[quote,verbatim,relative=2]
2349 Grace note beams and normal note beams can occur simultaneously.
2350 Unbeamed grace notes are not put into normal note beams.
2352 @lilypond[quote,verbatim,relative=2]
2354 \grace { e32[ d c d] }
2360 @funindex stemLeftBeamCount
2361 @funindex stemRightBeamCount
2363 Even more strict manual control with the beams can be achieved by
2364 setting the properties @code{stemLeftBeamCount} and
2365 @code{stemRightBeamCount}. They specify the number of beams to
2366 draw on the left and right side, respectively, of the next note.
2367 If either property is set, its value will be used only once, and
2368 then it is erased. In this example, the last @code{f} is printed
2369 with only one beam on the left side, i.e., the eighth-note beam of
2370 the group as a whole.
2372 @lilypond[quote,relative=2,verbatim]
2375 \set stemLeftBeamCount = #2
2376 \set stemRightBeamCount = #1
2378 \set stemLeftBeamCount = #1
2390 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2391 {flat-flags-and-beam-nibs.ly}
2396 @ref{Direction and placement},
2402 Internals Reference:
2404 @rinternals{BeamEvent},
2405 @rinternals{Beam_engraver},
2406 @rinternals{beam-interface},
2407 @rinternals{Stem_engraver}.
2410 @node Feathered beams
2411 @unnumberedsubsubsec Feathered beams
2413 @cindex beams, feathered
2414 @cindex feathered beams
2416 @funindex \featherDurations
2417 @funindex featherDurations
2418 @funindex grow-direction
2420 Feathered beams are used to indicate that a small group of notes
2421 should be played at an increasing (or decreasing) tempo, without
2422 changing the overall tempo of the piece. The extent of the
2423 feathered beam must be indicated manually using @code{[} and
2424 @code{]}, and the beam feathering is turned on by specifying a
2425 direction to the @code{Beam} property @code{grow-direction}.
2427 If the placement of the notes and the sound in the MIDI output is to
2428 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2429 feathered beam the notes must be grouped as a music expression delimited
2430 by braces and preceded by a @code{featherDurations} command which specifies
2431 the ratio between the durations of the first and last notes in the
2434 The square brackets show the extent of the beam and the braces show
2435 which notes are to have their durations modified. Normally these
2436 would delimit the same group of notes, but this is not required: the
2437 two commands are independent.
2439 In the following example the eight 16th notes occupy exactly the
2440 same time as a half note, but the first note is one half as long
2441 as the last one, with the intermediate notes gradually
2442 lengthening. The first four 32nd notes gradually speed up, while
2443 the last four 32nd notes are at a constant tempo.
2445 @lilypond[relative=1,verbatim,quote]
2446 \override Beam #'grow-direction = #LEFT
2447 \featherDurations #(ly:make-moment 2 1)
2448 { c16[ c c c c c c c] }
2449 \override Beam #'grow-direction = #RIGHT
2450 \featherDurations #(ly:make-moment 2 3)
2452 % revert to non-feathered beams
2453 \override Beam #'grow-direction = #'()
2458 The spacing in the printed output represents the
2459 note durations only approximately, but the MIDI output is exact.
2463 @code{\featherDurations}.
2473 The @code{\featherDurations} command only works with very short
2474 music snippets, and when numbers in the fraction are small.
2484 * Bar and bar number checks::
2489 @unnumberedsubsubsec Bar lines
2492 @cindex measure lines
2493 @cindex closing bar lines
2494 @cindex bar lines, closing
2495 @cindex double bar lines
2496 @cindex bar lines, double
2502 Bar lines delimit measures, and are also used to indicate
2503 repeats. Normally, simple bar lines are automatically inserted
2504 into the printed output at places based on the current time
2507 The simple bar lines inserted automatically can be changed to
2508 other types with the @code{\bar} command. For example, a closing
2509 double bar line is usually placed at the end of a piece:
2511 @lilypond[quote,relative=1,verbatim]
2515 It is not invalid if the final note in a measure does not
2516 end on the automatically entered bar line: the note is assumed
2517 to carry over into the next measure. But if a long sequence
2518 of such carry-over measures appears the music can appear compressed
2519 or even flowing off the page. This is because automatic line
2520 breaks happen only at the end of complete measures, i.e., where
2521 all notes end before the end of a measure.
2523 @warning{An incorrect duration can cause line breaks to be
2524 inhibited, leading to a line of highly compressed music or
2525 music which flows off the page.}
2528 @cindex bar lines, invisible
2529 @cindex measure lines, invisible
2531 Line breaks are also permitted at manually inserted bar lines
2532 even within incomplete measures. To allow a line break without
2533 printing a bar line, use the following:
2540 This will insert an invisible bar line and allow (but not
2541 force) a line break to occur at this point. The bar number
2542 counter is not increased. To force a line break see
2543 @ref{Line breaking}.
2545 @cindex manual bar lines
2546 @cindex manual measure lines
2547 @cindex bar lines, manual
2548 @cindex measure lines, manual
2550 This and other special bar lines may be inserted manually at any
2551 point. When they coincide with the end of a measure they replace
2552 the simple bar line which would have been inserted there
2553 automatically. When they do not coincide with the end of a measure
2554 the specified bar line is inserted at that point in the printed
2557 Note that manual bar lines are purely visual. They do not affect
2558 any of the properties that a normal bar line would affect, such as
2559 measure numbers, accidentals, line breaks, etc. They do not affect
2560 the calculation and placement of subsequent automatic bar lines.
2561 When a manual bar line is placed where a normal bar line already
2562 exists, the effects of the original bar line are not altered.
2564 Two types of simple bar lines and five types of double bar lines are
2565 available for manual insertion:
2567 @lilypond[quote,relative=1,verbatim]
2579 together with dotted and dashed bar lines:
2581 @lilypond[quote,relative=1,verbatim]
2588 and five types of repeat bar line:
2590 @lilypond[quote,relative=1,verbatim]
2599 Additionally, a bar line can be printed as a simple tick:
2600 @lilypond[quote,relative=1,verbatim]
2603 However, as such ticks are typically used in Gregorian chant, it is
2604 preferable to use @code{\divisioMinima} there instead, described in
2605 the section @ref{Divisiones} in Gregorian chant.
2609 For in-line segno signs, there are three types of bar lines which
2610 differ in their behavior at line breaks:
2612 @lilypond[quote,relative=2,verbatim]
2630 Although the bar line types signifying repeats may be inserted
2631 manually they do not in themselves cause LilyPond to recognize
2632 a repeated section. Such repeated sections are better entered
2633 using the various repeat commands (see @ref{Repeats}), which
2634 automatically print the appropriate bar lines.
2636 In addition, you can specify @code{"||:"}, which is equivalent to
2637 @code{"|:"} except at line breaks, where it gives a double bar
2638 line at the end of the line and a start repeat at the beginning of
2641 @lilypond[quote,relative=2,verbatim]
2649 For combinations of repeats with the segno sign, there are six different
2652 @lilypond[quote,relative=2,verbatim]
2681 In scores with many staves, a @code{\bar} command in one staff is
2682 automatically applied to all staves. The resulting bar lines are
2683 connected between different staves of a @code{StaffGroup},
2684 @code{PianoStaff}, or @code{GrandStaff}.
2686 @lilypond[quote,relative=1,verbatim]
2694 \new Staff { \clef bass c4 g e g }
2696 \new Staff { \clef bass c2 c2 }
2701 @cindex default bar lines, changing
2702 @cindex bar lines, default, changing
2707 @funindex defaultBarType
2712 The command @samp{\bar @var{bartype}} is a shortcut for
2713 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2714 created whenever the @code{whichBar} property is set.
2716 The default bar type used for automatically inserted bar lines is
2717 @code{"|"}. This may be changed at any time with
2718 @samp{\set Timing.defaultBarType = @var{bartype}}.
2723 @ref{Line breaking},
2725 @ref{Grouping staves}.
2730 Internals Reference:
2731 @rinternals{BarLine} (created at @code{Staff} level),
2732 @rinternals{SpanBar} (across staves),
2733 @rinternals{Timing_translator} (for Timing properties).
2737 @unnumberedsubsubsec Bar numbers
2740 @cindex measure numbers
2741 @cindex numbers, bar
2742 @cindex numbers, measure
2744 @funindex currentBarNumber
2746 Bar numbers are typeset by default at the start of every line except
2747 the first line. The number itself is stored in the
2748 @code{currentBarNumber} property, which is normally updated
2749 automatically for every measure. It may also be set manually:
2751 @lilypond[verbatim,quote,relative=1]
2754 \set Score.currentBarNumber = #50
2758 @cindex bar numbers, regular spacing
2760 @funindex barNumberVisibility
2763 Bar numbers can be typeset at regular intervals instead of just at
2764 the beginning of every line. To do this the default behavior
2765 must be overridden to permit bar numbers to be printed at places
2766 other than the start of a line. This is controlled by the
2767 @code{break-visibility} property of @code{BarNumber}. This takes
2768 three values which may be set to @code{#t} or @code{#f} to specify
2769 whether the corresponding bar number is visible or not. The order
2770 of the three values is @code{end of line visible}, @code{middle of
2771 line visible}, @code{beginning of line visible}. In the following
2772 example bar numbers are printed at all possible places:
2774 @lilypond[verbatim,quote,relative=1]
2775 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2776 \set Score.currentBarNumber = #11
2777 % Permit first bar number to be printed
2785 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2786 {printing-the-bar-number-for-the-first-measure.ly}
2788 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2789 {printing-bar-numbers-at-regular-intervals.ly}
2791 @cindex measure number, format
2792 @cindex bar number, format
2794 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2795 {printing-bar-numbers-inside-boxes-or-circles.ly}
2797 @cindex bar numbers, with letters
2798 @cindex bar numbers, with repeats
2800 @lilypondfile[verbatim,quote,texidoc,doctitle]
2801 {alternative-bar-numbering.ly}
2803 @cindex bar number alignment
2805 @lilypondfile[verbatim,quote,texidoc,doctitle]
2806 {aligning-bar-numbers.ly}
2808 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2809 {removing-bar-numbers-from-a-score.ly}
2815 Internals Reference:
2816 @rinternals{BarNumber},
2817 @rinternals{Bar_number_engraver}.
2819 @cindex bar number collision
2820 @cindex collision, bar number
2823 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2824 if there is one. To solve this, the @code{padding} property of
2825 @code{BarNumber} can be used to position the number correctly. See
2826 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2829 @node Bar and bar number checks
2830 @unnumberedsubsubsec Bar and bar number checks
2833 @cindex bar number check
2834 @cindex measure check
2835 @cindex measure number check
2837 @funindex barCheckSynchronize
2840 Bar checks help detect errors in the entered durations. A bar check
2841 may be entered using the bar symbol, @code{|}, at any place where a
2842 bar line is expected to fall. If bar check lines are encountered at
2843 other places, a list of warnings is printed in the log file, showing
2844 the line numbers and lines in which the bar checks failed. In the
2845 next example, the second bar check will signal an error.
2848 \time 3/4 c2 e4 | g2 |
2851 Bar checks can also be used in lyrics:
2856 Twin -- kle | Twin -- kle |
2860 An incorrect duration can result in a completely garbled score,
2861 especially if the score is polyphonic, so a good place to start
2862 correcting input is by scanning for failed bar checks and
2863 incorrect durations.
2865 If successive bar checks are off by the same musical interval,
2866 only the first warning message is displayed. This allows the
2867 warning to focus on the source of the timing error.
2871 @funindex pipeSymbol
2873 It is also possible to redefine the action taken when a bar check
2874 or pipe symbol, @code{|}, is encountered in the input, so that
2875 it does something other than a bar check. This is done by
2876 assigning a music expression to @code{pipeSymbol}.
2877 In the following example @code{|} is set to insert a double bar
2878 line wherever it appears in the input, rather than checking
2881 @lilypond[quote,verbatim]
2882 pipeSymbol = \bar "||"
2891 @funindex \barNumberCheck
2892 @funindex barNumberCheck
2894 When copying large pieces of music, it can be helpful to check that
2895 the LilyPond bar number corresponds to the original that you are
2896 entering from. This can be checked with @code{\barNumberCheck}, for
2900 \barNumberCheck #123
2904 will print a warning if the @code{currentBarNumber} is not 123
2905 when it is processed.
2913 @node Rehearsal marks
2914 @unnumberedsubsubsec Rehearsal marks
2916 @cindex rehearsal marks
2917 @cindex mark, rehearsal
2922 To print a rehearsal mark, use the @code{\mark} command.
2924 @lilypond[quote,verbatim,relative=2]
2932 The mark is incremented automatically if you use @code{\mark
2933 \default}, but you can also use an integer argument to set the
2934 mark manually. The value to use is stored in the property
2935 @code{rehearsalMark}.
2937 @lilypond[quote,verbatim,relative=2]
2946 The letter@tie{}@q{I} is skipped in accordance with engraving
2947 traditions. If you wish to include the letter @q{I}, then use one
2948 of the following commands, depending on which style of rehearsal mark
2949 you want (letters only, letters in a hollow box, or letters in a
2953 \set Score.markFormatter = #format-mark-alphabet
2954 \set Score.markFormatter = #format-mark-box-alphabet
2955 \set Score.markFormatter = #format-mark-circle-alphabet
2958 @lilypond[quote,verbatim,relative=2]
2959 \set Score.markFormatter = #format-mark-box-alphabet
2967 @cindex rehearsal mark format
2968 @cindex rehearsal mark style
2969 @cindex style, rehearsal mark
2970 @cindex format, rehearsal mark
2971 @cindex mark, rehearsal, style
2972 @cindex mark, rehearsal, format
2973 @cindex rehearsal mark, manual
2974 @cindex mark, rehearsal, manual
2975 @cindex custom rehearsal mark
2976 @cindex manual rehearsal mark
2978 The style is defined by the property @code{markFormatter}. It is
2979 a function taking the current mark (an integer) and the current
2980 context as argument. It should return a markup object. In the
2981 following example, @code{markFormatter} is set to a pre-defined
2982 procedure. After a few measures, it is set to a procedure that
2983 produces a boxed number.
2985 @lilypond[quote,verbatim,relative=2]
2986 \set Score.markFormatter = #format-mark-numbers
2989 \set Score.markFormatter = #format-mark-box-numbers
2991 \set Score.markFormatter = #format-mark-circle-numbers
2993 \set Score.markFormatter = #format-mark-circle-letters
2997 The file @file{scm/translation-functions.scm} contains the
2998 definitions of @code{format-mark-numbers} (the default format),
2999 @code{format-mark-box-numbers}, @code{format-mark-letters} and
3000 @code{format-mark-box-letters}. These can be used as inspiration
3001 for other formatting functions.
3003 You may use @code{format-mark-barnumbers},
3004 @code{format-mark-box-barnumbers}, and
3005 @code{format-mark-circle-barnumbers} to get bar numbers instead of
3006 incremented numbers or letters.
3008 Other styles of rehearsal mark can be specified manually:
3015 Note that @code{Score.markFormatter} does not affect marks specified
3016 in this manner. However, it is possible to apply a @code{\markup} to the
3020 \mark \markup@{ \box A1 @}
3025 @cindex D.S. al Fine
3027 @cindex music glyphs
3028 @cindex glyphs, music
3030 @funindex \musicglyph
3031 @funindex musicglyph
3033 Music glyphs (such as the segno sign) may be printed inside a
3036 @lilypond[quote,verbatim,relative=1]
3037 c1 \mark \markup { \musicglyph #"scripts.segno" }
3038 c1 \mark \markup { \musicglyph #"scripts.coda" }
3039 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3044 See @ref{The Feta font}, for a list of symbols which may be
3045 printed with @code{\musicglyph}.
3047 For common tweaks to the positioning of rehearsal marks, see
3048 @ref{Formatting text}. For more precise control, see
3049 @code{break-alignable-interface} in @ref{Aligning objects}.
3054 @ref{The Feta font},
3055 @ref{Formatting text},
3056 @ref{Aligning objects}.
3059 @file{scm/translation-functions.scm} contains
3060 the definitions of @code{format-mark-numbers} and
3061 @code{format-mark-letters}. They can be used as inspiration for
3062 other formatting functions.
3067 Internals Reference:
3068 @rinternals{MarkEvent},
3069 @rinternals{Mark_engraver},
3070 @rinternals{RehearsalMark}.
3073 @node Special rhythmic concerns
3074 @subsection Special rhythmic concerns
3079 * Aligning to cadenzas::
3080 * Time administration::
3084 @unnumberedsubsubsec Grace notes
3088 @cindex appoggiatura
3089 @cindex acciaccatura
3092 @funindex \slashedGrace
3093 @funindex \acciaccatura
3094 @funindex \appoggiatura
3096 Grace notes are musical ornaments, printed in a smaller font, that take
3097 up no additional logical time in a measure.
3099 @lilypond[quote,relative=2,verbatim]
3101 \grace { b16[ c16] } a2)
3104 There are three other types of grace notes possible; the
3105 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3106 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3107 fixed fraction of the main note it is attached to and prints without the
3108 slash. It is also possible to write a grace note with a slashed stem,
3109 like the @emph{acciaccatura} but without the slur, so as to place it
3110 between notes that are slurred themselves, using the
3111 @code{\slashedGrace} function.
3113 @lilypond[quote,relative=2,verbatim]
3116 \acciaccatura { g16[ f] } e2
3117 \slashedGrace a,8 g4
3118 \slashedGrace b16 a4(
3119 \slashedGrace b8 a2)
3122 The placement of grace notes is synchronized between different staves.
3123 In the following example, there are two sixteenth grace notes for every
3126 @lilypond[quote,relative=2,verbatim]
3128 \new Staff { e2 \grace { c16[ d e f] } e2 }
3129 \new Staff { c2 \grace { g8[ b] } c2 }
3133 @cindex grace notes, following
3135 @funindex \afterGrace
3136 @funindex afterGrace
3138 If you want to end a note with a grace, use the @code{\afterGrace}
3139 command. It takes two arguments: the main note, and the grace
3140 notes following the main note.
3142 @lilypond[quote,verbatim,relative=2]
3143 c1 \afterGrace d1 { c16[ d] } c1
3146 This will put the grace notes after a space lasting 3/4 of the
3147 length of the main note. The default fraction 3/4 can be changed by
3148 setting @code{afterGraceFraction}. The following example shows
3149 the results from setting the space at the default, at 15/16, and
3150 finally at 1/2 of the main note.
3152 @lilypond[quote,verbatim,relative=2]
3155 c1 \afterGrace d1 { c16[ d] } c1
3158 #(define afterGraceFraction (cons 15 16))
3159 c1 \afterGrace d1 { c16[ d] } c1
3162 #(define afterGraceFraction (cons 1 2))
3163 c1 \afterGrace d1 { c16[ d] } c1
3168 The space between the main note and the grace note may also be
3169 specified using spacers. The following example places the grace
3170 note after a space lasting 7/8 of the main note.
3172 @lilypond[quote,verbatim,relative=2]
3176 { s2 s4. \grace { c16[ d] } }
3182 @cindex tweaking grace notes
3183 @cindex grace notes, tweaking
3184 @cindex grace notes, changing layout settings
3186 A @code{\grace} music expression will introduce special
3187 typesetting settings, for example, to produce smaller type, and
3188 set directions. Hence, when introducing layout tweaks to
3189 override the special settings, they should be placed inside
3190 the grace expression. The overrides should also be reverted
3191 inside the grace expression. Here, the grace note's default stem
3192 direction is overridden and then reverted.
3194 @lilypond[quote,verbatim,relative=2]
3206 @cindex stem, with slash
3211 @lilypondfile[verbatim,quote,texidoc,doctitle]
3212 {using-grace-note-slashes-with-normal-heads.ly}
3214 @lilypondfile[verbatim,quote,texidoc,doctitle]
3215 {tweaking-grace-layout-within-music.ly}
3217 @lilypondfile[verbatim,quote,texidoc,doctitle]
3218 {redefining-grace-note-global-defaults.ly}
3220 @lilypondfile[verbatim,quote,texidoc,doctitle]
3221 {positioning-grace-notes-with-floating-space.ly}
3226 @rglos{grace notes},
3227 @rglos{acciaccatura},
3228 @rglos{appoggiatura}.
3234 @file{ly/grace-init.ly}.
3239 Internals Reference:
3240 @rinternals{GraceMusic},
3241 @rinternals{Grace_beam_engraver},
3242 @rinternals{Grace_engraver},
3243 @rinternals{Grace_spacing_engraver}.
3248 @cindex acciaccatura, multi-note
3249 @cindex multi-note acciaccatura
3250 @cindex grace-note synchronization
3252 A multi-note beamed @i{acciaccatura} is printed without a slash,
3253 and looks exactly the same as a multi-note beamed
3256 @c TODO Add link to LSR snippet to add slash when available
3258 Grace note synchronization can also lead to surprises. Staff
3259 notation, such as key signatures, bar lines, etc., are also
3260 synchronized. Take care when you mix staves with grace notes and
3261 staves without, for example,
3263 @lilypond[quote,relative=2,verbatim]
3265 \new Staff { e4 \bar "|:" \grace c16 d2. }
3266 \new Staff { c4 \bar "|:" d2. }
3271 This can be remedied by inserting grace skips of the corresponding
3272 durations in the other staves. For the above example
3274 @lilypond[quote,relative=2,verbatim]
3276 \new Staff { e4 \bar "|:" \grace c16 d2. }
3277 \new Staff { c4 \bar "|:" \grace s16 d2. }
3281 The use of grace notes within voice contexts confuses the way the voice
3282 is typeset. This can be overcome by inserting a rest or note between the
3283 voice command and the grace note.
3285 @lilypond[quote,verbatim]
3287 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3294 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3295 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3300 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3301 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3308 Grace sections should only be used within sequential music expressions.
3309 Nesting or juxtaposing grace sections is not supported, and might
3310 produce crashes or other errors.
3312 Each grace note in MIDI output has a length of 1/4 of its actual
3313 duration. If the combined length of the grace notes is greater than the
3314 length of the preceding note a @qq{@code{Going back in MIDI time}}
3315 error will be generated. Either make the grace notes shorter in
3316 duration, for example:
3319 \acciaccatura @{ c'8[ d' e' f' g'] @}
3325 \acciaccatura @{ c'16[ d' e' f' g'] @}
3328 Or explicitly change the musical duration:
3331 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3334 See @ref{Scaling durations}.
3337 @node Aligning to cadenzas
3338 @unnumberedsubsubsec Aligning to cadenzas
3341 @cindex cadenza, aligning to
3342 @cindex aligning to cadenza
3344 In an orchestral context, cadenzas present a special problem: when
3345 constructing a score that includes a measured cadenza or other solo
3346 passage, all other instruments should skip just as many notes as the
3347 length of the cadenza, otherwise they will start too soon or too late.
3349 One solution to this problem is to use the functions
3350 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3351 functions take a defined piece of music as an argument and generate a
3352 multi-measure rest or @code{\skip} exactly as long as the piece.
3354 @lilypond[verbatim,quote]
3355 MyCadenza = \relative c' {
3366 $(mmrest-of-length MyCadenza)
3368 $(skip-of-length MyCadenza)
3383 @node Time administration
3384 @unnumberedsubsubsec Time administration
3386 @cindex time administration
3387 @cindex timing (within the score)
3388 @cindex music, unmetered
3389 @cindex unmetered music
3391 @funindex currentBarNumber
3392 @funindex measurePosition
3393 @funindex measureLength
3395 Time is administered by the @code{Timing_translator}, which by
3396 default is to be found in the @code{Score} context. An alias,
3397 @code{Timing}, is added to the context in which the
3398 @code{Timing_translator} is placed. To ensure that the
3399 @code{Timing} alias is available, you may need to explicitly
3400 instantiate the containing context (such as @code{Voice} or
3403 The following properties of @code{Timing} are used
3404 to keep track of timing within the score.
3407 @cindex measure number
3410 @item currentBarNumber
3411 The current measure number. For an example showing the
3412 use of this property see @ref{Bar numbers}.
3415 The length of the measures in the current time signature. For a
3416 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3417 determines when bar lines are inserted and how automatic beams
3418 should be generated.
3420 @item measurePosition
3421 The point within the measure where we currently are. This
3422 quantity is reset by subtracting @code{measureLength} whenever
3423 @code{measureLength} is reached or exceeded. When that happens,
3424 @code{currentBarNumber} is incremented.
3427 If set to true, the above variables are updated for every time
3428 step. When set to false, the engraver stays in the current
3429 measure indefinitely.
3433 Timing can be changed by setting any of these variables
3434 explicitly. In the next example, the default 4/4 time
3435 signature is printed, but @code{measureLength} is set to 5/4.
3436 At 4/8 through the third measure, the @code{measurePosition} is
3437 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3438 The next bar line then falls at 9/8 rather than 5/4.
3440 @lilypond[quote,verbatim]
3441 \new Voice \relative c' {
3442 \set Timing.measureLength = #(ly:make-moment 5 4)
3446 \set Timing.measurePosition = #(ly:make-moment 5 8)
3453 As the example illustrates, @code{ly:make-moment n m} constructs a
3454 duration of n/m of a whole note. For example,
3455 @code{ly:make-moment 1 8} is an eighth note duration and
3456 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3463 @ref{Unmetered music}.
3468 Internals Reference:
3469 @rinternals{Timing_translator},