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,lilyquote,ragged-right,texidoc,doctitle]
146 {changing-the-number-of-augmentation-dots-per-note.ly}
155 @rglos{Duration names notes and rests}.
158 @ref{Automatic beams},
161 @ref{Writing rhythms},
164 @ref{Ancient notation},
165 @ref{Proportional notation}.
172 @rinternals{DotColumn}.
177 @c Deliberately duplicated in Durations and Rests. -gp
178 There is no fundamental limit to rest durations (both in terms of
179 longest and shortest), but the number of glyphs is limited:
180 rests from 128th to maxima (8 x whole) may be printed.
184 @unnumberedsubsubsec Tuplets
192 Tuplets are made from a music expression by multiplying all the
193 durations with a fraction:
196 \times @var{fraction} @{ @var{music} @}
200 The duration of @code{@var{music}} will be multiplied by the
201 fraction. The fraction's denominator will be printed over or
202 under the notes, optionally with a bracket. The most common
203 tuplet is the triplet in which 3 notes have the duration of 2, so
204 the notes are 2/3 of their written length.
206 @lilypond[quote,verbatim,relative=2]
207 a2 \times 2/3 { b4 b b }
208 c4 c \times 2/3 { b4 a g }
211 @cindex tuplet bracket placement
215 @funindex \tupletDown
217 @funindex \tupletNeutral
218 @funindex tupletNeutral
220 Tuplet brackets may be manually placed above or below the staff;
221 see @ref{Direction and placement}.
223 Tuplets may be nested:
225 @lilypond[quote,verbatim,relative=2]
227 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4
230 Modifying nested tuplets which begin at the same musical moment
231 must be done with @code{\tweak}.
233 To modify the duration of notes without printing a tuplet bracket,
234 see @ref{Scaling durations}.
240 @code{\tupletNeutral}.
246 @cindex tuplet formatting
247 @cindex triplet formatting
249 @funindex tupletNumberFormatFunction
250 @funindex tupletSpannerDuration
252 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
253 {entering-several-tuplets-using-only-one--times-command.ly}
255 @cindex Tuplet number changes
257 @funindex TupletNumber
259 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
279 @rlearning{Tweaking methods}.
282 @ref{Time administration},
283 @ref{Scaling durations},
284 @ref{The tweak command},
285 @ref{Polymetric notation}.
291 @rinternals{TupletBracket},
292 @rinternals{TupletNumber},
293 @rinternals{TimeScaledMusic}.
296 @cindex grace notes within tuplet brackets
299 Grace notes may be placed within tuplet brackets, @emph{except}
300 when a staff begins with a grace note followed by a tuplet. In this
301 particular case, the grace note must be placed before the @code{\times}
302 command to avoid errors.
304 @cindex tempo marks within tuplet brackets
306 When using a tuplet at the beginning of a piece with a @code{\tempo}
307 mark, the music must be explicitly entered in a @code{\new Voice}
308 block, as discussed in @rlearning{Voices contain music}.
311 @node Scaling durations
312 @unnumberedsubsubsec Scaling durations
314 @cindex scaling durations
315 @cindex durations, scaling
317 You can alter the duration of single notes, rests or chords by a
318 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
319 is 1) to the duration. This will not affect the appearance of the
320 notes or rests produced, but the altered duration will be used in
321 calculating the position within the measure and setting the duration
322 in the MIDI output. Multiplying factors may be combined such as
325 In the following example, the first three notes take up exactly
326 two beats, but no triplet bracket is printed.
328 @lilypond[quote,relative=2,verbatim]
330 % Alter durations to triplets
331 a4*2/3 gis4*2/3 a4*2/3
334 % Double the duration of chord
336 % Duration of quarter, appears like sixteenth
340 The duration of spacing notes may also be modified by
341 a multiplier. This is useful for skipping many measures, e.g.,
344 @cindex compressing music
345 @cindex expanding music
347 @funindex \scaleDurations
348 @funindex scaleDurations
350 Longer stretches of music may be compressed by a fraction in the
351 same way, as if every note, chord or rest had the fraction as a
352 multiplier. This leaves the appearance of the music unchanged but
353 the internal duration of the notes will be multiplied by the
354 fraction @emph{num}/@emph{den}. The spaces around the dot are
355 required. Here is an example showing how music can be compressed
358 @lilypond[quote,relative=2,verbatim]
362 % Scale music by *2/3
363 \scaleDurations #'(2 . 3) {
367 \scaleDurations #'(2 . 1) {
372 One application of this command is in polymetric
373 notation, see @ref{Polymetric notation}.
379 @ref{Invisible rests},
380 @ref{Polymetric notation}.
387 @unnumberedsubsubsec Ties
393 A tie connects two adjacent note heads of the same pitch. The tie
394 in effect extends the duration of a note.
396 @warning{Ties should not be confused with @emph{slurs}, which
397 indicate articulation, or @emph{phrasing slurs}, which indicate
398 musical phrasing. A tie is just a way of extending a note
399 duration, similar to the augmentation dot.}
401 A tie is entered using the tilde symbol (@code{~}).
403 @lilypond[quote,verbatim,relative=2]
407 Ties are used either when the note crosses a bar line, or when
408 dots cannot be used to denote the rhythm. Ties should also be
409 used when note values cross larger subdivisions of the measure:
411 @lilypond[verbatim,quote]
418 If you need to tie many notes across bar lines, it may be
419 easier to use automatic note splitting, see @ref{Automatic note
420 splitting}. This mechanism automatically splits long notes, and
421 ties them across bar lines.
423 @cindex ties and chords
424 @cindex chords and ties
426 When a tie is applied to a chord, all note heads whose pitches
427 match are connected. When no note heads match, no ties will be
428 created. Chords may be partially tied by placing the tie inside
431 @lilypond[quote,verbatim,relative=1]
433 <c~ e g~ b> <c e g b>
436 @cindex repeating ties
437 @cindex ties, repeating
438 @cindex volta brackets and ties
439 @cindex ties and volta brackets
444 When a second alternative of a repeat starts with a tied note, you
445 have to specify the repeated tie as follows:
447 @lilypond[quote,relative=2,verbatim]
448 \repeat volta 2 { c g <c e>2 ~ }
450 % First alternative: following note is tied normally
452 % Second alternative: following note has a repeated tie
453 { <c e>2\repeatTie d4 c } }
456 @cindex laissez vibrer
457 @cindex ties, laissez vibrer
459 @funindex \laissezVibrer
460 @funindex laissezVibrer
462 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
463 notes must not be damped at the end. It is used in notation for
464 piano, harp and other string and percussion instruments. They can
465 be entered as follows:
467 @lilypond[quote,verbatim,relative=1]
468 <c f g>1\laissezVibrer
471 @cindex ties, placement
477 @funindex \tieNeutral
480 Ties may be manually placed above or below the staff; see
481 @ref{Direction and placement}.
483 @cindex ties, appearance
496 Ties may be made dashed, dotted, or a combination of solid and
499 @lilypond[quote, verbatim, relative=1]
512 Custom dash patterns can be specified:
514 @lilypond[quote, verbatim, relative=1]
515 \tieDashPattern #0.3 #0.75
517 \tieDashPattern #0.7 #1.5
523 Dash pattern definitions for ties have the same structure as
524 dash pattern definitions for slurs.
525 For more information about complex dash patterns,
526 see the snippets under @ref{Slurs}.
534 @code{\tieDashPattern},
535 @code{\tieHalfDashed},
536 @code{\tieHalfSolid},
543 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
544 {using-ties-with-arpeggios.ly}
546 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
547 {engraving-ties-manually.ly}
553 @rglos{laissez vibrer}.
557 @ref{Automatic note splitting}.
563 @rinternals{LaissezVibrerTie},
564 @rinternals{LaissezVibrerTieColumn},
565 @rinternals{TieColumn},
570 Switching staves when a tie is active will not produce a slanted
573 Changing clefs or ottavations during a tie is not really
574 well-defined. In these cases, a slur may be preferable.
579 @subsection Writing rests
581 Rests are entered as part of the music in music expressions.
586 * Full measure rests::
590 @unnumberedsubsubsec Rests
593 @cindex rest, entering durations
608 Rests are entered like notes with the note name @code{r}.
609 Durations longer than a whole rest use the following predefined
612 @c \time 16/1 is used to avoid spurious bar lines
613 @c and long tracts of empty measures
614 @lilypond[quote,verbatim,relative=2]
616 % These two lines are just to prettify this example
618 \override Staff.TimeSignature #'stencil = ##f
619 % Print a maxima rest, equal to four breves
621 % Print a longa rest, equal to two breves
625 r1 r2 r4 r8 r16 r32 r64 r128
629 @cindex rest, multi-measure
630 @cindex rest, whole-measure
632 Whole measure rests, centered in the middle of the measure, must be
633 entered as multi-measure rests. They can be used for a single
634 measure as well as many measures and are discussed in
635 @ref{Full measure rests}.
637 @cindex rest, specifying vertical position
639 To explicitly specify a rest's vertical position, write a note
640 followed by @code{\rest}. A rest of the duration of the note will
641 be placed at the staff position where the note would appear. This
642 allows for precise manual formatting of polyphonic music, since the
643 automatic rest collision formatter will not move these rests.
645 @lilypond[quote,verbatim,relative=2]
651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
662 @ref{Full measure rests}.
673 @c Deliberately duplicated in Durations and Rests. -gp
674 There is no fundamental limit to rest durations (both in terms of
675 longest and shortest), but the number of glyphs is limited: there
676 are rests from 128th to maxima (8 x whole).
679 @node Invisible rests
680 @unnumberedsubsubsec Invisible rests
683 @cindex invisible rest
684 @cindex rest, invisible
692 An invisible rest (also called a @q{spacer rest}) can be entered
693 like a note with the note name@tie{}@code{s}:
695 @lilypond[verbatim,quote,relative=2]
702 Spacer rests are available only in note mode and chord mode. In
703 other situations, for example, when entering lyrics, the
704 command @code{\skip} is used to skip a musical moment.
705 @code{\skip} requires an explicit duration, but this is ignored if
706 the lyrics derive their durations from the notes in an associated
707 melody through @code{\addlyrics} or @code{\lyricsto}.
709 @lilypond[quote,verbatim,relative=2]
722 Because @code{\skip} is a command, it does not affect the default
723 durations of following notes, unlike@tie{}@code{s}.
725 @lilypond[quote,verbatim,relative=2]
728 \repeat unfold 8 { a4 }
738 A spacer rest implicitly causes @code{Staff} and @code{Voice}
739 contexts to be created if none exist, just like notes and rests
742 @lilypond[quote,verbatim,relative=2]
746 @code{\skip} simply skips musical time; it creates no output of
749 @lilypond[quote,verbatim,relative=2]
750 % This is valid input, but does nothing
751 \skip 1 \skip1 \skip 1
757 @rlearning{Visibility and color of objects}.
761 @ref{Visibility of objects}.
767 @rinternals{SkipMusic}.
770 @node Full measure rests
771 @unnumberedsubsubsec Full measure rests
773 @cindex multi-measure rests
774 @cindex full-measure rests
775 @cindex rest, multi-measure
776 @cindex rest, full-measure
777 @cindex whole rest for a full measure
778 @cindex rest, whole for a full measure
782 Rests for one or more full measures are entered like notes with
783 the note name uppercase @code{R}:
785 @lilypond[quote,verbatim,relative=2]
786 % Rest measures contracted to single measure
787 \compressFullBarRests
794 The duration of full-measure rests is identical to the duration
795 notation used for notes. The duration in a multi-measure rest must
796 always be an integral number of measure-lengths, so augmentation dots
797 or fractions must often be used:
799 @lilypond[quote,verbatim,relative=2]
800 \compressFullBarRests
806 R1*13/8 | R1*13/8*12 |
811 A full-measure rest is printed as either a whole or breve rest,
812 centered in the measure, depending on the time signature.
814 @lilypond[quote,verbatim,relative=2]
823 @cindex multi-measure rest, expanding
824 @cindex multi-measure rest, contracting
826 @funindex \expandFullBarRests
827 @funindex expandFullBarRests
828 @funindex \compressFullBarRests
829 @funindex compressFullBarRests
831 By default a multi-measure rest is expanded in the printed score to
832 show all the rest measures explicitly. Alternatively, a multi-measure
833 rest can be shown as a single measure containing a multi-measure rest
834 symbol, with the number of measures of rest printed above the measure:
836 @lilypond[quote,verbatim,relative=2]
838 \time 3/4 r2. | R2.*2 |
841 % Rest measures contracted to single measure
842 \compressFullBarRests
844 % Rest measures expanded
851 @cindex text on multi-measure rest
852 @cindex multi-measure rest, attaching text
853 @cindex script on multi-measure rest
854 @cindex multi-measure rest, script
855 @cindex fermata on multi-measure rest
856 @cindex multi-measure rest, attaching fermata
857 @cindex markup on multi-measure rest
858 @cindex multi-measure rest with markup
860 @funindex \fermataMarkup
861 @funindex fermataMarkup
862 @funindex MultiMeasureRestText
864 Markups can be added to multi-measure rests.
865 The predefined command @code{\fermataMarkup}
866 is provided for adding fermatas.
868 @lilypond[quote,verbatim,relative=2]
869 \compressFullBarRests
871 R2.*10^\markup { \italic "ad lib." }
875 @warning{Markups attached to a multi-measure rest are objects of type
876 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
877 be directed to the correct object, or they will be ignored. See the
880 @lilypond[quote,verbatim,relative=2]
881 % This fails, as the wrong object name is specified
882 \override TextScript #'padding = #5
884 % This is the correct object name to be specified
885 \override MultiMeasureRestText #'padding = #5
889 When a multi-measure rest immediately follows a @code{\partial}
890 setting, resulting bar-check warnings may not be displayed.
893 @funindex \textLengthOn
894 @funindex textLengthOn
895 @funindex \textLengthOff
896 @funindex textLengthOff
897 @funindex \fermataMarkup
898 @funindex fermataMarkup
899 @funindex \compressFullBarRests
900 @funindex compressFullBarRests
901 @funindex \expandFullBarRests
902 @funindex expandFullBarRests
905 @code{\textLengthOn},
906 @code{\textLengthOff},
907 @code{\fermataMarkup},
908 @code{\compressFullBarRests},
909 @code{\expandFullBarRests}.
917 @cindex kirchenpausen
919 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
920 {changing-form-of-multi-measure-rests.ly}
922 @cindex multi-measure rests, positioning
923 @cindex positioning multi-measure rests
925 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
926 {positioning-multi-measure-rests.ly}
928 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
929 {multi-measure-rest-markup.ly}
934 @rglos{multi-measure rest}.
939 @ref{Formatting text},
946 @rinternals{MultiMeasureRest},
947 @rinternals{MultiMeasureRestNumber},
948 @rinternals{MultiMeasureRestText}.
951 @cindex fingerings and multi-measure rests
952 @cindex multi-measure rests and fingerings
955 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
956 in the fingering numeral colliding with the bar counter
959 @cindex condensing rests
960 @cindex rest, condensing ordinary
962 There is no way to automatically condense multiple ordinary rests
963 into a single multi-measure rest.
965 @cindex rest, collisions of
967 Multi-measure rests do not take part in rest collisions.
969 @node Displaying rhythms
970 @subsection Displaying rhythms
977 * Polymetric notation::
978 * Automatic note splitting::
979 * Showing melody rhythms::
983 @unnumberedsubsubsec Time signature
985 @cindex time signature
991 The time signature is set as follows:
993 @lilypond[quote,verbatim,relative=2]
998 @cindex time signature, visibility of
1000 Time signatures are printed at the beginning of a piece
1001 and whenever the time signature changes. If a change takes place
1002 at the end of a line a warning time signature sign is printed
1003 there. This default behavior may be changed, see
1004 @ref{Visibility of objects}.
1006 @lilypond[quote,verbatim,relative=2]
1016 @cindex time signature style
1019 @funindex \numericTimeSignature
1020 @funindex numericTimeSignature
1021 @funindex \defaultTimeSignature
1022 @funindex defaultTimeSignature
1024 The time signature symbol that is used in 2/2 and 4/4 time can be
1025 changed to a numeric style:
1027 @lilypond[quote,verbatim,relative=2]
1031 % Change to numeric style
1032 \numericTimeSignature
1035 % Revert to default style
1036 \defaultTimeSignature
1042 Mensural time signatures are covered in
1043 @ref{Mensural time signatures}.
1045 @cindex time signature default settings
1046 @cindex autobeaming properties for time signatures
1047 @cindex beaming, time signature default properties
1048 @funindex \overrideTimeSignatureSettings
1050 In addition to setting the printed time signature, the @code{\time}
1051 command also sets time-signature-based default values for the properties
1052 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1053 predefined default values for these properties can be found in
1054 @file{scm/time-signature-settings.scm}. The existing default values can
1055 be changed, or new default values can be added:
1057 @lilypond[quote,verbatim]
1061 \overrideTimeSignatureSettings
1062 #'(4 . 4) % timeSignatureFraction
1063 #'(1 . 4) % baseMomentFraction
1064 #'(3 1) % beatStructure
1065 #'() % beamExceptions
1067 \repeat unfold 8 { c8 } |
1073 @code{\overrideTimeSignatureSettings} takes four arguments:
1078 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1082 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1083 and denominator of the basic timing unit for the time signature.
1086 @code{@var{beatStructure}}, a Scheme list indicating the structure
1087 of the beats in the measure, in units of the base moment.
1090 @code{@var{beamExceptions}}, an alist containing any beaming rules
1091 for the time signature that go beyond ending at every beat, as
1092 described in @ref{Setting automatic beam behavior}.
1095 The context containing @code{\overrideTimeSignatureSettings} must
1096 be instantiated before the @code{\overrideTimeSignatureSettings}
1097 call is executed. That means it must either be explicitly
1098 instantiated or there must be music in the context before the
1099 @code{\overrideTimeSignatureSettings} call:
1101 @lilypond[quote,verbatim]
1104 % This call will fail because the context isn't yet instantiated
1105 \overrideTimeSignatureSettings
1106 #'(4 . 4) % timeSignatureFraction
1107 #'(1 . 4) % baseMomentFraction
1108 #'(3 1) % beatStructure
1109 #'() % beamExceptions
1111 c8^\markup {"Beamed (2 2)"}
1112 \repeat unfold 7 { c8 } |
1113 % This call will succeed
1114 \overrideTimeSignatureSettings
1115 #'(4 . 4) % timeSignatureFraction
1116 #'(1 . 4) % baseMomentFraction
1117 #'(3 1) % beatStructure
1118 #'() % beamExceptions
1120 c8^\markup {"Beamed (3 1)"}
1121 \repeat unfold 7 { c8 } |
1127 @cindex time signature properties, restoring default values
1128 @cindex restoring default properties for time signatures
1129 @funindex \revertTimeSignatureSettings
1131 Changed values of default time signature properties can be restored
1132 to the original values:
1134 @lilypond[quote,verbatim]
1137 \repeat unfold 8 { c8 } |
1138 \overrideTimeSignatureSettings
1139 #'(4 . 4) % timeSignatureFraction
1140 #'(1 . 4) % baseMomentFraction
1141 #'(3 1) % beatStructure
1142 #'() % beamExceptions
1144 \repeat unfold 8 { c8 } |
1145 \revertTimeSignatureSettings #'(4 . 4)
1147 \repeat unfold 8 { c8 } |
1152 Different values of default time signature properties can be established
1153 for different staves by moving the @code{Timing_translator} and the
1154 @code{Default_bar_line_engraver} from the @code{Score} context to the
1155 @code{Staff} context.
1157 @lilypond[quote, verbatim]
1161 \overrideTimeSignatureSettings
1162 #'(4 . 4) % timeSignatureFraction
1163 #'(1 . 4) % baseMomentFraction
1164 #'(3 1) % beatStructure
1165 #'() % beamExceptions
1167 \repeat unfold 8 {c''8}
1170 \overrideTimeSignatureSettings
1171 #'(4 . 4) % timeSignatureFraction
1172 #'(1 . 4) % baseMomentFraction
1173 #'(1 3) % beatStructure
1174 #'() % beamExceptions
1176 \repeat unfold 8 {c''8}
1182 \remove "Timing_translator"
1183 \remove "Default_bar_line_engraver"
1187 \consists "Timing_translator"
1188 \consists "Default_bar_line_engraver"
1195 @code{\numericTimeSignature},
1196 @code{\defaultTimeSignature}.
1202 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1203 {changing-the-time-signature-without-affecting-the-beaming.ly}
1205 @cindex compound time signatures
1206 @cindex time signature, compound
1208 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1209 {compound-time-signatures.ly}
1211 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1212 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1217 @rglos{time signature}
1220 @ref{Mensural time signatures},
1221 @ref{Time administration}.
1226 Internals Reference:
1227 @rinternals{TimeSignature},
1228 @rinternals{Timing_translator}.
1230 @node Metronome marks
1231 @unnumberedsubsubsec Metronome marks
1234 @cindex beats per minute
1235 @cindex metronome mark
1236 @cindex metronome marking with text
1241 A basic metronome mark is simple to write:
1243 @lilypond[verbatim,quote,relative=1]
1249 Metronome marks may also be printed as a range of two numbers:
1251 @lilypond[verbatim,quote,relative=1]
1257 Tempo indications with text can be used instead:
1259 @lilypond[verbatim,quote,relative=2]
1265 Combining a metronome mark and text will automatically place the
1266 metronome mark within parentheses:
1268 @lilypond[verbatim,quote,relative=2]
1269 \tempo "Allegro" 4 = 160
1274 In general, the text can be any markup object:
1276 @lilypond[verbatim,quote,relative=2]
1277 \tempo \markup { \italic Faster } 4 = 132
1278 a8-. r8 b-. r gis-. r a-. r
1281 A parenthesized metronome mark with no textual indication may be
1282 written by including an empty string in the input:
1284 @lilypond[verbatim,quote,relative=2]
1292 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1293 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1295 @c perhaps also an example of how to move it horizontally?
1297 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1298 {changing-the-tempo-without-a-metronome-mark.ly}
1300 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1301 {creating-metronome-marks-in-markup-mode.ly}
1303 For more details, see @ref{Formatting text}.
1309 @rglos{metronomic indication},
1310 @rglos{tempo indication},
1311 @rglos{metronome mark}.
1314 @ref{Formatting text},
1318 @rlsr{Staff notation}.
1320 Internals Reference:
1321 @rinternals{MetronomeMark}.
1325 @unnumberedsubsubsec Upbeats
1329 @cindex partial measure
1330 @cindex measure, partial
1331 @cindex pickup measure
1332 @cindex measure, change length
1334 @funindex measurePosition
1338 Partial or pick-up measures, such as an anacrusis or upbeat, are
1339 entered using the @code{\partial} command, with the syntax
1342 \partial @var{duration}
1346 where @code{@var{duration}} is the rhythmic length of the
1347 remaining interval of the current measure before the start of the
1350 @lilypond[quote,verbatim,relative=2]
1355 The partial measure can be any duration less than the full measure:
1357 @lilypond[quote,verbatim,relative=2]
1358 \partial 8*3 c8 d e |
1362 Internally, @code{\partial @var{duration}} is translated into:
1365 \set Timing.measurePosition -@var{duration}
1368 For example, @code{\partial 8*3} becomes:
1371 \set Timing.measurePosition = #(ly:make-moment -3 8)
1374 The property @code{measurePosition} contains a rational number
1375 indicating how much of the measure has passed at this point. Note
1376 that this is set to a negative number by the @code{\partial} command:
1377 i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
1378 @qq{there is a quarter note left in the measure.}
1391 @rinternals{Timing_translator}.
1395 The @code{\partial} command is intended to be used only at the
1396 beginning of a piece. If you use it after the beginning, some
1397 odd warnings or effects may occur, in this case use
1398 @code{\set Timing.measurePosition} instead.
1400 @node Unmetered music
1401 @unnumberedsubsubsec Unmetered music
1403 @cindex bar lines, turning off
1404 @cindex bar numbering, turning off
1406 @cindex unmetered music
1408 @funindex \cadenzaOn
1410 @funindex \cadenzaOff
1411 @funindex cadenzaOff
1413 Bar lines and bar numbers are calculated automatically. For
1414 unmetered music (some cadenzas, for example), this is not desirable.
1415 To turn off automatic calculation of bar lines and bar numbers,
1416 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1417 to turn them on again.
1419 @lilypond[verbatim,relative=2,quote]
1422 c4 c d8[ d d] f4 g4.
1428 Bar numbering is resumed at the end of the cadenza as if the
1429 cadenza were not there:
1431 @lilypond[verbatim,relative=2,quote]
1432 % Show all bar numbers
1433 \override Score.BarNumber #'break-visibility = #all-visible
1436 c4 c d8[ d d] f4 g4.
1442 @cindex beams, in cadenzas
1443 @cindex beams, in unmetered music
1444 @cindex cadenza, with beams
1445 @cindex unmetered music, with beams
1447 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1448 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1449 must be entered manually (@ref{Manual beams}).
1451 @lilypond[verbatim,relative=2,quote]
1452 \repeat unfold 8 { c8 }
1454 \repeat unfold 5 { c8 }
1457 \repeat unfold 8 { c8 }
1460 Note that these predefined commands affect all staves in the
1461 score, even when they are placed in just one @code{Voice}
1462 context. To change this, move the @code{Timing_translator}
1463 from the @code{Score} context to the @code{Staff} context, as
1464 shown in @ref{Polymetric notation}.
1477 @ref{Visibility of objects},
1478 @ref{Polymetric notation},
1485 @cindex cadenza line breaks
1486 @cindex cadenza page breaks
1487 @cindex unmetered music, line breaks
1488 @cindex unmetered music, page breaks
1489 @cindex breaks in unmetered music
1490 @cindex line breaks in cadenzas
1491 @cindex page breaks in cadenzas
1492 @cindex line breaks in unmetered music
1493 @cindex page breaks in unmetered music
1497 LilyPond will insert line breaks and page breaks only at a
1498 bar line. Unless the unmetered music ends before the end of the
1499 staff line, you will need to insert invisible bar lines with
1506 to indicate where breaks can occur.
1508 You should explicitly create a @code{Voice} context when starting a
1509 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1515 c16[^"Solo Free Time" d e f] g2.
1523 @node Polymetric notation
1524 @unnumberedsubsubsec Polymetric notation
1526 @c This section necessarily uses \set
1527 @c This is acceptable -td
1529 @cindex double time signatures
1530 @cindex signatures, polymetric
1531 @cindex time signatures, polymetric
1532 @cindex time signatures, double
1533 @cindex polymetric signatures
1534 @cindex meter, polymetric
1536 @funindex timeSignatureFraction
1537 @funindex \scaleDurations
1538 @funindex scaleDurations
1542 Polymetric notation is supported, either explicitly or by modifying
1543 the visible time signature symbol and scaling the note durations.
1545 @strong{@i{Staves with different time signatures, equal measure lengths}}
1547 This notation can be created by setting a common time signature
1548 for each staff but replacing the symbol manually by setting
1549 @code{timeSignatureFraction} to the desired fraction and scaling
1550 the printed durations in each staff to the common time
1551 signature; see @ref{Time signature}. The scaling is done with
1552 @code{\scaleDurations}, which is used in a similar way to
1553 @code{\times}, but does not create a tuplet bracket; see
1554 @ref{Scaling durations}.
1556 @cindex beams, with polymetric meters
1557 @cindex polymetric meters, with beams
1559 In this example, music with the time signatures of 3/4, 9/8, and
1560 10/8 are used in parallel. In the second staff, shown durations
1561 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1562 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1563 It will often be necessary to insert beams manually, as the
1564 duration scaling affects the autobeaming rules.
1566 @lilypond[quote,verbatim]
1575 \set Staff.timeSignatureFraction = #'(9 . 8)
1576 \scaleDurations #'(2 . 3)
1577 \repeat unfold 6 { c8[ c c] }
1581 \set Staff.timeSignatureFraction = #'(10 . 8)
1582 \scaleDurations #'(3 . 5) {
1583 \repeat unfold 2 { c8[ c c] }
1584 \repeat unfold 2 { c8[ c] } |
1585 c4. c4. \times 2/3 { c8[ c c] } c4
1591 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1593 Each staff can be given its own independent time signature by
1594 moving the @code{Timing_translator} and the
1595 @code{Default_bar_line_engraver} to the @code{Staff} context.
1597 @lilypond[quote,verbatim]
1601 \remove "Timing_translator"
1602 \remove "Default_bar_line_engraver"
1606 \consists "Timing_translator"
1607 \consists "Default_bar_line_engraver"
1611 % Now each staff has its own time signature.
1637 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1638 {compound-time-signatures.ly}
1644 @rglos{polymetric time signature},
1648 @ref{Time signature},
1649 @ref{Scaling durations}.
1654 Internals Reference:
1655 @rinternals{TimeSignature},
1656 @rinternals{Timing_translator},
1657 @rinternals{Default_bar_line_engraver},
1663 When using different time signatures in parallel, notes
1664 at the same moment will be placed at the same horizontal
1665 location. However, the bar lines in the different staves
1666 will cause the note spacing to be less regular in each of the
1667 individual staves than would be normal without the different
1670 @node Automatic note splitting
1671 @unnumberedsubsubsec Automatic note splitting
1673 @cindex notes, splitting
1674 @cindex splitting notes
1675 @cindex rests, splitting
1676 @cindex splitting rests
1678 @funindex Note_heads_engraver
1679 @funindex Completion_heads_engraver
1680 @funindex Completion_rest_engraver
1682 Long notes which overrun bar lines can be converted automatically to
1683 tied notes. This is done by replacing the @code{Note_heads_engraver}
1684 with the @code{Completion_heads_engraver}. Similarly, long rests which
1685 overrun bar lines are split automatically by replacing the
1686 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1687 following example, notes and rests crossing the bar lines are split,
1688 notes are also tied.
1690 @lilypond[quote,verbatim,relative=1]
1692 \remove "Note_heads_engraver"
1693 \consists "Completion_heads_engraver"
1694 \remove "Rest_engraver"
1695 \consists "Completion_rest_engraver"
1698 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1701 These engravers split all running notes and rests at the bar line, and
1702 inserts ties for notes. One of its uses is to debug complex scores: if
1703 the measures are not entirely filled, then the ties show exactly how
1704 much each measure is off.
1712 @rlearning{Engravers explained},
1713 @rlearning{Adding and removing engravers}.
1718 Internals Reference:
1719 @rinternals{Note_heads_engraver},
1720 @rinternals{Completion_heads_engraver},
1721 @rinternals{Rest_engraver},
1722 @rinternals{Completion_rest_engraver},
1723 @rinternals{Forbid_line_break_engraver}.
1728 Not all durations (especially those containing tuplets) can be
1729 represented exactly with normal notes and dots, but the
1730 @code{Completion_heads_engraver} will not insert tuplets.
1732 The @code{Completion_heads_engraver} only affects notes; it does not
1736 @node Showing melody rhythms
1737 @unnumberedsubsubsec Showing melody rhythms
1739 @cindex melody rhythms, showing
1740 @cindex rhythms, showing melody
1742 Sometimes you might want to show only the rhythm of a melody. This
1743 can be done with the rhythmic staff. All pitches of notes on such a
1744 staff are squashed, and the staff itself has a single line
1746 @lilypond[quote,relative=1,verbatim]
1748 \new RhythmicStaff {
1749 \new Voice = "myRhythm" {
1757 \lyricsto "myRhythm" {
1765 @cindex guitar chord charts
1766 @cindex strumming rhythms, showing
1767 @cindex guitar strumming rhythms, showing
1769 @funindex Pitch_squash_engraver
1770 @funindex \improvisationOn
1771 @funindex improvisationOn
1772 @funindex \improvisationOff
1773 @funindex improvisationOff
1775 Guitar chord charts often show the strumming rhythms. This can
1776 be done with the @code{Pitch_squash_engraver} and
1777 @code{\improvisationOn}.
1780 @lilypond[quote,verbatim]
1788 \consists Pitch_squash_engraver
1801 @code{\improvisationOn},
1802 @code{\improvisationOff}.
1808 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1809 {guitar-strum-rhythms.ly}
1816 Internals Reference:
1817 @rinternals{RhythmicStaff},
1818 @rinternals{Pitch_squash_engraver}.
1826 * Setting automatic beam behavior::
1831 @node Automatic beams
1832 @unnumberedsubsubsec Automatic beams
1834 By default, beams are inserted automatically:
1836 @cindex beams, manual
1837 @cindex manual beams
1838 @cindex beams, customizing rules
1840 @funindex \autoBeamOn
1841 @funindex autoBeamOn
1842 @funindex \autoBeamOff
1843 @funindex autoBeamOff
1845 @lilypond[quote,verbatim,relative=2]
1847 \time 6/8 c8 c c c8. c16 c8
1850 If these automatic decisions are not satisfactory, beaming can be
1851 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1852 entered manually if beams are to be extended over rests.
1854 If automatic beaming is not required, it may be turned off with
1855 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1857 @lilypond[quote,relative=1,verbatim]
1858 c4 c8 c8. c16 c8. c16 c8
1865 @cindex melismata, with beams
1866 @cindex beams, with melismata
1868 @warning{If beams are used to indicate melismata in songs, then
1869 automatic beaming should be switched off with @code{\autoBeamOff}
1870 and the beams indicated manually.}
1872 @warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
1873 produce unintended results. See the snippet below for more information.}
1875 Beaming patterns that differ from the automatic defaults can be
1876 created; see @ref{Setting automatic beam behavior}.
1879 @code{\autoBeamOff},
1883 @cindex beams, line breaks
1884 @cindex line breaks, beams
1885 @cindex beams, with knee gap
1886 @cindex knee gap, with beams
1890 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1891 {beams-across-line-breaks.ly}
1893 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1894 {changing-beam-knee-gap.ly}
1896 @cindex beams, \partcombine with \autoBeamOff
1897 @cindex voices, \partcombine with \autoBeamOff
1899 @lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
1900 {partcombine-and-autobeamoff.ly}
1905 @ref{Setting automatic beam behavior}.
1908 @file{scm/auto-beam.scm}.
1913 Internals Reference:
1914 @rinternals{Auto_beam_engraver},
1915 @rinternals{Beam_engraver},
1917 @rinternals{BeamEvent},
1918 @rinternals{BeamForbidEvent},
1919 @rinternals{beam-interface},
1920 @rinternals{unbreakable-spanner-interface}.
1922 @node Setting automatic beam behavior
1923 @unnumberedsubsubsec Setting automatic beam behavior
1925 @cindex beams, with lyrics
1926 @cindex lyrics, with beams
1928 @funindex autoBeaming
1929 @funindex baseMoment
1930 @funindex beamExceptions
1931 @funindex beatStructure
1932 @funindex measureLength
1938 In most instances, automatic beams will end at the end of a beat.
1939 The ending points for beats are determined by the context properties
1940 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1941 is a scheme list that defines the length of each beat in the measure
1942 in units of @code{baseMoment}. By default, @code{baseMoment} is
1943 the one over numerator of the time signature. By default,
1944 each unit of length @code{baseMoment} is a single beat.
1946 @lilypond[quote,relative=2,verbatim]
1948 c16^"default" c c c c |
1949 \set Timing.beatStructure = #'(2 3)
1950 c16^"(2+3)" c c c c |
1951 \set Timing.beatStructure = #'(3 2)
1952 c16^"(3+2)" c c c c |
1955 Beam setting changes can be limited to specific contexts. If no
1956 setting is included in a lower-level context, the setting of the
1957 enclosing context will apply.
1959 @lilypond[quote, verbatim,relative=1]
1962 \set Staff.beatStructure = #'(2 3 2)
1972 \set Voice.beatStructure = #'(1 3 3)
1980 When multiple voices are used the @code{Staff} context must be
1981 specified if the beaming is to be applied to all voices in the
1984 @lilypond[quote,verbatim,relative=2]
1987 % Change applied to Voice by default -- does not work correctly
1988 % Because of autogenerated voices, all beating will
1989 % be at baseMoment (1 . 8)
1990 \set beatStructure = #'(3 1 1 2)
1991 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1993 % Works correctly with context Staff specified
1994 \set Staff.beatStructure = #'(3 1 1 2)
1995 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1998 The value of @code{baseMoment} can be adjusted to change
1999 the beaming behavior, if desired. When this is done,
2000 the value of @code{beatStructure} must be set to be
2001 compatible with the new value of @code{baseMoment}.
2003 @lilypond[quote,verbatim,relative=2]
2005 \set Timing.baseMoment = #(ly:make-moment 1 16)
2006 \set Timing.beatStructure = #'(7 3)
2007 \repeat unfold 10 { a16 }
2010 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2011 quantity of type @i{moment} is created by the scheme function
2012 @code{ly:make-moment}. For more information about this function,
2013 see @ref{Time administration}.
2015 By default @code{baseMoment} is set to one over the denominator of
2016 the time signature. Any exceptions to this default can be found in
2017 @file{scm/time-signature-settings.scm}.
2019 Special autobeaming rules (other than ending a beam on a beat)
2020 are defined in the @code{beamExceptions} property.
2022 @lilypond[quote,relative=2,verbatim]
2024 \set Timing.beatStructure = #'(2 1)
2025 \set Timing.beamExceptions =
2027 (end . ;entry for end of beams
2028 ( ;start of alist of end points
2029 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2030 ))) %close all entries
2032 \repeat unfold 6 { c32 } |
2035 @code{beamExceptions} is an alist with a key of rule-type and a value
2038 At this time the only available value of rule-type is
2039 @code{#'end} for beam ending.
2041 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2042 beam type and the grouping to be applied to beams containing notes with
2043 a shortest duration of that beam type.
2046 #'((beam-type1 . grouping-1)
2047 (beam-type2 . grouping-2)
2048 (beam-type3 . grouping-3))
2051 Beam type is a scheme pair indicating the duration of the beam,
2052 e.g., @code{(1 . 16)}.
2054 Grouping is a scheme list indicating the grouping to be applied to
2055 the beam. The grouping is in units of the beam type.
2057 @warning{ A @code{beamExceptions} value must be @emph{complete}
2058 exceptions list. That is, every exception that should be applied
2059 must be included in the setting. It is not possible to add, remove,
2060 or change only one of the exceptions. While this may seem cumbersome,
2061 it means that the current beaming settings need not be known in order
2062 to specify a new beaming pattern.}
2064 When the time signature is changed, default values of
2065 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2066 and @code{Timing.beamExceptions} are set. Setting the time signature
2067 will reset the automatic beaming settings for the @code{Timing}
2068 context to the default behavior.
2070 @lilypond[quote,verbatim,relative=2]
2072 \repeat unfold 6 { a8 }
2074 \set Timing.beatStructure = #'(4 2)
2075 \repeat unfold 6 { a8 }
2076 % go back to default behavior
2078 \repeat unfold 6 { a8 }
2081 The default automatic beaming settings for a time signature
2082 are determined in @file{scm/time-signature-settings.scm}.
2083 Changing the default automatic beaming settings
2084 for a time signature is described in @ref{Time signature}.
2086 Many automatic beaming settings for a time signature contain an
2087 entry for @code{beamExceptions}. For example, 4/4 time tries to
2088 beam the measure in two if there are only eighth notes. The
2089 @code{beamExceptions} rule can override the @code{beatStructure} setting
2090 if @code{beamExceptions} is not reset.
2092 @lilypond[quote,verbatim,relative=2]
2094 \set Timing.baseMoment = #(ly:make-moment 1 8)
2095 \set Timing.beatStructure = #'(3 3 2)
2096 % This won't beam (3 3 2) because of beamExceptions
2097 \repeat unfold 8 {c8} |
2098 % This will beam (3 3 2) because we clear beamExceptions
2099 \set Timing.beamExceptions = #'()
2100 \repeat unfold 8 {c8}
2103 In a similar fashion, eighth notes in 3/4 time are beamed as a full
2104 measure by default. To beam eighth notes in 3/4 time on the beat,
2105 reset @code{beamExceptions}.
2107 @lilypond[quote,verbatim,relative=2]
2109 % by default we beam in (3) due to beamExceptions
2110 \repeat unfold 6 {a8} |
2111 % This will beam (1 1 1) due to beatLength
2112 \set Timing.beamExceptions = #'()
2113 \repeat unfold 6 {a8}
2116 @i{@strong{How automatic beaming works}}
2118 When automatic beaming is enabled, the placement of automatic beams
2119 is determined by the context properties
2120 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2122 The following rules, in order of priority, apply when determining
2123 the appearance of beams:
2127 If a manual beam is specified with @code{[..]} set the beam
2128 as specified, otherwise
2131 if a beam-ending rule is defined in @code{beamExceptions}
2132 for the beam-type, use it to determine the valid places where
2133 beams may end, otherwise
2136 if a beam-ending rule is defined in @code{beamExceptions}
2137 for a longer beam-type, use it to determined the valid places
2138 where beams may end, otherwise
2141 use the values of @code{baseMoment} and @code{beatStructure} to
2142 determine the ends of the beats in the measure, and
2143 end beams at the end of beats.
2147 In the rules above, the @emph{beam-type} is the duration of the
2148 shortest note in the beamed group.
2150 The default beaming rules can be found in
2151 @file{scm/time-signature-settings.scm}.
2155 @cindex beams, subdividing
2157 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2158 {subdividing-beams.ly}
2160 @cindex measure groupings
2161 @cindex beats, grouping
2162 @cindex grouping beats
2163 @cindex measure sub-grouping
2165 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2166 {conducting-signs,-measure-grouping-signs.ly}
2168 @cindex beam, endings in a score
2169 @cindex beam, endings with multiple voices
2171 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2172 {beam-endings-in-score-context.ly}
2177 @file{scm/beam-settings.scm}.
2182 Internals Reference:
2183 @rinternals{Auto_beam_engraver},
2185 @rinternals{BeamForbidEvent},
2186 @rinternals{beam-interface}.
2190 If a score ends while an automatic beam has not been ended and is
2191 still accepting notes, this last beam will not be typeset at all.
2192 The same holds for polyphonic voices, entered with
2193 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2194 automatic beam is still accepting notes, it is not typeset.
2195 The workaround for these problems is to manually beam the last
2196 beam in the voice or score.
2198 By default, the @code{Timing} translator is aliased to the
2199 @code{Score} context. This means that setting the time signature
2200 in one staff will affect the beaming of the other staves as well.
2201 Thus, a time signature setting in a later staff will reset custom
2202 beaming that was set in an earlier staff.
2203 One way to avoid this problem is to set the time signature
2206 @lilypond[quote,verbatim,relative=2]
2210 \set Timing.baseMoment = #(ly:make-moment 1 8)
2211 \set Timing.beatStructure = #'(1 5)
2212 \repeat unfold 6 { a8 }
2215 \repeat unfold 6 { a8 }
2220 The default beam settings for the time signature can also be changed, so
2221 that the desired beaming will always be used. Changes in automatic
2222 beaming settings for a time signature are described in
2223 @ref{Time signature}.
2225 @lilypond[quote,verbatim,relative=2]
2228 \overrideTimeSignatureSettings
2229 #'(3 . 4) % timeSignatureFraction
2230 #'(1 . 8) % baseMomentFraction
2231 #'(1 5) % beatStructure
2232 #'() % beamExceptions
2234 \repeat unfold 6 { a8 }
2238 \repeat unfold 6 { a8 }
2244 @unnumberedsubsubsec Manual beams
2246 @cindex beams, manual
2247 @cindex manual beams
2252 In some cases it may be necessary to override the automatic
2253 beaming algorithm. For example, the autobeamer will not put beams
2254 over rests or bar lines, and in choral scores the beaming is
2255 often set to follow the meter of the lyrics rather than the
2256 notes. Such beams can be specified manually by
2257 marking the begin and end point with @code{[} and @code{]}.
2259 @lilypond[quote,relative=1,verbatim]
2260 r4 r8[ g' a r] r g[ | a] r
2263 @cindex manual beams, direction shorthand for
2264 @cindex manual beams, grace notes
2266 Beaming direction can be set manually using direction indicators:
2268 @lilypond[quote,relative=2,verbatim]
2269 c8^[ d e] c,_[ d e f g]
2275 Individual notes may be marked with @code{\noBeam} to prevent them
2278 @lilypond[quote,verbatim,relative=2]
2283 Grace note beams and normal note beams can occur simultaneously.
2284 Unbeamed grace notes are not put into normal note beams.
2286 @lilypond[quote,verbatim,relative=2]
2288 \grace { e32[ d c d] }
2294 @funindex stemLeftBeamCount
2295 @funindex stemRightBeamCount
2297 Even more strict manual control with the beams can be achieved by
2298 setting the properties @code{stemLeftBeamCount} and
2299 @code{stemRightBeamCount}. They specify the number of beams to
2300 draw on the left and right side, respectively, of the next note.
2301 If either property is set, its value will be used only once, and
2302 then it is erased. In this example, the last @code{f} is printed
2303 with only one beam on the left side, i.e., the eighth-note beam of
2304 the group as a whole.
2306 @lilypond[quote,relative=2,verbatim]
2309 \set stemLeftBeamCount = #2
2310 \set stemRightBeamCount = #1
2312 \set stemLeftBeamCount = #1
2324 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2325 {flat-flags-and-beam-nibs.ly}
2330 @ref{Direction and placement},
2336 Internals Reference:
2338 @rinternals{BeamEvent},
2339 @rinternals{Beam_engraver},
2340 @rinternals{beam-interface},
2341 @rinternals{Stem_engraver}.
2344 @node Feathered beams
2345 @unnumberedsubsubsec Feathered beams
2347 @cindex beams, feathered
2348 @cindex feathered beams
2350 @funindex \featherDurations
2351 @funindex featherDurations
2352 @funindex grow-direction
2354 Feathered beams are used to indicate that a small group of notes
2355 should be played at an increasing (or decreasing) tempo, without
2356 changing the overall tempo of the piece. The extent of the
2357 feathered beam must be indicated manually using @code{[} and
2358 @code{]}, and the beam feathering is turned on by specifying a
2359 direction to the @code{Beam} property @code{grow-direction}.
2361 If the placement of the notes and the sound in the MIDI output is to
2362 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2363 feathered beam the notes must be grouped as a music expression delimited
2364 by braces and preceded by a @code{featherDurations} command which specifies
2365 the ratio between the durations of the first and last notes in the
2368 The square brackets show the extent of the beam and the braces show
2369 which notes are to have their durations modified. Normally these
2370 would delimit the same group of notes, but this is not required: the
2371 two commands are independent.
2373 In the following example the eight 16th notes occupy exactly the
2374 same time as a half note, but the first note is one half as long
2375 as the last one, with the intermediate notes gradually
2376 lengthening. The first four 32nd notes gradually speed up, while
2377 the last four 32nd notes are at a constant tempo.
2379 @lilypond[relative=1,verbatim,quote]
2380 \override Beam #'grow-direction = #LEFT
2381 \featherDurations #(ly:make-moment 2 1)
2382 { c16[ c c c c c c c] }
2383 \override Beam #'grow-direction = #RIGHT
2384 \featherDurations #(ly:make-moment 2 3)
2386 % revert to non-feathered beams
2387 \override Beam #'grow-direction = #'()
2392 The spacing in the printed output represents the
2393 note durations only approximately, but the MIDI output is exact.
2397 @code{\featherDurations}.
2407 The @code{\featherDurations} command only works with very short
2408 music snippets, and when numbers in the fraction are small.
2418 * Bar and bar number checks::
2423 @unnumberedsubsubsec Bar lines
2426 @cindex measure lines
2427 @cindex closing bar lines
2428 @cindex bar lines, closing
2429 @cindex double bar lines
2430 @cindex bar lines, double
2436 Bar lines delimit measures, and are also used to indicate
2437 repeats. Normally, simple bar lines are automatically inserted
2438 into the printed output at places based on the current time
2441 The simple bar lines inserted automatically can be changed to
2442 other types with the @code{\bar} command. For example, a closing
2443 double bar line is usually placed at the end of a piece:
2445 @lilypond[quote,relative=1,verbatim]
2449 It is not invalid if the final note in a measure does not
2450 end on the automatically entered bar line: the note is assumed
2451 to carry over into the next measure. But if a long sequence
2452 of such carry-over measures appears the music can appear compressed
2453 or even flowing off the page. This is because automatic line
2454 breaks happen only at the end of complete measures, i.e., where
2455 all notes end before the end of a measure.
2457 @warning{An incorrect duration can cause line breaks to be
2458 inhibited, leading to a line of highly compressed music or
2459 music which flows off the page.}
2462 @cindex bar lines, invisible
2463 @cindex measure lines, invisible
2465 Line breaks are also permitted at manually inserted bar lines
2466 even within incomplete measures. To allow a line break without
2467 printing a bar line, use the following:
2474 This will insert an invisible bar line and allow (but not
2475 force) a line break to occur at this point. The bar number
2476 counter is not increased. To force a line break see
2477 @ref{Line breaking}.
2479 @cindex manual bar lines
2480 @cindex manual measure lines
2481 @cindex bar lines, manual
2482 @cindex measure lines, manual
2484 This and other special bar lines may be inserted manually at any
2485 point. When they coincide with the end of a measure they replace
2486 the simple bar line which would have been inserted there
2487 automatically. When they do not coincide with the end of a measure
2488 the specified bar line is inserted at that point in the printed
2491 Note that manual bar lines are purely visual. They do not affect
2492 any of the properties that a normal bar line would affect, such as
2493 measure numbers, accidentals, line breaks, etc. They do not affect
2494 the calculation and placement of subsequent automatic bar lines.
2495 When a manual bar line is placed where a normal bar line already
2496 exists, the effects of the original bar line are not altered.
2498 Two types of simple bar lines and five types of double bar lines are
2499 available for manual insertion:
2501 @lilypond[quote,relative=1,verbatim]
2513 together with dotted and dashed bar lines:
2515 @lilypond[quote,relative=1,verbatim]
2522 and five types of repeat bar line:
2524 @lilypond[quote,relative=1,verbatim]
2533 Additionally, a bar line can be printed as a simple tick:
2534 @lilypond[quote,relative=1,verbatim]
2537 However, as such ticks are typically used in Gregorian chant, it is
2538 preferable to use @code{\divisioMinima} there instead, described in
2539 the section @ref{Divisiones} in Gregorian chant.
2543 For in-line segno signs, there are three types of bar lines which
2544 differ in their behavior at line breaks:
2546 @lilypond[quote,relative=2,verbatim]
2564 Although the bar line types signifying repeats may be inserted
2565 manually they do not in themselves cause LilyPond to recognize
2566 a repeated section. Such repeated sections are better entered
2567 using the various repeat commands (see @ref{Repeats}), which
2568 automatically print the appropriate bar lines.
2570 In addition, you can specify @code{"||:"}, which is equivalent to
2571 @code{"|:"} except at line breaks, where it gives a double bar
2572 line at the end of the line and a start repeat at the beginning of
2575 @lilypond[quote,relative=2,verbatim]
2583 For combinations of repeats with the segno sign, there are six different
2586 @lilypond[quote,relative=2,verbatim]
2615 In scores with many staves, a @code{\bar} command in one staff is
2616 automatically applied to all staves. The resulting bar lines are
2617 connected between different staves of a @code{StaffGroup},
2618 @code{PianoStaff}, or @code{GrandStaff}.
2620 @lilypond[quote,relative=1,verbatim]
2628 \new Staff { \clef bass c4 g e g }
2630 \new Staff { \clef bass c2 c2 }
2635 @cindex default bar lines, changing
2636 @cindex bar lines, default, changing
2641 @funindex defaultBarType
2646 The command @samp{\bar @var{bartype}} is a shortcut for
2647 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2648 created whenever the @code{whichBar} property is set.
2650 The default bar type used for automatically inserted bar lines is
2651 @code{"|"}. This may be changed at any time with
2652 @samp{\set Timing.defaultBarType = @var{bartype}}.
2657 @ref{Line breaking},
2659 @ref{Grouping staves}.
2664 Internals Reference:
2665 @rinternals{BarLine} (created at @code{Staff} level),
2666 @rinternals{SpanBar} (across staves),
2667 @rinternals{Timing_translator} (for Timing properties).
2671 @unnumberedsubsubsec Bar numbers
2674 @cindex measure numbers
2675 @cindex numbers, bar
2676 @cindex numbers, measure
2678 @funindex currentBarNumber
2680 Bar numbers are typeset by default at the start of every line except
2681 the first line. The number itself is stored in the
2682 @code{currentBarNumber} property, which is normally updated
2683 automatically for every measure. It may also be set manually:
2685 @lilypond[verbatim,quote,relative=1]
2688 \set Score.currentBarNumber = #50
2692 @cindex bar numbers, regular spacing
2694 @funindex barNumberVisibility
2697 Bar numbers can be typeset at regular intervals instead of just at
2698 the beginning of every line. To do this the default behavior
2699 must be overridden to permit bar numbers to be printed at places
2700 other than the start of a line. This is controlled by the
2701 @code{break-visibility} property of @code{BarNumber}. This takes
2702 three values which may be set to @code{#t} or @code{#f} to specify
2703 whether the corresponding bar number is visible or not. The order
2704 of the three values is @code{end of line visible}, @code{middle of
2705 line visible}, @code{beginning of line visible}. In the following
2706 example bar numbers are printed at all possible places:
2708 @lilypond[verbatim,quote,relative=1]
2709 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2710 \set Score.currentBarNumber = #11
2711 % Permit first bar number to be printed
2721 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2722 {printing-the-bar-number-for-the-first-measure.ly}
2724 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2725 {printing-bar-numbers-at-regular-intervals.ly}
2727 @cindex measure number, format
2728 @cindex bar number, format
2730 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2731 {printing-bar-numbers-inside-boxes-or-circles.ly}
2733 @cindex bar number alignment
2735 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2736 {aligning-bar-numbers.ly}
2738 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
2739 {removing-bar-numbers-from-a-score.ly}
2746 Internals Reference:
2747 @rinternals{BarNumber},
2748 @rinternals{Bar_number_engraver}.
2751 @cindex bar number collision
2752 @cindex collision, bar number
2755 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2756 if there is one. To solve this, the @code{padding} property of
2757 @code{BarNumber} can be used to position the number correctly. See
2758 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2761 @node Bar and bar number checks
2762 @unnumberedsubsubsec Bar and bar number checks
2765 @cindex bar number check
2766 @cindex measure check
2767 @cindex measure number check
2769 @funindex barCheckSynchronize
2772 Bar checks help detect errors in the entered durations. A bar check
2773 may be entered using the bar symbol, @code{|}, at any place where a
2774 bar line is expected to fall. If bar check lines are encountered at
2775 other places, a list of warnings is printed in the log file, showing
2776 the line numbers and lines in which the bar checks failed. In the
2777 next example, the second bar check will signal an error.
2780 \time 3/4 c2 e4 | g2 |
2783 Bar checks can also be used in lyrics:
2788 Twin -- kle | Twin -- kle |
2792 An incorrect duration can result in a completely garbled score,
2793 especially if the score is polyphonic, so a good place to start
2794 correcting input is by scanning for failed bar checks and
2795 incorrect durations.
2797 If successive bar checks are off by the same musical interval,
2798 only the first warning message is displayed. This allows the
2799 warning to focus on the source of the timing error.
2803 @funindex pipeSymbol
2805 It is also possible to redefine the action taken when a bar check
2806 or pipe symbol, @code{|}, is encountered in the input, so that
2807 it does something other than a bar check. This is done by
2808 assigning a music expression to @code{pipeSymbol}.
2809 In the following example @code{|} is set to insert a double bar
2810 line wherever it appears in the input, rather than checking
2813 @lilypond[quote,verbatim]
2814 pipeSymbol = \bar "||"
2823 @funindex \barNumberCheck
2824 @funindex barNumberCheck
2826 When copying large pieces of music, it can be helpful to check that
2827 the LilyPond bar number corresponds to the original that you are
2828 entering from. This can be checked with @code{\barNumberCheck}, for
2832 \barNumberCheck #123
2836 will print a warning if the @code{currentBarNumber} is not 123
2837 when it is processed.
2845 @node Rehearsal marks
2846 @unnumberedsubsubsec Rehearsal marks
2848 @cindex rehearsal marks
2849 @cindex mark, rehearsal
2854 To print a rehearsal mark, use the @code{\mark} command.
2856 @lilypond[quote,verbatim,relative=2]
2864 The mark is incremented automatically if you use @code{\mark
2865 \default}, but you can also use an integer argument to set the
2866 mark manually. The value to use is stored in the property
2867 @code{rehearsalMark}.
2869 @lilypond[quote,verbatim,relative=2]
2878 The letter@tie{}@q{I} is skipped in accordance with engraving
2879 traditions. If you wish to include the letter @q{I}, then use one
2880 of the following commands, depending on which style of rehearsal mark
2881 you want (letters only, letters in a hollow box, or letters in a
2885 \set Score.markFormatter = #format-mark-alphabet
2886 \set Score.markFormatter = #format-mark-box-alphabet
2887 \set Score.markFormatter = #format-mark-circle-alphabet
2890 @lilypond[quote,verbatim,relative=2]
2891 \set Score.markFormatter = #format-mark-box-alphabet
2899 @cindex rehearsal mark format
2900 @cindex rehearsal mark style
2901 @cindex style, rehearsal mark
2902 @cindex format, rehearsal mark
2903 @cindex mark, rehearsal, style
2904 @cindex mark, rehearsal, format
2905 @cindex rehearsal mark, manual
2906 @cindex mark, rehearsal, manual
2907 @cindex custom rehearsal mark
2908 @cindex manual rehearsal mark
2910 The style is defined by the property @code{markFormatter}. It is
2911 a function taking the current mark (an integer) and the current
2912 context as argument. It should return a markup object. In the
2913 following example, @code{markFormatter} is set to a pre-defined
2914 procedure. After a few measures, it is set to a procedure that
2915 produces a boxed number.
2917 @lilypond[quote,verbatim,relative=2]
2918 \set Score.markFormatter = #format-mark-numbers
2921 \set Score.markFormatter = #format-mark-box-numbers
2923 \set Score.markFormatter = #format-mark-circle-numbers
2925 \set Score.markFormatter = #format-mark-circle-letters
2929 The file @file{scm/translation-functions.scm} contains the
2930 definitions of @code{format-mark-numbers} (the default format),
2931 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2932 @code{format-mark-box-letters}. These can be used as inspiration
2933 for other formatting functions.
2935 You may use @code{format-mark-barnumbers},
2936 @code{format-mark-box-barnumbers}, and
2937 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2938 incremented numbers or letters.
2940 Other styles of rehearsal mark can be specified manually:
2947 Note that @code{Score.markFormatter} does not affect marks specified
2948 in this manner. However, it is possible to apply a @code{\markup} to the
2952 \mark \markup@{ \box A1 @}
2957 @cindex D.S. al Fine
2959 @cindex music glyphs
2960 @cindex glyphs, music
2962 @funindex \musicglyph
2963 @funindex musicglyph
2965 Music glyphs (such as the segno sign) may be printed inside a
2968 @lilypond[quote,verbatim,relative=1]
2969 c1 \mark \markup { \musicglyph #"scripts.segno" }
2970 c1 \mark \markup { \musicglyph #"scripts.coda" }
2971 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2976 See @ref{The Feta font}, for a list of symbols which may be
2977 printed with @code{\musicglyph}.
2979 For common tweaks to the positioning of rehearsal marks, see
2980 @ref{Formatting text}. For more precise control, see
2981 @code{break-alignable-interface} in @ref{Aligning objects}.
2986 @ref{The Feta font},
2987 @ref{Formatting text},
2988 @ref{Aligning objects}.
2991 @file{scm/translation-functions.scm} contains
2992 the definitions of @code{format-mark-numbers} and
2993 @code{format-mark-letters}. They can be used as inspiration for
2994 other formatting functions.
2999 Internals Reference:
3000 @rinternals{MarkEvent},
3001 @rinternals{Mark_engraver},
3002 @rinternals{RehearsalMark}.
3005 @node Special rhythmic concerns
3006 @subsection Special rhythmic concerns
3011 * Aligning to cadenzas::
3012 * Time administration::
3016 @unnumberedsubsubsec Grace notes
3020 @cindex appoggiatura
3021 @cindex acciaccatura
3026 Grace notes are ornaments that are written out. Grace notes
3027 are printed in a smaller font and take up no logical time
3030 @lilypond[quote,relative=2,verbatim]
3032 \grace { c16[ d16] } c2
3035 LilyPond also supports two special types of grace notes, the
3036 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3037 small note with a slashed stem -- and the @emph{appoggiatura}, which
3038 takes a fixed fraction of the main note and appears in small print
3041 @lilypond[quote,relative=2,verbatim]
3045 \acciaccatura { g16[ f] } e4
3048 The placement of grace notes is synchronized between different
3049 staves. In the following example, there are two sixteenth grace
3050 notes for every eighth grace note
3052 @lilypond[quote,relative=2,verbatim]
3054 \new Staff { e2 \grace { c16[ d e f] } e2 }
3055 \new Staff { c2 \grace { g8[ b] } c2 }
3059 @cindex grace notes, following
3061 @funindex \afterGrace
3062 @funindex afterGrace
3064 If you want to end a note with a grace, use the @code{\afterGrace}
3065 command. It takes two arguments: the main note, and the grace
3066 notes following the main note.
3068 @lilypond[quote,verbatim,relative=2]
3069 c1 \afterGrace d1 { c16[ d] } c1
3072 This will put the grace notes after a space lasting 3/4 of the
3073 length of the main note. The default fraction 3/4 can be changed by
3074 setting @code{afterGraceFraction}. The following example shows
3075 the results from setting the space at the default, at 15/16, and
3076 finally at 1/2 of the main note.
3078 @lilypond[quote,verbatim,relative=2]
3081 c1 \afterGrace d1 { c16[ d] } c1
3084 #(define afterGraceFraction (cons 15 16))
3085 c1 \afterGrace d1 { c16[ d] } c1
3088 #(define afterGraceFraction (cons 1 2))
3089 c1 \afterGrace d1 { c16[ d] } c1
3094 The space between the main note and the grace note may also be
3095 specified using spacers. The following example places the grace
3096 note after a space lasting 7/8 of the main note.
3098 @lilypond[quote,verbatim,relative=2]
3102 { s2 s4. \grace { c16[ d] } }
3108 @cindex tweaking grace notes
3109 @cindex grace notes, tweaking
3110 @cindex grace notes, changing layout settings
3112 A @code{\grace} music expression will introduce special
3113 typesetting settings, for example, to produce smaller type, and
3114 set directions. Hence, when introducing layout tweaks to
3115 override the special settings, they should be placed inside
3116 the grace expression. The overrides should also be reverted
3117 inside the grace expression. Here, the grace note's default stem
3118 direction is overridden and then reverted.
3120 @lilypond[quote,verbatim,relative=2]
3132 @cindex stem, with slash
3137 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3138 {using-grace-note-slashes-with-normal-heads.ly}
3140 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3141 {tweaking-grace-layout-within-music.ly}
3143 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3144 {redefining-grace-note-global-defaults.ly}
3146 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
3147 {positioning-grace-notes-with-floating-space.ly}
3152 @rglos{grace notes},
3153 @rglos{acciaccatura},
3154 @rglos{appoggiatura}.
3160 @file{ly/grace-init.ly}.
3165 Internals Reference:
3166 @rinternals{GraceMusic},
3167 @rinternals{Grace_beam_engraver},
3168 @rinternals{Grace_engraver},
3169 @rinternals{Grace_spacing_engraver}.
3174 @cindex acciaccatura, multi-note
3175 @cindex multi-note acciaccatura
3176 @cindex grace-note synchronization
3178 A multi-note beamed @i{acciaccatura} is printed without a slash,
3179 and looks exactly the same as a multi-note beamed
3182 @c TODO Add link to LSR snippet to add slash when available
3184 Grace note synchronization can also lead to surprises. Staff
3185 notation, such as key signatures, bar lines, etc., are also
3186 synchronized. Take care when you mix staves with grace notes and
3187 staves without, for example,
3189 @lilypond[quote,relative=2,verbatim]
3191 \new Staff { e4 \bar "|:" \grace c16 d2. }
3192 \new Staff { c4 \bar "|:" d2. }
3197 This can be remedied by inserting grace skips of the corresponding
3198 durations in the other staves. For the above example
3200 @lilypond[quote,relative=2,verbatim]
3202 \new Staff { e4 \bar "|:" \grace c16 d2. }
3203 \new Staff { c4 \bar "|:" \grace s16 d2. }
3207 The use of grace notes within voice contexts confuses the way the
3208 voice is typeset. This can be overcome by inserting a rest or note
3209 between the voice command and the grace note.
3211 @lilypond[quote,verbatim]
3213 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3220 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3221 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3226 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3227 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3234 Grace sections should only be used within sequential music
3235 expressions. Nesting or juxtaposing grace sections is not
3236 supported, and might produce crashes or other errors.
3239 @node Aligning to cadenzas
3240 @unnumberedsubsubsec Aligning to cadenzas
3243 @cindex cadenza, aligning to
3244 @cindex aligning to cadenza
3246 In an orchestral context, cadenzas present a special problem: when
3247 constructing a score that includes a measured cadenza or other solo
3248 passage, all other instruments should skip just as many notes as the
3249 length of the cadenza, otherwise they will start too soon or too late.
3251 One solution to this problem is to use the functions
3252 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3253 functions take a defined piece of music as an argument and generate a
3254 multi-measure rest or @code{\skip} exactly as long as the piece.
3256 @lilypond[verbatim,quote]
3257 MyCadenza = \relative c' {
3268 #(ly:export (mmrest-of-length MyCadenza))
3270 #(ly:export (skip-of-length MyCadenza))
3285 @node Time administration
3286 @unnumberedsubsubsec Time administration
3288 @cindex time administration
3289 @cindex timing (within the score)
3290 @cindex music, unmetered
3291 @cindex unmetered music
3293 @funindex currentBarNumber
3294 @funindex measurePosition
3295 @funindex measureLength
3297 Time is administered by the @code{Timing_translator}, which by
3298 default is to be found in the @code{Score} context. An alias,
3299 @code{Timing}, is added to the context in which the
3300 @code{Timing_translator} is placed. To ensure that the
3301 @code{Timing} alias is available, you may need to explicitly
3302 instantiate the containing context (such as @code{Voice} or
3305 The following properties of @code{Timing} are used
3306 to keep track of timing within the score.
3309 @cindex measure number
3312 @item currentBarNumber
3313 The current measure number. For an example showing the
3314 use of this property see @ref{Bar numbers}.
3317 The length of the measures in the current time signature. For a
3318 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3319 determines when bar lines are inserted and how automatic beams
3320 should be generated.
3322 @item measurePosition
3323 The point within the measure where we currently are. This
3324 quantity is reset by subtracting @code{measureLength} whenever
3325 @code{measureLength} is reached or exceeded. When that happens,
3326 @code{currentBarNumber} is incremented.
3329 If set to true, the above variables are updated for every time
3330 step. When set to false, the engraver stays in the current
3331 measure indefinitely.
3335 Timing can be changed by setting any of these variables
3336 explicitly. In the next example, the default 4/4 time
3337 signature is printed, but @code{measureLength} is set to 5/4.
3338 At 4/8 through the third measure, the @code{measurePosition} is
3339 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3340 The next bar line then falls at 9/8 rather than 5/4.
3342 @lilypond[quote,verbatim]
3343 \new Voice \relative c' {
3344 \set Timing.measureLength = #(ly:make-moment 5 4)
3348 \set Timing.measurePosition = #(ly:make-moment 5 8)
3355 As the example illustrates, @code{ly:make-moment n m} constructs a
3356 duration of n/m of a whole note. For example,
3357 @code{ly:make-moment 1 8} is an eighth note duration and
3358 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3365 @ref{Unmetered music}.
3370 Internals Reference:
3371 @rinternals{Timing_translator},