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}
157 @rglos{Duration names notes and rests}.
160 @ref{Automatic beams},
163 @ref{Writing rhythms},
166 @ref{Ancient notation},
167 @ref{Proportional notation}.
174 @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,quote,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,quote,ragged-right,texidoc,doctitle]
260 {changing-the-tuplet-number.ly}
262 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
263 {non-default-tuplet-numbers.ly}
265 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
266 {controlling-tuplet-bracket-visibility.ly}
268 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
269 {permitting-line-breaks-within-beamed-tuplets.ly}
278 @rlearning{Tweaking methods}.
281 @ref{Time administration},
282 @ref{Scaling durations},
283 @ref{The tweak command},
284 @ref{Polymetric notation}.
290 @rinternals{TupletBracket},
291 @rinternals{TupletNumber},
292 @rinternals{TimeScaledMusic}.
294 @cindex grace notes within tuplet brackets
297 Grace notes may be placed within tuplet brackets, @emph{except}
298 when a staff begins with a grace note followed by a tuplet. In this
299 particular case, the grace note must be placed before the @code{\times}
300 command to avoid errors.
302 @cindex tempo marks within tuplet brackets
304 When using a tuplet at the beginning of a piece with a @code{\tempo}
305 mark, the music must be explicitly entered in a @code{\new Voice}
306 block, as discussed in @rlearning{Voices contain music}.
309 @node Scaling durations
310 @unnumberedsubsubsec Scaling durations
312 @cindex scaling durations
313 @cindex durations, scaling
315 You can alter the duration of single notes, rests or chords by a
316 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
317 is 1) to the duration. This will not affect the appearance of the
318 notes or rests produced, but the altered duration will be used in
319 calculating the position within the measure and setting the duration
320 in the MIDI output. Multiplying factors may be combined such as
323 In the following example, the first three notes take up exactly
324 two beats, but no triplet bracket is printed.
326 @lilypond[quote,relative=2,verbatim]
328 % Alter durations to triplets
329 a4*2/3 gis4*2/3 a4*2/3
332 % Double the duration of chord
334 % Duration of quarter, appears like sixteenth
338 The duration of spacing notes may also be modified by
339 a multiplier. This is useful for skipping many measures, e.g.,
342 @cindex compressing music
343 @cindex expanding music
345 @funindex \scaleDurations
346 @funindex scaleDurations
348 Longer stretches of music may be compressed by a fraction in the
349 same way, as if every note, chord or rest had the fraction as a
350 multiplier. This leaves the appearance of the music unchanged but
351 the internal duration of the notes will be multiplied by the
352 fraction @emph{num}/@emph{den}. The spaces around the dot are
353 required. Here is an example showing how music can be compressed
356 @lilypond[quote,relative=2,verbatim]
360 % Scale music by *2/3
361 \scaleDurations #'(2 . 3) {
365 \scaleDurations #'(2 . 1) {
370 One application of this command is in polymetric
371 notation, see @ref{Polymetric notation}.
376 @ref{Invisible rests},
377 @ref{Polymetric notation}.
384 @unnumberedsubsubsec Ties
390 A tie connects two adjacent note heads of the same pitch. The tie
391 in effect extends the duration of a note.
393 @warning{Ties should not be confused with @emph{slurs}, which
394 indicate articulation, or @emph{phrasing slurs}, which indicate
395 musical phrasing. A tie is just a way of extending a note
396 duration, similar to the augmentation dot.}
398 A tie is entered using the tilde symbol (@code{~}).
400 @lilypond[quote,verbatim,relative=2]
404 Ties are used either when the note crosses a bar line, or when
405 dots cannot be used to denote the rhythm. Ties should also be
406 used when note values cross larger subdivisions of the measure:
408 @lilypond[verbatim,quote]
415 If you need to tie many notes across bar lines, it may be
416 easier to use automatic note splitting, see @ref{Automatic note
417 splitting}. This mechanism automatically splits long notes, and
418 ties them across bar lines.
420 @cindex ties and chords
421 @cindex chords and ties
423 When a tie is applied to a chord, all note heads whose pitches
424 match are connected. When no note heads match, no ties will be
425 created. Chords may be partially tied by placing the tie inside
428 @lilypond[quote,verbatim,relative=1]
430 <c~ e g~ b> <c e g b>
433 @cindex repeating ties
434 @cindex ties, repeating
435 @cindex volta brackets and ties
436 @cindex ties and volta brackets
441 When a second alternative of a repeat starts with a tied note, you
442 have to specify the repeated tie as follows:
444 @lilypond[quote,relative=2,verbatim]
445 \repeat volta 2 { c g <c e>2 ~ }
447 % First alternative: following note is tied normally
449 % Second alternative: following note has a repeated tie
450 { <c e>2\repeatTie d4 c } }
453 @cindex laissez vibrer
454 @cindex ties, laissez vibrer
456 @funindex \laissezVibrer
457 @funindex laissezVibrer
459 @notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
460 notes must not be damped at the end. It is used in notation for
461 piano, harp and other string and percussion instruments. They can
462 be entered as follows:
464 @lilypond[quote,verbatim,relative=1]
465 <c f g>1\laissezVibrer
468 @cindex ties, placement
474 @funindex \tieNeutral
477 Ties may be manually placed above or below the staff; see
478 @ref{Direction and placement}.
480 @cindex ties, appearance
493 Ties may be made dashed, dotted, or a combination of solid and
496 @lilypond[quote, verbatim, relative=1]
509 Custom dash patterns can be specified:
511 @lilypond[quote, verbatim, relative=1]
512 \tieDashPattern #0.3 #0.75
514 \tieDashPattern #0.7 #1.5
520 Dash pattern definitions for ties have the same structure as dash
521 pattern definitions for slurs. For more information about complex dash
522 patterns, see @ref{Slurs}.
524 Override @var{whiteout} and @var{layer} layout properties for ties that
525 collide with other objects in a staff.
527 @lilypond[verbatim,quote,ragged-right,relative=2]
528 \override Tie #'layer = #-2
529 \override Staff.TimeSignature #'layer = #-1
530 \override Staff.KeySignature #'layer = #-1
531 \override Staff.TimeSignature #'whiteout = ##t
532 \override Staff.KeySignature #'whiteout = ##t
545 @code{\tieDashPattern},
546 @code{\tieHalfDashed},
547 @code{\tieHalfSolid},
553 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
554 {using-ties-with-arpeggios.ly}
556 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
557 {engraving-ties-manually.ly}
562 @rglos{laissez vibrer}.
566 @ref{Automatic note splitting}.
569 @rlsr{Expressive marks},
573 @rinternals{LaissezVibrerTie},
574 @rinternals{LaissezVibrerTieColumn},
575 @rinternals{TieColumn},
579 Switching staves when a tie is active will not produce a slanted tie.
581 Changing clefs or ottavations during a tie is not really well-defined.
582 In these cases, a slur may be preferable.
586 @subsection Writing rests
588 Rests are entered as part of the music in music expressions.
593 * Full measure rests::
597 @unnumberedsubsubsec Rests
600 @cindex rest, entering durations
615 Rests are entered like notes with the note name @code{r}.
616 Durations longer than a whole rest use the following predefined
619 @c \time 16/1 is used to avoid spurious bar lines
620 @c and long tracts of empty measures
621 @lilypond[quote,verbatim,relative=2]
623 % These two lines are just to prettify this example
625 \override Staff.TimeSignature #'stencil = ##f
626 % Print a maxima rest, equal to four breves
628 % Print a longa rest, equal to two breves
632 r1 r2 r4 r8 r16 r32 r64 r128
636 @cindex rest, multi-measure
637 @cindex rest, whole-measure
639 Whole measure rests, centered in the middle of the measure, must be
640 entered as multi-measure rests. They can be used for a single
641 measure as well as many measures and are discussed in
642 @ref{Full measure rests}.
644 @cindex rest, specifying vertical position
646 To explicitly specify a rest's vertical position, write a note
647 followed by @code{\rest}. A rest of the duration of the note will
648 be placed at the staff position where the note would appear. This
649 allows for precise manual formatting of polyphonic music, since the
650 automatic rest collision formatter will not move these rests.
652 @lilypond[quote,verbatim,relative=2]
658 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
668 @ref{Full measure rests}.
677 @c Deliberately duplicated in Durations and Rests. -gp
678 There is no fundamental limit to rest durations (both in terms of
679 longest and shortest), but the number of glyphs is limited: there
680 are rests from 128th to maxima (8 x whole).
683 @node Invisible rests
684 @unnumberedsubsubsec Invisible rests
687 @cindex invisible rest
688 @cindex rest, invisible
696 An invisible rest (also called a @q{spacer rest}) can be entered
697 like a note with the note name@tie{}@code{s}:
699 @lilypond[verbatim,quote,relative=2]
706 Spacer rests are available only in note mode and chord mode. In
707 other situations, for example, when entering lyrics, the
708 command @code{\skip} is used to skip a musical moment.
709 @code{\skip} requires an explicit duration, but this is ignored if
710 the lyrics derive their durations from the notes in an associated
711 melody through @code{\addlyrics} or @code{\lyricsto}.
713 @lilypond[quote,verbatim,relative=2]
726 Because @code{\skip} is a command, it does not affect the default
727 durations of following notes, unlike@tie{}@code{s}.
729 @lilypond[quote,verbatim,relative=2]
732 \repeat unfold 8 { a4 }
742 A spacer rest implicitly causes @code{Staff} and @code{Voice}
743 contexts to be created if none exist, just like notes and rests
746 @lilypond[quote,verbatim,relative=2]
750 @code{\skip} simply skips musical time; it creates no output of
753 @lilypond[quote,verbatim,relative=2]
754 % This is valid input, but does nothing
755 \skip 1 \skip1 \skip 1
760 @rlearning{Visibility and color of objects}.
764 @ref{Visibility of objects}.
770 @rinternals{SkipMusic}.
773 @node Full measure rests
774 @unnumberedsubsubsec Full measure rests
776 @cindex multi-measure rests
777 @cindex full-measure rests
778 @cindex rest, multi-measure
779 @cindex rest, full-measure
780 @cindex whole rest for a full measure
781 @cindex rest, whole for a full measure
785 Rests for one or more full measures are entered like notes with
786 the note name uppercase @code{R}:
788 @lilypond[quote,verbatim,relative=2]
789 % Rest measures contracted to single measure
790 \compressFullBarRests
797 The duration of full-measure rests is identical to the duration
798 notation used for notes. The duration in a multi-measure rest must
799 always be an integral number of measure-lengths, so augmentation dots
800 or fractions must often be used:
802 @lilypond[quote,verbatim,relative=2]
803 \compressFullBarRests
809 R1*13/8 | R1*13/8*12 |
814 A full-measure rest is printed as either a whole or breve rest,
815 centered in the measure, depending on the time signature.
817 @lilypond[quote,verbatim,relative=2]
826 @cindex multi-measure rest, expanding
827 @cindex multi-measure rest, contracting
829 @funindex \expandFullBarRests
830 @funindex expandFullBarRests
831 @funindex \compressFullBarRests
832 @funindex compressFullBarRests
834 By default a multi-measure rest is expanded in the printed score to
835 show all the rest measures explicitly. Alternatively, a multi-measure
836 rest can be shown as a single measure containing a multi-measure rest
837 symbol, with the number of measures of rest printed above the measure:
839 @lilypond[quote,verbatim,relative=2]
841 \time 3/4 r2. | R2.*2 |
844 % Rest measures contracted to single measure
845 \compressFullBarRests
847 % Rest measures expanded
854 @cindex text on multi-measure rest
855 @cindex multi-measure rest, attaching text
856 @cindex script on multi-measure rest
857 @cindex multi-measure rest, script
858 @cindex fermata on multi-measure rest
859 @cindex multi-measure rest, attaching fermata
860 @cindex markup on multi-measure rest
861 @cindex multi-measure rest with markup
863 @funindex \fermataMarkup
864 @funindex fermataMarkup
865 @funindex MultiMeasureRestText
867 Markups can be added to multi-measure rests.
868 The predefined command @code{\fermataMarkup}
869 is provided for adding fermatas.
871 @lilypond[quote,verbatim,relative=2]
872 \compressFullBarRests
874 R2.*10^\markup { \italic "ad lib." }
878 @warning{Markups attached to a multi-measure rest are objects of type
879 @code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
880 be directed to the correct object, or they will be ignored. See the
883 @lilypond[quote,verbatim,relative=2]
884 % This fails, as the wrong object name is specified
885 \override TextScript #'padding = #5
887 % This is the correct object name to be specified
888 \override MultiMeasureRestText #'padding = #5
892 When a multi-measure rest immediately follows a @code{\partial}
893 setting, resulting bar-check warnings may not be displayed.
896 @funindex \textLengthOn
897 @funindex textLengthOn
898 @funindex \textLengthOff
899 @funindex textLengthOff
900 @funindex \fermataMarkup
901 @funindex fermataMarkup
902 @funindex \compressFullBarRests
903 @funindex compressFullBarRests
904 @funindex \expandFullBarRests
905 @funindex expandFullBarRests
908 @code{\textLengthOn},
909 @code{\textLengthOff},
910 @code{\fermataMarkup},
911 @code{\compressFullBarRests},
912 @code{\expandFullBarRests}.
920 @cindex kirchenpausen
922 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
923 {changing-form-of-multi-measure-rests.ly}
925 @cindex multi-measure rests, positioning
926 @cindex positioning multi-measure rests
928 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
929 {positioning-multi-measure-rests.ly}
931 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
932 {multi-measure-rest-markup.ly}
936 @rglos{multi-measure rest}.
941 @ref{Formatting text},
948 @rinternals{MultiMeasureRest},
949 @rinternals{MultiMeasureRestNumber},
950 @rinternals{MultiMeasureRestText}.
952 @cindex fingerings and multi-measure rests
953 @cindex multi-measure rests and fingerings
956 Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
957 in the fingering numeral colliding with the bar counter
960 @cindex condensing rests
961 @cindex rest, condensing ordinary
963 There is no way to automatically condense multiple ordinary rests
964 into a single multi-measure rest.
966 @cindex rest, collisions of
968 Multi-measure rests do not take part in rest collisions.
971 @node Displaying rhythms
972 @subsection Displaying rhythms
979 * Polymetric notation::
980 * Automatic note splitting::
981 * Showing melody rhythms::
985 @unnumberedsubsubsec Time signature
987 @cindex time signature
993 The time signature is set as follows:
995 @lilypond[quote,verbatim,relative=2]
1000 @cindex time signature, visibility of
1002 Time signatures are printed at the beginning of a piece
1003 and whenever the time signature changes. If a change takes place
1004 at the end of a line a warning time signature sign is printed
1005 there. This default behavior may be changed, see
1006 @ref{Visibility of objects}.
1008 @lilypond[quote,verbatim,relative=2]
1018 @cindex time signature style
1021 @funindex \numericTimeSignature
1022 @funindex numericTimeSignature
1023 @funindex \defaultTimeSignature
1024 @funindex defaultTimeSignature
1026 The time signature symbol that is used in 2/2 and 4/4 time can be
1027 changed to a numeric style:
1029 @lilypond[quote,verbatim,relative=2]
1033 % Change to numeric style
1034 \numericTimeSignature
1037 % Revert to default style
1038 \defaultTimeSignature
1044 Mensural time signatures are covered in
1045 @ref{Mensural time signatures}.
1047 @cindex time signature default settings
1048 @cindex autobeaming properties for time signatures
1049 @cindex beaming, time signature default properties
1050 @funindex \overrideTimeSignatureSettings
1052 In addition to setting the printed time signature, the @code{\time}
1053 command also sets time-signature-based default values for the properties
1054 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}. The
1055 predefined default values for these properties can be found in
1056 @file{scm/time-signature-settings.scm}. The existing default values can
1057 be changed, or new default values can be added:
1059 @lilypond[quote,verbatim]
1063 \overrideTimeSignatureSettings
1064 #'(4 . 4) % timeSignatureFraction
1065 #'(1 . 4) % baseMomentFraction
1066 #'(3 1) % beatStructure
1067 #'() % beamExceptions
1069 \repeat unfold 8 { c8 } |
1075 @code{\overrideTimeSignatureSettings} takes four arguments:
1080 @code{@var{timeSignatureFraction}}, a Scheme pair describing the
1084 @code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
1085 and denominator of the basic timing unit for the time signature.
1088 @code{@var{beatStructure}}, a Scheme list indicating the structure
1089 of the beats in the measure, in units of the base moment.
1092 @code{@var{beamExceptions}}, an alist containing any beaming rules
1093 for the time signature that go beyond ending at every beat, as
1094 described in @ref{Setting automatic beam behavior}.
1097 The context containing @code{\overrideTimeSignatureSettings} must
1098 be instantiated before the @code{\overrideTimeSignatureSettings}
1099 call is executed. That means it must either be explicitly
1100 instantiated or there must be music in the context before the
1101 @code{\overrideTimeSignatureSettings} call:
1103 @lilypond[quote,verbatim]
1106 % This call will fail because the context isn't yet instantiated
1107 \overrideTimeSignatureSettings
1108 #'(4 . 4) % timeSignatureFraction
1109 #'(1 . 4) % baseMomentFraction
1110 #'(3 1) % beatStructure
1111 #'() % beamExceptions
1113 c8^\markup {"Beamed (2 2)"}
1114 \repeat unfold 7 { c8 } |
1115 % This call will succeed
1116 \overrideTimeSignatureSettings
1117 #'(4 . 4) % timeSignatureFraction
1118 #'(1 . 4) % baseMomentFraction
1119 #'(3 1) % beatStructure
1120 #'() % beamExceptions
1122 c8^\markup {"Beamed (3 1)"}
1123 \repeat unfold 7 { c8 } |
1129 @cindex time signature properties, restoring default values
1130 @cindex restoring default properties for time signatures
1131 @funindex \revertTimeSignatureSettings
1133 Changed values of default time signature properties can be restored
1134 to the original values:
1136 @lilypond[quote,verbatim]
1139 \repeat unfold 8 { c8 } |
1140 \overrideTimeSignatureSettings
1141 #'(4 . 4) % timeSignatureFraction
1142 #'(1 . 4) % baseMomentFraction
1143 #'(3 1) % beatStructure
1144 #'() % beamExceptions
1146 \repeat unfold 8 { c8 } |
1147 \revertTimeSignatureSettings #'(4 . 4)
1149 \repeat unfold 8 { c8 } |
1154 Different values of default time signature properties can be established
1155 for different staves by moving the @code{Timing_translator} and the
1156 @code{Default_bar_line_engraver} from the @code{Score} context to the
1157 @code{Staff} context.
1159 @lilypond[quote, verbatim]
1163 \overrideTimeSignatureSettings
1164 #'(4 . 4) % timeSignatureFraction
1165 #'(1 . 4) % baseMomentFraction
1166 #'(3 1) % beatStructure
1167 #'() % beamExceptions
1169 \repeat unfold 8 {c''8}
1172 \overrideTimeSignatureSettings
1173 #'(4 . 4) % timeSignatureFraction
1174 #'(1 . 4) % baseMomentFraction
1175 #'(1 3) % beatStructure
1176 #'() % beamExceptions
1178 \repeat unfold 8 {c''8}
1184 \remove "Timing_translator"
1185 \remove "Default_bar_line_engraver"
1189 \consists "Timing_translator"
1190 \consists "Default_bar_line_engraver"
1197 @code{\numericTimeSignature},
1198 @code{\defaultTimeSignature}.
1203 @lilypondfile[verbatim,quote,texidoc,doctitle]
1204 {time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
1208 @rglos{time signature}
1211 @ref{Mensural time signatures},
1212 @ref{Time administration}.
1217 Internals Reference:
1218 @rinternals{TimeSignature},
1219 @rinternals{Timing_translator}.
1222 @node Metronome marks
1223 @unnumberedsubsubsec Metronome marks
1226 @cindex beats per minute
1227 @cindex metronome mark
1228 @cindex metronome marking with text
1233 A basic metronome mark is simple to write:
1235 @lilypond[verbatim,quote,relative=1]
1241 Metronome marks may also be printed as a range of two numbers:
1243 @lilypond[verbatim,quote,relative=1]
1249 Tempo indications with text can be used instead:
1251 @lilypond[verbatim,quote,relative=2]
1257 Combining a metronome mark and text will automatically place the
1258 metronome mark within parentheses:
1260 @lilypond[verbatim,quote,relative=2]
1261 \tempo "Allegro" 4 = 160
1266 In general, the text can be any markup object:
1268 @lilypond[verbatim,quote,relative=2]
1269 \tempo \markup { \italic Faster } 4 = 132
1270 a8-. r8 b-. r gis-. r a-. r
1273 A parenthesized metronome mark with no textual indication may be
1274 written by including an empty string in the input:
1276 @lilypond[verbatim,quote,relative=2]
1284 @lilypondfile[verbatim,quote,texidoc,doctitle]
1285 {printing-metronome-and-rehearsal-marks-below-the-staff.ly}
1287 @c perhaps also an example of how to move it horizontally?
1289 @lilypondfile[verbatim,quote,texidoc,doctitle]
1290 {changing-the-tempo-without-a-metronome-mark.ly}
1292 @lilypondfile[verbatim,quote,texidoc,doctitle]
1293 {creating-metronome-marks-in-markup-mode.ly}
1295 For more details, see @ref{Formatting text}.
1300 @rglos{metronomic indication},
1301 @rglos{tempo indication},
1302 @rglos{metronome mark}.
1305 @ref{Formatting text},
1309 @rlsr{Staff notation}.
1311 Internals Reference:
1312 @rinternals{MetronomeMark}.
1316 @unnumberedsubsubsec Upbeats
1320 @cindex partial measure
1321 @cindex measure, partial
1322 @cindex measure, pickup
1323 @cindex pickup measure
1325 @funindex measurePosition
1329 Partial or pick-up measures, such as an @emph{anacrusis} or an
1330 @emph{upbeat}, are entered using the @code{\partial} command,
1333 \partial @var{duration}
1337 where @code{@var{duration}} is the @emph{remaining} length of the
1338 partial measure @emph{before} the start of the next full measure.
1340 @lilypond[quote,verbatim,relative=1]
1346 The @var{duration} can be any value less than a full measure:
1348 @lilypond[quote,verbatim,relative=1]
1351 r4 e8 | a4 c8 b c4 |
1354 The @code{\partial @var{duration}} can also be written as;
1357 \set Timing.measurePosition -@var{duration}
1360 So @code{\partial 8} becomes:
1362 @lilypond[quote,verbatim,relative=1]
1364 \set Timing.measurePosition = #(ly:make-moment -1 8)
1368 The property @code{measurePosition} contains a rational number
1369 indicating how much of the measure has passed at this point. Note
1370 that this is set to a negative number by the @code{\partial} command:
1371 i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
1372 meaning @qq{there is a quarter note left in the measure.}
1385 @rinternals{Timing_translator}.
1388 The @code{\partial} command should be used only at the beginning of a
1389 piece. If you use it after the beginning, warnings or problems may
1390 occur, so use @code{\set Timing.measurePosition} instead.
1392 @lilypond[quote,verbatim,relative=1]
1395 e8 | a4 c8 b[ c b] |
1396 \set Timing.measurePosition = #(ly:make-moment -1 4)
1397 r8 e,8 | a4 c8 b[ c b] |
1401 @node Unmetered music
1402 @unnumberedsubsubsec Unmetered music
1404 @cindex bar lines, turning off
1405 @cindex bar numbering, turning off
1407 @cindex unmetered music
1409 @funindex \cadenzaOn
1411 @funindex \cadenzaOff
1412 @funindex cadenzaOff
1414 Bar lines and bar numbers are calculated automatically. For
1415 unmetered music (some cadenzas, for example), this is not desirable.
1416 To turn off automatic calculation of bar lines and bar numbers,
1417 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1418 to turn them on again.
1420 @lilypond[verbatim,relative=2,quote]
1423 c4 c d8[ d d] f4 g4.
1429 Bar numbering is resumed at the end of the cadenza as if the
1430 cadenza were not there:
1432 @lilypond[verbatim,relative=2,quote]
1433 % Show all bar numbers
1434 \override Score.BarNumber #'break-visibility = #all-visible
1437 c4 c d8[ d d] f4 g4.
1443 @cindex beams, in cadenzas
1444 @cindex beams, in unmetered music
1445 @cindex cadenza, with beams
1446 @cindex unmetered music, with beams
1448 Automatic beaming is disabled by @code{\cadenzaOn} and enabled
1449 by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
1450 must be entered manually (@ref{Manual beams}).
1452 @lilypond[verbatim,relative=2,quote]
1453 \repeat unfold 8 { c8 }
1455 \repeat unfold 5 { c8 }
1458 \repeat unfold 8 { c8 }
1461 Note that these predefined commands affect all staves in the
1462 score, even when they are placed in just one @code{Voice}
1463 context. To change this, move the @code{Timing_translator}
1464 from the @code{Score} context to the @code{Staff} context, as
1465 shown in @ref{Polymetric notation}.
1477 @ref{Visibility of objects},
1478 @ref{Polymetric notation},
1484 @cindex cadenza line breaks
1485 @cindex cadenza page breaks
1486 @cindex unmetered music, line breaks
1487 @cindex unmetered music, page breaks
1488 @cindex breaks in unmetered music
1489 @cindex line breaks in cadenzas
1490 @cindex page breaks in cadenzas
1491 @cindex line breaks in unmetered music
1492 @cindex page breaks in unmetered music
1495 LilyPond will insert line breaks and page breaks only at a
1496 bar line. Unless the unmetered music ends before the end of the
1497 staff line, you will need to insert invisible bar lines with
1504 to indicate where breaks can occur.
1506 You should explicitly create a @code{Voice} context when starting a
1507 piece with @code{\cadenzaOn}, otherwise strange errors may occur.
1513 c16[^"Solo Free Time" d e f] g2.
1521 @node Polymetric notation
1522 @unnumberedsubsubsec Polymetric notation
1524 @c This section necessarily uses \set
1525 @c This is acceptable -td
1527 @cindex double time signatures
1528 @cindex signatures, polymetric
1529 @cindex time signatures, polymetric
1530 @cindex time signatures, double
1531 @cindex polymetric signatures
1532 @cindex meter, polymetric
1534 @funindex timeSignatureFraction
1535 @funindex \scaleDurations
1536 @funindex scaleDurations
1540 Polymetric notation is supported explicitly or by manually modifying the
1541 visible time signature symbol and/or scaling note durations.
1543 @subsubheading Different time signatures with equal-length measures
1545 Set a common time signature for each staff, and set the
1546 @code{timeSignatureFraction} to the desired fraction. Then use the
1547 @code{\scaleDurations} function to scale the durations of the notes in
1548 each staff to the common time signature.
1550 @cindex beams, with polymetric meters
1551 @cindex polymetric meters, with beams
1553 In the following example, music with the time signatures of 3/4, 9/8 and
1554 10/8 are used in parallel. In the second staff, shown durations are
1555 multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
1556 shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
1557 may be necessary to insert beams manually, as the duration scaling will
1558 affect the autobeaming rules.
1560 @lilypond[quote,verbatim]
1569 \set Staff.timeSignatureFraction = #'(9 . 8)
1570 \scaleDurations #'(2 . 3)
1571 \repeat unfold 6 { c8[ c c] }
1575 \set Staff.timeSignatureFraction = #'(10 . 8)
1576 \scaleDurations #'(3 . 5) {
1577 \repeat unfold 2 { c8[ c c] }
1578 \repeat unfold 2 { c8[ c] } |
1579 c4. c \times 2/3 { c8[ c c] } c4
1585 @subsubheading Different time signatures with unequal-length measures
1587 Each staff can be given its own independent time signature by
1588 moving the @code{Timing_translator} and the
1589 @code{Default_bar_line_engraver} to the @code{Staff} context.
1591 @lilypond[quote,verbatim]
1595 \remove "Timing_translator"
1596 \remove "Default_bar_line_engraver"
1600 \consists "Timing_translator"
1601 \consists "Default_bar_line_engraver"
1605 % Now each staff has its own time signature.
1629 @funindex \compoundMeter
1630 @cindex compound time signatures
1631 @cindex time signature, compound
1633 @subsubheading Compound time signatures
1635 These are created using the @code{\compoundMeter} function. The syntax
1639 \compoundMeter #'@code{(list of lists)}
1642 The simplest construction is a single list, where the @emph{last} number
1643 indicates the bottom number of the time signature and those that come
1644 before it, the top numbers.
1646 @lilypond[quote,verbatim]
1648 \compoundMeter #'((2 2 2 8))
1649 \repeat unfold 6 c8 \repeat unfold 12 c16
1653 More complex meters can be constructed using additional lists. Also,
1654 automatic beaming settings will be adjusted depending on the values.
1656 @lilypond[quote,verbatim]
1658 \compoundMeter #'((1 4) (3 8))
1659 \repeat unfold 5 c8 \repeat unfold 10 c16
1663 \compoundMeter #'((1 2 3 8) (3 4))
1664 \repeat unfold 12 c8
1671 @rglos{polymetric time signature},
1675 @ref{Automatic beams},
1677 @ref{Time signature},
1678 @ref{Scaling durations}.
1683 Internals Reference:
1684 @rinternals{TimeSignature},
1685 @rinternals{Timing_translator},
1686 @rinternals{Default_bar_line_engraver},
1690 When using different time signatures in parallel, notes at the same
1691 moment will be placed at the same horizontal location. However, the bar
1692 lines in the different staves will cause the note spacing to be less
1693 regular in each of the individual staves than would be normal without
1694 the different time signatures.
1697 @node Automatic note splitting
1698 @unnumberedsubsubsec Automatic note splitting
1700 @cindex notes, splitting
1701 @cindex splitting notes
1702 @cindex rests, splitting
1703 @cindex splitting rests
1705 @funindex Note_heads_engraver
1706 @funindex Completion_heads_engraver
1707 @funindex Completion_rest_engraver
1709 Long notes which overrun bar lines can be converted automatically to
1710 tied notes. This is done by replacing the @code{Note_heads_engraver}
1711 with the @code{Completion_heads_engraver}. Similarly, long rests which
1712 overrun bar lines are split automatically by replacing the
1713 @code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
1714 following example, notes and rests crossing the bar lines are split,
1715 notes are also tied.
1717 @lilypond[quote,verbatim,relative=1]
1719 \remove "Note_heads_engraver"
1720 \consists "Completion_heads_engraver"
1721 \remove "Rest_engraver"
1722 \consists "Completion_rest_engraver"
1725 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
1728 These engravers split all running notes and rests at the bar line, and
1729 inserts ties for notes. One of its uses is to debug complex scores: if
1730 the measures are not entirely filled, then the ties show exactly how
1731 much each measure is off.
1738 @rlearning{Engravers explained},
1739 @rlearning{Adding and removing engravers}.
1744 Internals Reference:
1745 @rinternals{Note_heads_engraver},
1746 @rinternals{Completion_heads_engraver},
1747 @rinternals{Rest_engraver},
1748 @rinternals{Completion_rest_engraver},
1749 @rinternals{Forbid_line_break_engraver}.
1752 Not all durations (especially those containing tuplets) can be
1753 represented exactly with normal notes and dots, but the
1754 @code{Completion_heads_engraver} will not insert tuplets.
1756 The @code{Completion_heads_engraver} only affects notes; it does not
1760 @node Showing melody rhythms
1761 @unnumberedsubsubsec Showing melody rhythms
1763 @cindex melody rhythms, showing
1764 @cindex rhythms, showing melody
1766 Sometimes you might want to show only the rhythm of a melody. This
1767 can be done with the rhythmic staff. All pitches of notes on such a
1768 staff are squashed, and the staff itself has a single line
1770 @lilypond[quote,relative=1,verbatim]
1772 \new RhythmicStaff {
1773 \new Voice = "myRhythm" {
1781 \lyricsto "myRhythm" {
1789 @cindex guitar chord charts
1790 @cindex strumming rhythms, showing
1791 @cindex guitar strumming rhythms, showing
1793 @funindex Pitch_squash_engraver
1794 @funindex \improvisationOn
1795 @funindex improvisationOn
1796 @funindex \improvisationOff
1797 @funindex improvisationOff
1799 Guitar chord charts often show the strumming rhythms. This can
1800 be done with the @code{Pitch_squash_engraver} and
1801 @code{\improvisationOn}.
1804 @lilypond[quote,verbatim]
1812 \consists Pitch_squash_engraver
1825 @code{\improvisationOn},
1826 @code{\improvisationOff}.
1832 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1833 {guitar-strum-rhythms.ly}
1839 Internals Reference:
1840 @rinternals{RhythmicStaff},
1841 @rinternals{Pitch_squash_engraver}.
1849 * Setting automatic beam behavior::
1854 @node Automatic beams
1855 @unnumberedsubsubsec Automatic beams
1857 By default, beams are inserted automatically:
1859 @cindex beams, manual
1860 @cindex manual beams
1861 @cindex beams, customizing rules
1863 @funindex \autoBeamOn
1864 @funindex autoBeamOn
1865 @funindex \autoBeamOff
1866 @funindex autoBeamOff
1868 @lilypond[quote,verbatim,relative=2]
1870 \time 6/8 c8 c c c8. c16 c8
1873 If these automatic decisions are not satisfactory, beaming can be
1874 entered explicitly; see @ref{Manual beams}. Beams @emph{must} be
1875 entered manually if beams are to be extended over rests.
1877 If automatic beaming is not required, it may be turned off with
1878 @code{\autoBeamOff} and on with @code{\autoBeamOn}:
1880 @lilypond[quote,relative=1,verbatim]
1881 c4 c8 c8. c16 c8. c16 c8
1888 @cindex melismata, with beams
1889 @cindex beams, with melismata
1891 @warning{If beams are used to indicate melismata in songs, then
1892 automatic beaming should be switched off with @code{\autoBeamOff}
1893 and the beams indicated manually. Using @code{@bs{}partcombine} with
1894 @code{@bs{}autoBeamOff} can produce unintended results. See the
1895 snippets for more information.}
1897 Beaming patterns that differ from the automatic defaults can be
1898 created; see @ref{Setting automatic beam behavior}.
1901 @code{\autoBeamOff},
1905 @cindex beams, line breaks
1906 @cindex line breaks, beams
1907 @cindex beams, with knee gap
1908 @cindex knee gap, with beams
1912 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1913 {beams-across-line-breaks.ly}
1915 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
1916 {changing-beam-knee-gap.ly}
1918 @cindex beams, \partcombine with \autoBeamOff
1919 @cindex voices, \partcombine with \autoBeamOff
1921 @lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
1922 {partcombine-and-autobeamoff.ly}
1927 @ref{Setting automatic beam behavior}.
1930 @file{scm/auto-beam.scm}.
1935 Internals Reference:
1936 @rinternals{Auto_beam_engraver},
1937 @rinternals{Beam_engraver},
1939 @rinternals{BeamEvent},
1940 @rinternals{BeamForbidEvent},
1941 @rinternals{beam-interface},
1942 @rinternals{unbreakable-spanner-interface}.
1945 The properties of a beam are determined at the @emph{start} of its
1946 construction and any additional beam-property changes that occur before
1947 the beam has been completed will not take effect until the @emph{next},
1951 @node Setting automatic beam behavior
1952 @unnumberedsubsubsec Setting automatic beam behavior
1954 @cindex beams, with lyrics
1955 @cindex lyrics, with beams
1957 @funindex autoBeaming
1958 @funindex baseMoment
1959 @funindex beamExceptions
1960 @funindex beatStructure
1961 @funindex measureLength
1967 In most instances, automatic beams will end at the end of a beat.
1968 The ending points for beats are determined by the context properties
1969 @code{baseMoment} and @code{beatStructure}. @code{beatStructure}
1970 is a scheme list that defines the length of each beat in the measure
1971 in units of @code{baseMoment}. By default, @code{baseMoment} is
1972 the one over numerator of the time signature. By default,
1973 each unit of length @code{baseMoment} is a single beat.
1975 @lilypond[quote,relative=2,verbatim]
1977 c16^"default" c c c c |
1978 \set Timing.beatStructure = #'(2 3)
1979 c16^"(2+3)" c c c c |
1980 \set Timing.beatStructure = #'(3 2)
1981 c16^"(3+2)" c c c c |
1984 Beam setting changes can be limited to specific contexts. If no
1985 setting is included in a lower-level context, the setting of the
1986 enclosing context will apply.
1988 @lilypond[quote, verbatim,relative=1]
1991 \set Staff.beatStructure = #'(2 3 2)
2001 \set Voice.beatStructure = #'(1 3 3)
2009 When multiple voices are used the @code{Staff} context must be
2010 specified if the beaming is to be applied to all voices in the
2013 @lilypond[quote,verbatim,relative=2]
2016 % Change applied to Voice by default -- does not work correctly
2017 % Because of autogenerated voices, all beating will
2018 % be at baseMoment (1 . 8)
2019 \set beatStructure = #'(3 1 1 2)
2020 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2022 % Works correctly with context Staff specified
2023 \set Staff.beatStructure = #'(3 1 1 2)
2024 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
2027 The value of @code{baseMoment} can be adjusted to change
2028 the beaming behavior, if desired. When this is done,
2029 the value of @code{beatStructure} must be set to be
2030 compatible with the new value of @code{baseMoment}.
2032 @lilypond[quote,verbatim,relative=2]
2034 \set Timing.baseMoment = #(ly:make-moment 1 16)
2035 \set Timing.beatStructure = #'(7 3)
2036 \repeat unfold 10 { a16 }
2039 @code{baseMoment} is a @i{moment}; a unit of musical duration. A
2040 quantity of type @i{moment} is created by the scheme function
2041 @code{ly:make-moment}. For more information about this function,
2042 see @ref{Time administration}.
2044 By default @code{baseMoment} is set to one over the denominator of
2045 the time signature. Any exceptions to this default can be found in
2046 @file{scm/time-signature-settings.scm}.
2048 Special autobeaming rules (other than ending a beam on a beat)
2049 are defined in the @code{beamExceptions} property.
2051 @lilypond[quote,relative=2,verbatim]
2053 \set Timing.beatStructure = #'(2 1)
2054 \set Timing.beamExceptions =
2056 (end . ;entry for end of beams
2057 ( ;start of alist of end points
2058 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
2059 ))) %close all entries
2061 \repeat unfold 6 { c32 } |
2064 @code{beamExceptions} is an alist with a key of rule-type and a value
2067 At this time the only available value of rule-type is
2068 @code{'end} for beam ending.
2070 Beaming-rules is a scheme alist (or list of pairs) that indicates the
2071 beam type and the grouping to be applied to beams containing notes with
2072 a shortest duration of that beam type.
2075 #'((beam-type1 . grouping-1)
2076 (beam-type2 . grouping-2)
2077 (beam-type3 . grouping-3))
2080 Beam type is a scheme pair indicating the duration of the beam,
2081 e.g., @code{(1 . 16)}.
2083 Grouping is a scheme list indicating the grouping to be applied to
2084 the beam. The grouping is in units of the beam type.
2086 @warning{ A @code{beamExceptions} value must be @emph{complete}
2087 exceptions list. That is, every exception that should be applied
2088 must be included in the setting. It is not possible to add, remove,
2089 or change only one of the exceptions. While this may seem cumbersome,
2090 it means that the current beaming settings need not be known in order
2091 to specify a new beaming pattern.}
2093 When the time signature is changed, default values of
2094 @code{Timing.baseMoment}, @code{Timing.beatStructure},
2095 and @code{Timing.beamExceptions} are set. Setting the time signature
2096 will reset the automatic beaming settings for the @code{Timing}
2097 context to the default behavior.
2099 @lilypond[quote,verbatim,relative=2]
2101 \repeat unfold 6 { a8 }
2103 \set Timing.beatStructure = #'(4 2)
2104 \repeat unfold 6 { a8 }
2105 % go back to default behavior
2107 \repeat unfold 6 { a8 }
2110 The default automatic beaming settings for a time signature
2111 are determined in @file{scm/time-signature-settings.scm}.
2112 Changing the default automatic beaming settings
2113 for a time signature is described in @ref{Time signature}.
2115 Many automatic beaming settings for a time signature contain an
2116 entry for @code{beamExceptions}. For example, 4/4 time tries to
2117 beam the measure in two if there are only eighth notes. The
2118 @code{beamExceptions} rule can override the @code{beatStructure} setting
2119 if @code{beamExceptions} is not reset.
2121 @lilypond[quote,verbatim,relative=2]
2123 \set Timing.baseMoment = #(ly:make-moment 1 8)
2124 \set Timing.beatStructure = #'(3 3 2)
2125 % This won't beam (3 3 2) because of beamExceptions
2126 \repeat unfold 8 {c8} |
2127 % This will beam (3 3 2) because we clear beamExceptions
2128 \set Timing.beamExceptions = #'()
2129 \repeat unfold 8 {c8}
2132 In traditional engraving, eighth notes can have special beaming rules.
2133 A measure consisting of only eighth notes can be beamed in one. This rule is
2134 controlled by the context property @code{beamWholeMeasure}:
2136 @lilypond[quote,verbatim,relative=2]
2138 % By default we beam in one
2139 \repeat unfold 6 { a8 }
2140 % We can avoid beaming in one
2141 \set Timing.beamWholeMeasure = ##f
2142 \repeat unfold 6 { a8 }
2145 In some engraving from the Romantic and Classical periods,
2146 a half-measure of eighth notes can be beamed
2147 together even though this violates the general rule (see Gould, p. 153).
2148 This behavior is controlled by the context property @code{beamHalfMeasure}:
2150 @lilypond[quote,verbatim,relative=2]
2152 % By default we avoid half-measure beams
2154 % We can allow half-measure beams
2155 \set Timing.beamHalfMeasure = ##t
2159 @i{@strong{How automatic beaming works}}
2161 When automatic beaming is enabled, the placement of automatic beams
2162 is determined by the context properties
2163 @code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
2165 The following rules, in order of priority, apply when determining
2166 the appearance of beams:
2170 If a manual beam is specified with @code{[..]} set the beam
2171 as specified, otherwise
2174 if a beam-ending rule is defined in @code{beamExceptions}
2175 for the beam-type, use it to determine the valid places where
2176 beams may end, otherwise
2179 if a beam-ending rule is defined in @code{beamExceptions}
2180 for a longer beam-type, use it to determined the valid places
2181 where beams may end, otherwise
2184 use the values of @code{baseMoment} and @code{beatStructure} to
2185 determine the ends of the beats in the measure, and
2186 end beams at the end of beats.
2190 In the rules above, the @emph{beam-type} is the duration of the
2191 shortest note in the beamed group.
2193 The default beaming rules can be found in
2194 @file{scm/time-signature-settings.scm}.
2198 @cindex beams, subdividing
2200 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2201 {subdividing-beams.ly}
2203 @cindex beamlets, orienting
2205 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2206 {strict-beat-beaming.ly}
2208 @cindex measure groupings
2209 @cindex beats, grouping
2210 @cindex grouping beats
2211 @cindex measure sub-grouping
2213 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2214 {conducting-signs,-measure-grouping-signs.ly}
2216 @cindex beam, endings in a score
2217 @cindex beam, endings with multiple voices
2219 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2220 {beam-endings-in-score-context.ly}
2224 @file{scm/beam-settings.scm}.
2229 Internals Reference:
2230 @rinternals{Auto_beam_engraver},
2232 @rinternals{BeamForbidEvent},
2233 @rinternals{beam-interface}.
2236 If a score ends while an automatic beam has not been ended and is
2237 still accepting notes, this last beam will not be typeset at all.
2238 The same holds for polyphonic voices, entered with
2239 @code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
2240 automatic beam is still accepting notes, it is not typeset.
2241 The workaround for these problems is to manually beam the last
2242 beam in the voice or score.
2244 By default, the @code{Timing} translator is aliased to the
2245 @code{Score} context. This means that setting the time signature
2246 in one staff will affect the beaming of the other staves as well.
2247 Thus, a time signature setting in a later staff will reset custom
2248 beaming that was set in an earlier staff.
2249 One way to avoid this problem is to set the time signature
2252 @lilypond[quote,verbatim,relative=2]
2256 \set Timing.baseMoment = #(ly:make-moment 1 8)
2257 \set Timing.beatStructure = #'(1 5)
2258 \repeat unfold 6 { a8 }
2261 \repeat unfold 6 { a8 }
2266 The default beam settings for the time signature can also be changed, so
2267 that the desired beaming will always be used. Changes in automatic
2268 beaming settings for a time signature are described in
2269 @ref{Time signature}.
2271 @lilypond[quote,verbatim,relative=2]
2274 \overrideTimeSignatureSettings
2275 #'(3 . 4) % timeSignatureFraction
2276 #'(1 . 8) % baseMomentFraction
2277 #'(1 5) % beatStructure
2278 #'() % beamExceptions
2280 \repeat unfold 6 { a8 }
2284 \repeat unfold 6 { a8 }
2291 @unnumberedsubsubsec Manual beams
2293 @cindex beams, manual
2294 @cindex manual beams
2299 In some cases it may be necessary to override the automatic
2300 beaming algorithm. For example, the autobeamer will not put beams
2301 over rests or bar lines, and in choral scores the beaming is
2302 often set to follow the meter of the lyrics rather than the
2303 notes. Such beams can be specified manually by
2304 marking the begin and end point with @code{[} and @code{]}.
2306 @lilypond[quote,relative=1,verbatim]
2307 r4 r8[ g' a r] r g[ | a] r
2310 @cindex manual beams, direction shorthand for
2311 @cindex manual beams, grace notes
2313 Beaming direction can be set manually using direction indicators:
2315 @lilypond[quote,relative=2,verbatim]
2316 c8^[ d e] c,_[ d e f g]
2322 Individual notes may be marked with @code{\noBeam} to prevent them
2325 @lilypond[quote,verbatim,relative=2]
2330 Grace note beams and normal note beams can occur simultaneously.
2331 Unbeamed grace notes are not put into normal note beams.
2333 @lilypond[quote,verbatim,relative=2]
2335 \grace { e32[ d c d] }
2341 @funindex stemLeftBeamCount
2342 @funindex stemRightBeamCount
2344 Even more strict manual control with the beams can be achieved by
2345 setting the properties @code{stemLeftBeamCount} and
2346 @code{stemRightBeamCount}. They specify the number of beams to
2347 draw on the left and right side, respectively, of the next note.
2348 If either property is set, its value will be used only once, and
2349 then it is erased. In this example, the last @code{f} is printed
2350 with only one beam on the left side, i.e., the eighth-note beam of
2351 the group as a whole.
2353 @lilypond[quote,relative=2,verbatim]
2356 \set stemLeftBeamCount = #2
2357 \set stemRightBeamCount = #1
2359 \set stemLeftBeamCount = #1
2371 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2372 {flat-flags-and-beam-nibs.ly}
2376 @ref{Direction and placement},
2382 Internals Reference:
2384 @rinternals{BeamEvent},
2385 @rinternals{Beam_engraver},
2386 @rinternals{beam-interface},
2387 @rinternals{Stem_engraver}.
2390 @node Feathered beams
2391 @unnumberedsubsubsec Feathered beams
2393 @cindex beams, feathered
2394 @cindex feathered beams
2396 @funindex \featherDurations
2397 @funindex featherDurations
2398 @funindex grow-direction
2400 Feathered beams are used to indicate that a small group of notes
2401 should be played at an increasing (or decreasing) tempo, without
2402 changing the overall tempo of the piece. The extent of the
2403 feathered beam must be indicated manually using @code{[} and
2404 @code{]}, and the beam feathering is turned on by specifying a
2405 direction to the @code{Beam} property @code{grow-direction}.
2407 If the placement of the notes and the sound in the MIDI output is to
2408 reflect the @emph{ritardando} or @emph{accelerando} indicated by the
2409 feathered beam the notes must be grouped as a music expression delimited
2410 by braces and preceded by a @code{featherDurations} command which specifies
2411 the ratio between the durations of the first and last notes in the
2414 The square brackets show the extent of the beam and the braces show
2415 which notes are to have their durations modified. Normally these
2416 would delimit the same group of notes, but this is not required: the
2417 two commands are independent.
2419 In the following example the eight 16th notes occupy exactly the
2420 same time as a half note, but the first note is one half as long
2421 as the last one, with the intermediate notes gradually
2422 lengthening. The first four 32nd notes gradually speed up, while
2423 the last four 32nd notes are at a constant tempo.
2425 @lilypond[relative=1,verbatim,quote]
2426 \override Beam #'grow-direction = #LEFT
2427 \featherDurations #(ly:make-moment 2 1)
2428 { c16[ c c c c c c c] }
2429 \override Beam #'grow-direction = #RIGHT
2430 \featherDurations #(ly:make-moment 2 3)
2432 % revert to non-feathered beams
2433 \override Beam #'grow-direction = #'()
2438 The spacing in the printed output represents the
2439 note durations only approximately, but the MIDI output is exact.
2442 @code{\featherDurations}.
2450 The @code{\featherDurations} command only works with very short
2451 music snippets, and when numbers in the fraction are small.
2460 * Bar and bar number checks::
2465 @unnumberedsubsubsec Bar lines
2468 @cindex measure lines
2469 @cindex closing bar lines
2470 @cindex bar lines, closing
2471 @cindex double bar lines
2472 @cindex bar lines, double
2478 Bar lines delimit measures, and are also used to indicate
2479 repeats. Normally, simple bar lines are automatically inserted
2480 into the printed output at places based on the current time
2483 The simple bar lines inserted automatically can be changed to
2484 other types with the @code{\bar} command. For example, a closing
2485 double bar line is usually placed at the end of a piece:
2487 @lilypond[quote,relative=1,verbatim]
2491 It is not invalid if the final note in a measure does not
2492 end on the automatically entered bar line: the note is assumed
2493 to carry over into the next measure. But if a long sequence
2494 of such carry-over measures appears the music can appear compressed
2495 or even flowing off the page. This is because automatic line
2496 breaks happen only at the end of complete measures, i.e., where
2497 all notes end before the end of a measure.
2499 @warning{An incorrect duration can cause line breaks to be
2500 inhibited, leading to a line of highly compressed music or
2501 music which flows off the page.}
2504 @cindex bar lines, invisible
2505 @cindex measure lines, invisible
2507 Line breaks are also permitted at manually inserted bar lines
2508 even within incomplete measures. To allow a line break without
2509 printing a bar line, use the following:
2516 This will insert an invisible bar line and allow (but not
2517 force) a line break to occur at this point. The bar number
2518 counter is not increased. To force a line break see
2519 @ref{Line breaking}.
2521 @cindex manual bar lines
2522 @cindex manual measure lines
2523 @cindex bar lines, manual
2524 @cindex measure lines, manual
2526 This and other special bar lines may be inserted manually at any
2527 point. When they coincide with the end of a measure they replace
2528 the simple bar line which would have been inserted there
2529 automatically. When they do not coincide with the end of a measure
2530 the specified bar line is inserted at that point in the printed
2533 Note that manual bar lines are purely visual. They do not affect
2534 any of the properties that a normal bar line would affect, such as
2535 measure numbers, accidentals, line breaks, etc. They do not affect
2536 the calculation and placement of subsequent automatic bar lines.
2537 When a manual bar line is placed where a normal bar line already
2538 exists, the effects of the original bar line are not altered.
2540 Two types of simple bar lines and five types of double bar lines are
2541 available for manual insertion:
2543 @lilypond[quote,relative=1,verbatim]
2555 together with dotted and dashed bar lines:
2557 @lilypond[quote,relative=1,verbatim]
2564 and five types of repeat bar line:
2566 @lilypond[quote,relative=1,verbatim]
2575 Additionally, a bar line can be printed as a simple tick:
2576 @lilypond[quote,relative=1,verbatim]
2579 However, as such ticks are typically used in Gregorian chant, it is
2580 preferable to use @code{\divisioMinima} there instead, described in
2581 the section @ref{Divisiones} in Gregorian chant.
2585 For in-line segno signs, there are three types of bar lines which
2586 differ in their behavior at line breaks:
2588 @lilypond[quote,relative=2,verbatim]
2606 Although the bar line types signifying repeats may be inserted
2607 manually they do not in themselves cause LilyPond to recognize
2608 a repeated section. Such repeated sections are better entered
2609 using the various repeat commands (see @ref{Repeats}), which
2610 automatically print the appropriate bar lines.
2612 In addition, you can specify @code{"||:"}, which is equivalent to
2613 @code{"|:"} except at line breaks, where it gives a double bar
2614 line at the end of the line and a start repeat at the beginning of
2617 @lilypond[quote,relative=2,verbatim]
2625 For combinations of repeats with the segno sign, there are six different
2628 @lilypond[quote,relative=2,verbatim]
2657 In scores with many staves, a @code{\bar} command in one staff is
2658 automatically applied to all staves. The resulting bar lines are
2659 connected between different staves of a @code{StaffGroup},
2660 @code{PianoStaff}, or @code{GrandStaff}.
2662 @lilypond[quote,relative=1,verbatim]
2670 \new Staff { \clef bass c4 g e g }
2672 \new Staff { \clef bass c2 c2 }
2677 @cindex default bar lines, changing
2678 @cindex bar lines, default, changing
2683 @funindex defaultBarType
2688 The command @samp{\bar @var{bartype}} is a shortcut for
2689 @samp{\set Timing.whichBar = @var{bartype}}. A bar line is
2690 created whenever the @code{whichBar} property is set.
2692 The default bar type used for automatically inserted bar lines is
2693 @code{"|"}. This may be changed at any time with
2694 @samp{\set Timing.defaultBarType = @var{bartype}}.
2698 @ref{Line breaking},
2700 @ref{Grouping staves}.
2705 Internals Reference:
2706 @rinternals{BarLine} (created at @code{Staff} level),
2707 @rinternals{SpanBar} (across staves),
2708 @rinternals{Timing_translator} (for Timing properties).
2712 @unnumberedsubsubsec Bar numbers
2715 @cindex measure numbers
2716 @cindex numbers, bar
2717 @cindex numbers, measure
2719 @funindex currentBarNumber
2721 Bar numbers are typeset by default at the start of every line except
2722 the first line. The number itself is stored in the
2723 @code{currentBarNumber} property, which is normally updated
2724 automatically for every measure. It may also be set manually:
2726 @lilypond[verbatim,quote,relative=1]
2729 \set Score.currentBarNumber = #50
2733 @cindex bar numbers, regular spacing
2735 @funindex barNumberVisibility
2738 Bar numbers can be typeset at regular intervals instead of just at
2739 the beginning of every line. To do this the default behavior
2740 must be overridden to permit bar numbers to be printed at places
2741 other than the start of a line. This is controlled by the
2742 @code{break-visibility} property of @code{BarNumber}. This takes
2743 three values which may be set to @code{#t} or @code{#f} to specify
2744 whether the corresponding bar number is visible or not. The order
2745 of the three values is @code{end of line visible}, @code{middle of
2746 line visible}, @code{beginning of line visible}. In the following
2747 example bar numbers are printed at all possible places:
2749 @lilypond[verbatim,quote,relative=1]
2750 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2751 \set Score.currentBarNumber = #11
2752 % Permit first bar number to be printed
2760 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2761 {printing-the-bar-number-for-the-first-measure.ly}
2763 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2764 {printing-bar-numbers-at-regular-intervals.ly}
2766 @cindex measure number, format
2767 @cindex bar number, format
2769 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2770 {printing-bar-numbers-inside-boxes-or-circles.ly}
2772 @cindex bar numbers, with letters
2773 @cindex bar numbers, with repeats
2775 @lilypondfile[verbatim,quote,texidoc,doctitle]
2776 {alternative-bar-numbering.ly}
2778 @cindex bar number alignment
2780 @lilypondfile[verbatim,quote,texidoc,doctitle]
2781 {aligning-bar-numbers.ly}
2783 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
2784 {removing-bar-numbers-from-a-score.ly}
2790 Internals Reference:
2791 @rinternals{BarNumber},
2792 @rinternals{Bar_number_engraver}.
2794 @cindex bar number collision
2795 @cindex collision, bar number
2798 Bar numbers may collide with the top of the @code{StaffGroup} bracket,
2799 if there is one. To solve this, the @code{padding} property of
2800 @code{BarNumber} can be used to position the number correctly. See
2801 @rinternals{StaffGroup} and @rinternals{BarNumber} for more.
2804 @node Bar and bar number checks
2805 @unnumberedsubsubsec Bar and bar number checks
2808 @cindex bar number check
2809 @cindex measure check
2810 @cindex measure number check
2812 @funindex barCheckSynchronize
2815 Bar checks help detect errors in the entered durations. A bar check
2816 may be entered using the bar symbol, @code{|}, at any place where a
2817 bar line is expected to fall. If bar check lines are encountered at
2818 other places, a list of warnings is printed in the log file, showing
2819 the line numbers and lines in which the bar checks failed. In the
2820 next example, the second bar check will signal an error.
2823 \time 3/4 c2 e4 | g2 |
2826 Bar checks can also be used in lyrics:
2831 Twin -- kle | Twin -- kle |
2835 An incorrect duration can result in a completely garbled score,
2836 especially if the score is polyphonic, so a good place to start
2837 correcting input is by scanning for failed bar checks and
2838 incorrect durations.
2840 If successive bar checks are off by the same musical interval,
2841 only the first warning message is displayed. This allows the
2842 warning to focus on the source of the timing error.
2846 @funindex pipeSymbol
2848 It is also possible to redefine the action taken when a bar check
2849 or pipe symbol, @code{|}, is encountered in the input, so that
2850 it does something other than a bar check. This is done by
2851 assigning a music expression to @code{pipeSymbol}.
2852 In the following example @code{|} is set to insert a double bar
2853 line wherever it appears in the input, rather than checking
2856 @lilypond[quote,verbatim]
2857 pipeSymbol = \bar "||"
2866 @funindex \barNumberCheck
2867 @funindex barNumberCheck
2869 When copying large pieces of music, it can be helpful to check that
2870 the LilyPond bar number corresponds to the original that you are
2871 entering from. This can be checked with @code{\barNumberCheck}, for
2875 \barNumberCheck #123
2879 will print a warning if the @code{currentBarNumber} is not 123
2880 when it is processed.
2887 @node Rehearsal marks
2888 @unnumberedsubsubsec Rehearsal marks
2890 @cindex rehearsal marks
2891 @cindex mark, rehearsal
2896 To print a rehearsal mark, use the @code{\mark} command.
2898 @lilypond[quote,verbatim,relative=2]
2906 The mark is incremented automatically if you use @code{\mark
2907 \default}, but you can also use an integer argument to set the
2908 mark manually. The value to use is stored in the property
2909 @code{rehearsalMark}.
2911 @lilypond[quote,verbatim,relative=2]
2920 The letter@tie{}@q{I} is skipped in accordance with engraving
2921 traditions. If you wish to include the letter @q{I}, then use one
2922 of the following commands, depending on which style of rehearsal mark
2923 you want (letters only, letters in a hollow box, or letters in a
2927 \set Score.markFormatter = #format-mark-alphabet
2928 \set Score.markFormatter = #format-mark-box-alphabet
2929 \set Score.markFormatter = #format-mark-circle-alphabet
2932 @lilypond[quote,verbatim,relative=2]
2933 \set Score.markFormatter = #format-mark-box-alphabet
2941 @cindex rehearsal mark format
2942 @cindex rehearsal mark style
2943 @cindex style, rehearsal mark
2944 @cindex format, rehearsal mark
2945 @cindex mark, rehearsal, style
2946 @cindex mark, rehearsal, format
2947 @cindex rehearsal mark, manual
2948 @cindex mark, rehearsal, manual
2949 @cindex custom rehearsal mark
2950 @cindex manual rehearsal mark
2952 The style is defined by the property @code{markFormatter}. It is
2953 a function taking the current mark (an integer) and the current
2954 context as argument. It should return a markup object. In the
2955 following example, @code{markFormatter} is set to a pre-defined
2956 procedure. After a few measures, it is set to a procedure that
2957 produces a boxed number.
2959 @lilypond[quote,verbatim,relative=2]
2960 \set Score.markFormatter = #format-mark-numbers
2963 \set Score.markFormatter = #format-mark-box-numbers
2965 \set Score.markFormatter = #format-mark-circle-numbers
2967 \set Score.markFormatter = #format-mark-circle-letters
2971 The file @file{scm/translation-functions.scm} contains the
2972 definitions of @code{format-mark-numbers} (the default format),
2973 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2974 @code{format-mark-box-letters}. These can be used as inspiration
2975 for other formatting functions.
2977 You may use @code{format-mark-barnumbers},
2978 @code{format-mark-box-barnumbers}, and
2979 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2980 incremented numbers or letters.
2982 Other styles of rehearsal mark can be specified manually:
2989 Note that @code{Score.markFormatter} does not affect marks specified
2990 in this manner. However, it is possible to apply a @code{\markup} to the
2994 \mark \markup@{ \box A1 @}
2999 @cindex D.S. al Fine
3001 @cindex music glyphs
3002 @cindex glyphs, music
3004 @funindex \musicglyph
3005 @funindex musicglyph
3007 Music glyphs (such as the segno sign) may be printed inside a
3010 @lilypond[quote,verbatim,relative=1]
3011 c1 \mark \markup { \musicglyph #"scripts.segno" }
3012 c1 \mark \markup { \musicglyph #"scripts.coda" }
3013 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
3018 See @ref{The Feta font}, for a list of symbols which may be
3019 printed with @code{\musicglyph}.
3021 For common tweaks to the positioning of rehearsal marks, see
3022 @ref{Formatting text}. For more precise control, see
3023 @code{break-alignable-interface} in @ref{Aligning objects}.
3025 The file @file{scm/translation-functions.scm} contains
3026 the definitions of @code{format-mark-numbers} and
3027 @code{format-mark-letters}. They can be used as inspiration for
3028 other formatting functions.
3032 @ref{The Feta font},
3033 @ref{Formatting text},
3034 @ref{Aligning objects}.
3037 @file{scm/translation-functions.scm}.
3042 Internals Reference:
3043 @rinternals{MarkEvent},
3044 @rinternals{Mark_engraver},
3045 @rinternals{RehearsalMark}.
3048 @node Special rhythmic concerns
3049 @subsection Special rhythmic concerns
3054 * Aligning to cadenzas::
3055 * Time administration::
3059 @unnumberedsubsubsec Grace notes
3063 @cindex appoggiatura
3064 @cindex acciaccatura
3067 @funindex \slashedGrace
3068 @funindex \acciaccatura
3069 @funindex \appoggiatura
3071 Grace notes are musical ornaments, printed in a smaller font, that take
3072 up no additional logical time in a measure.
3074 @lilypond[quote,relative=2,verbatim]
3076 \grace { b16[ c16] } a2)
3079 There are three other types of grace notes possible; the
3080 @emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
3081 note with a slashed stem -- and the @emph{appoggiatura}, which takes a
3082 fixed fraction of the main note it is attached to and prints without the
3083 slash. It is also possible to write a grace note with a slashed stem,
3084 like the @emph{acciaccatura} but without the slur, so as to place it
3085 between notes that are slurred themselves, using the
3086 @code{\slashedGrace} function.
3088 @lilypond[quote,relative=2,verbatim]
3091 \acciaccatura { g16[ f] } e2
3092 \slashedGrace a,8 g4
3093 \slashedGrace b16 a4(
3094 \slashedGrace b8 a2)
3097 The placement of grace notes is synchronized between different staves.
3098 In the following example, there are two sixteenth grace notes for every
3101 @lilypond[quote,relative=2,verbatim]
3103 \new Staff { e2 \grace { c16[ d e f] } e2 }
3104 \new Staff { c2 \grace { g8[ b] } c2 }
3108 @cindex grace notes, following
3110 @funindex \afterGrace
3111 @funindex afterGrace
3113 If you want to end a note with a grace, use the @code{\afterGrace}
3114 command. It takes two arguments: the main note, and the grace
3115 notes following the main note.
3117 @lilypond[quote,verbatim,relative=2]
3118 c1 \afterGrace d1 { c16[ d] } c1
3121 This will put the grace notes after a space lasting 3/4 of the
3122 length of the main note. The default fraction 3/4 can be changed by
3123 setting @code{afterGraceFraction}. The following example shows
3124 the results from setting the space at the default, at 15/16, and
3125 finally at 1/2 of the main note.
3127 @lilypond[quote,verbatim,relative=2]
3130 c1 \afterGrace d1 { c16[ d] } c1
3133 #(define afterGraceFraction (cons 15 16))
3134 c1 \afterGrace d1 { c16[ d] } c1
3137 #(define afterGraceFraction (cons 1 2))
3138 c1 \afterGrace d1 { c16[ d] } c1
3143 The space between the main note and the grace note may also be
3144 specified using spacers. The following example places the grace
3145 note after a space lasting 7/8 of the main note.
3147 @lilypond[quote,verbatim,relative=2]
3151 { s2 s4. \grace { c16[ d] } }
3157 @cindex tweaking grace notes
3158 @cindex grace notes, tweaking
3159 @cindex grace notes, changing layout settings
3161 A @code{\grace} music expression will introduce special
3162 typesetting settings, for example, to produce smaller type, and
3163 set directions. Hence, when introducing layout tweaks to
3164 override the special settings, they should be placed inside
3165 the grace expression. The overrides should also be reverted
3166 inside the grace expression. Here, the grace note's default stem
3167 direction is overridden and then reverted.
3169 @lilypond[quote,verbatim,relative=2]
3181 @cindex stem, with slash
3186 @lilypondfile[verbatim,quote,texidoc,doctitle]
3187 {using-grace-note-slashes-with-normal-heads.ly}
3189 @lilypondfile[verbatim,quote,texidoc,doctitle]
3190 {tweaking-grace-layout-within-music.ly}
3192 @lilypondfile[verbatim,quote,texidoc,doctitle]
3193 {redefining-grace-note-global-defaults.ly}
3195 @lilypondfile[verbatim,quote,texidoc,doctitle]
3196 {positioning-grace-notes-with-floating-space.ly}
3200 @rglos{grace notes},
3201 @rglos{acciaccatura},
3202 @rglos{appoggiatura}.
3205 @ref{Scaling durations},
3209 @file{ly/grace-init.ly}.
3214 Internals Reference:
3215 @rinternals{GraceMusic},
3216 @rinternals{Grace_beam_engraver},
3217 @rinternals{Grace_engraver},
3218 @rinternals{Grace_spacing_engraver}.
3222 @cindex acciaccatura, multi-note
3223 @cindex multi-note acciaccatura
3224 @cindex grace-note synchronization
3226 A multi-note beamed @i{acciaccatura} is printed without a slash,
3227 and looks exactly the same as a multi-note beamed
3230 @c TODO Add link to LSR snippet to add slash when available
3232 Grace note synchronization can also lead to surprises. Staff
3233 notation, such as key signatures, bar lines, etc., are also
3234 synchronized. Take care when you mix staves with grace notes and
3235 staves without, for example,
3237 @lilypond[quote,relative=2,verbatim]
3239 \new Staff { e4 \bar "|:" \grace c16 d2. }
3240 \new Staff { c4 \bar "|:" d2. }
3245 This can be remedied by inserting grace skips of the corresponding
3246 durations in the other staves. For the above example
3248 @lilypond[quote,relative=2,verbatim]
3250 \new Staff { e4 \bar "|:" \grace c16 d2. }
3251 \new Staff { c4 \bar "|:" \grace s16 d2. }
3255 The use of grace notes within voice contexts confuses the way the voice
3256 is typeset. This can be overcome by inserting a rest or note between the
3257 voice command and the grace note.
3259 @lilypond[quote,verbatim]
3261 \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
3268 r8 r8 \voiceOne \accMusic \oneVoice r8 |
3269 r8 \voiceOne r8 \accMusic \oneVoice r8 |
3274 s8 s8 \voiceTwo \accMusic \oneVoice s8 |
3275 s8 \voiceTwo r8 \accMusic \oneVoice s8 |
3282 Grace sections should only be used within sequential music expressions.
3283 Nesting or juxtaposing grace sections is not supported, and might
3284 produce crashes or other errors.
3286 Each grace note in MIDI output has a length of 1/4 of its actual
3287 duration. If the combined length of the grace notes is greater than the
3288 length of the preceding note a @qq{@code{Going back in MIDI time}}
3289 error will be generated. Either make the grace notes shorter in
3290 duration, for example:
3293 \acciaccatura @{ c'8[ d' e' f' g'] @}
3299 \acciaccatura @{ c'16[ d' e' f' g'] @}
3302 Or explicitly change the musical duration:
3305 \acciaccatura @{ \scaleDurations #' (1 . 2) @{ c'8[ d' e' f' g'] @} @}
3308 See @ref{Scaling durations}.
3311 @node Aligning to cadenzas
3312 @unnumberedsubsubsec Aligning to cadenzas
3315 @cindex cadenza, aligning to
3316 @cindex aligning to cadenza
3318 In an orchestral context, cadenzas present a special problem: when
3319 constructing a score that includes a measured cadenza or other solo
3320 passage, all other instruments should skip just as many notes as the
3321 length of the cadenza, otherwise they will start too soon or too late.
3323 One solution to this problem is to use the functions
3324 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
3325 functions take a defined piece of music as an argument and generate a
3326 multi-measure rest or @code{\skip} exactly as long as the piece.
3328 @lilypond[verbatim,quote]
3329 MyCadenza = \relative c' {
3340 $(mmrest-of-length MyCadenza)
3342 $(skip-of-length MyCadenza)
3356 @node Time administration
3357 @unnumberedsubsubsec Time administration
3359 @cindex time administration
3360 @cindex timing (within the score)
3361 @cindex music, unmetered
3362 @cindex unmetered music
3364 @funindex currentBarNumber
3365 @funindex measurePosition
3366 @funindex measureLength
3368 Time is administered by the @code{Timing_translator}, which by
3369 default is to be found in the @code{Score} context. An alias,
3370 @code{Timing}, is added to the context in which the
3371 @code{Timing_translator} is placed. To ensure that the
3372 @code{Timing} alias is available, you may need to explicitly
3373 instantiate the containing context (such as @code{Voice} or
3376 The following properties of @code{Timing} are used
3377 to keep track of timing within the score.
3380 @cindex measure number
3383 @item currentBarNumber
3384 The current measure number. For an example showing the
3385 use of this property see @ref{Bar numbers}.
3388 The length of the measures in the current time signature. For a
3389 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
3390 determines when bar lines are inserted and how automatic beams
3391 should be generated.
3393 @item measurePosition
3394 The point within the measure where we currently are. This
3395 quantity is reset by subtracting @code{measureLength} whenever
3396 @code{measureLength} is reached or exceeded. When that happens,
3397 @code{currentBarNumber} is incremented.
3400 If set to true, the above variables are updated for every time
3401 step. When set to false, the engraver stays in the current
3402 measure indefinitely.
3406 Timing can be changed by setting any of these variables
3407 explicitly. In the next example, the default 4/4 time
3408 signature is printed, but @code{measureLength} is set to 5/4.
3409 At 4/8 through the third measure, the @code{measurePosition} is
3410 advanced by 1/8 to 5/8, shortening that bar by 1/8.
3411 The next bar line then falls at 9/8 rather than 5/4.
3413 @lilypond[quote,verbatim]
3414 \new Voice \relative c' {
3415 \set Timing.measureLength = #(ly:make-moment 5 4)
3419 \set Timing.measurePosition = #(ly:make-moment 5 8)
3426 As the example illustrates, @code{ly:make-moment n m} constructs a
3427 duration of n/m of a whole note. For example,
3428 @code{ly:make-moment 1 8} is an eighth note duration and
3429 @code{ly:make-moment 7 16} is the duration of seven sixteenths
3435 @ref{Unmetered music}.
3440 Internals Reference:
3441 @rinternals{Timing_translator},