1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
14 1.2.3.4 Polymetric notation
15 Quite extensive changes. Could you please check through. Divided
17 sections. Necessarily uses tweaks.
23 @lilypondfile[quote]{rhythms-headword.ly}
25 This section discusses rhythms, rests, durations, beaming and bars.
30 * Displaying rhythms::
33 * Special rhythmic concerns::
38 @subsection Writing rhythms
48 @unnumberedsubsubsec Durations
50 @cindex durations, of notes
51 @cindex note durations
57 Durations are designated by numbers and dots.
58 Durations are entered as their reciprocal values. For example, a
59 quarter note is entered using a @code{4} (since it is a 1/4 note),
60 and a half note is entered using a @code{2} (since it is a 1/2
61 note). For notes longer than a whole you must use the
62 @code{\longa} (a double breve) and @code{\breve} commands.
63 Durations as short as 64th notes may be specified. Shorter values
64 are possible, but only as beamed notes.
66 @c Two 64th notes are needed to obtain beams
67 @lilypond[quote,verbatim,relative=2]
74 Here are the same durations with automatic beaming turned off.
76 @c not strictly "writing rhythms"; more of a "displaying" thing,
77 @c but it's ok here. -gp
78 @lilypond[quote,verbatim,relative=2]
85 A note with the duration of a quadruple breve may be entered with
86 @code{\maxima}, but this is supported only within ancient music
87 notation. For details, see @ref{Ancient notation}.
89 If the duration is omitted, it is set to the previously
90 entered duration. The default for the first note is a quarter
93 @lilypond[quote,verbatim,relative=2]
102 To obtain dotted note lengths, place a dot (@code{.}) after the
103 duration. Double-dotted notes are specified by appending two
106 @lilypond[quote,verbatim,relative=2]
107 a4 b c4. b8 a4. b4.. c8.
110 Some durations cannot be represented with just binary durations
111 and dots; they can be represented only by tying two or more
112 notes together. For details, see @ref{Ties}.
114 For ways of specifying durations for the syllables of lyrics and
115 ways of aligning lyrics to notes, see @ref{Vocal music}.
117 Optionally, notes can be spaced strictly proportionately to their
118 duration. For details of this and other settings which control
119 proportional notation, see @ref{Proportional notation}.
123 @funindex \dotsNeutral
125 Dots are normally moved up to avoid staff lines, except in
126 polyphonic situations. Predefined commands are available to
127 force a particular direction manually, for details
128 see @ref{Direction and placement}.
144 @rglos{Duration names notes and rests}.
147 @ref{Automatic beams},
149 @ref{Writing rhythms},
152 @ref{Ancient notation},
153 @ref{Proportional notation}.
160 @rinternals{DotColumn}.
165 @c Deliberately duplicated in Durations and Rests. -gp
166 There is no fundamental limit to rest durations (both in terms of
167 longest and shortest), but the number of glyphs is limited:
168 rests from 128th to maxima (8 x whole) may be printed.
172 @unnumberedsubsubsec Tuplets
178 Tuplets are made from a music expression by multiplying all the
179 durations with a fraction:
182 \times @var{fraction} @{ @var{music} @}
186 The duration of @var{music} will be multiplied by the
187 fraction. The fraction's denominator will be printed over or
188 under the notes, optionally with a bracket. The most common
189 tuplet is the triplet in which 3 notes have the duration of 2, so
190 the notes are 2/3 of their written length.
192 @lilypond[quote,verbatim,relative=2]
193 a2 \times 2/3 { b4 b b }
194 c4 c \times 2/3 { b4 a g }
198 @funindex \tupletDown
199 @funindex \tupletNeutral
201 The automatic placement of the tuplet bracket above or below the
202 notes may be overridden manually with predefined commands, for
203 details see @ref{Direction and placement}.
205 Tuplets may be nested:
207 @lilypond[quote,verbatim,relative=2]
209 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
212 Modifying nested tuplets which begin at the same musical moment
213 must be done with @code{\tweak}.
215 To modify the duration of notes without printing a tuplet bracket,
216 see @ref{Scaling durations}.
222 @code{\tupletNeutral}.
227 @cindex tuplet formatting
228 @cindex triplet formatting
230 @funindex tupletNumberFormatFunction
231 @funindex tupletSpannerDuration
233 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
234 {entering-several-tuplets-using-only-one--times-command.ly}
236 @funindex TupletNumber
238 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
239 {changing-the-tuplet-number.ly}
241 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
242 {permitting-line-breaks-within-beamed-tuplets.ly}
251 Learning Manual: @rlearning{Tweaking methods}.
254 @ref{Time administration},
255 @ref{Scaling durations},
256 @ref{The tweak command},
257 @ref{Polymetric notation}.
263 @rinternals{TupletBracket},
264 @rinternals{TupletNumber},
265 @rinternals{TimeScaledMusic}.
268 @cindex grace notes within tuplet brackets
269 When the first note on a staff is a grace note followed by a
270 tuplet the grace note must be placed before the @code{\times}
271 command to avoid errors. Anywhere else, grace notes may be
272 placed within tuplet brackets.
275 @node Scaling durations
276 @unnumberedsubsubsec Scaling durations
278 @cindex scaling durations
279 @cindex durations, scaling
281 You can alter the duration of single notes, rests or chords by a
282 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
283 @code{M} is 1) to the duration.
284 This will not affect the appearance of the notes or rests
285 produced, but the altered duration will be used in calculating the
286 position within the measure and setting the duration in the MIDI
287 output. Multiplying factors may be combined such as @code{*L*M/N}.
289 In the following example, the first three notes take up exactly
290 two beats, but no triplet bracket is printed.
292 @lilypond[quote,relative=2,verbatim]
294 % Alter durations to triplets
295 a4*2/3 gis4*2/3 a4*2/3
298 % Double the duration of chord
300 % Duration of quarter, appears like sixteenth
304 The duration of skip or spacing notes may also be modified by
305 a multiplier. This is useful for skipping many measures, e.g.,
308 @cindex compressing music
309 @funindex \scaleDurations
311 Longer stretches of music may be compressed by a fraction in the
312 same way, as if every note, chord or rest had the fraction as a
313 multiplier. This leaves the appearance of the music unchanged but
314 the internal duration of the notes will be multiplied by the
315 fraction @emph{num}/@emph{den}. The spaces around the dot are
316 required. Here is an example showing how music can be compressed
319 @lilypond[quote,relative=2,verbatim]
323 % Scale music by *2/3
324 \scaleDurations #'(2 . 3) {
328 \scaleDurations #'(2 . 1) {
334 One application of this command is in polymetric
335 notation, see @ref{Polymetric notation}.
342 @ref{Invisible rests},
343 @ref{Polymetric notation}.
350 @unnumberedsubsubsec Ties
355 A tie connects two adjacent note heads of the same pitch. The tie
356 in effect extends the duration of a note.
358 @warning{Ties should not be confused with @emph{slurs}, which
359 indicate articulation, or @emph{phrasing slurs}, which indicate
360 musical phrasing. A tie is just a way of extending a note
361 duration, similar to the augmentation dot.}
363 A tie is entered using the tilde symbol @code{~}
365 @lilypond[quote,verbatim,relative=2]
371 Ties are used either when the note crosses a bar line, or when
372 dots cannot be used to denote the rhythm. Ties should also be
373 used when note values cross larger subdivisions of the measure:
375 @lilypond[verbatim,quote]
382 If you need to tie many notes across bar lines, it may be
383 easier to use automatic note splitting, see @ref{Automatic note
384 splitting}. This mechanism automatically splits long notes, and
385 ties them across bar lines.
387 @cindex ties and chords
388 @cindex chords and ties
390 When a tie is applied to a chord, all note heads whose pitches
391 match are connected. When no note heads match, no ties will be
392 created. Chords may be partially tied by placing the tie inside
395 @lilypond[quote,verbatim,relative=1]
397 <c~ e g~ b> <c e g b>
401 @cindex repeating ties
402 @cindex ties, repeating
403 @cindex volta brackets and ties
404 @cindex ties and volta brackets
406 When a second alternative of a repeat starts with a tied note, you
407 have to specify the repeated tie as follows:
409 @lilypond[quote,relative=2,verbatim]
410 \repeat volta 2 { c g <c e>2 ~ }
412 % First alternative: following note is tied normally
414 % Second alternative: following note has a repeated tie
415 { <c e>2\repeatTie d4 c } }
418 @cindex laissez vibrer
419 @cindex ties, laissez vibrer
420 @funindex \laissezVibrer
422 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
423 notes must not be damped at the end. It is used in notation for
424 piano, harp and other string and percussion instruments. They can
425 be entered as follows:
427 @lilypond[quote,verbatim,relative=1]
428 <c f g>1\laissezVibrer
431 @cindex ties, placement
434 @funindex \tieNeutral
436 The vertical placement of ties may be controlled, see
437 Predefined commands, or for details, see
438 @ref{Direction and placement}.
440 @cindex ties, appearance
445 Solid, dotted or dashed ties may be specified, see Predefined
461 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
462 {using-ties-with-arpeggios.ly}
464 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
465 {engraving-ties-manually.ly}
472 @rglos{laissez vibrer}.
474 Notation Reference: @ref{Automatic note splitting}.
480 @rinternals{LaissezVibrerTie},
481 @rinternals{LaissezVibrerTieColumn},
482 @rinternals{TieColumn},
488 Switching staves when a tie is active will not produce a slanted
491 Changing clefs or octavations during a tie is not really
492 well-defined. In these cases, a slur may be preferable.
499 @subsection Writing rests
501 Rests are entered as part of the music in music expressions.
506 * Full measure rests::
510 @unnumberedsubsubsec Rests
512 @cindex rest, entering durations
523 Rests are entered like notes with the note name @code{r}.
524 Durations longer than a whole rest use the predefined
527 @c \time 16/1 is used to avoid spurious bar lines
528 @c and long tracts of empty measures
529 @lilypond[fragment,quote,verbatim]
531 % These two lines are just to prettify this example
533 \override Staff.TimeSignature #'stencil = ##f
534 % Print a maxima rest, equal to four breves
536 % Print a longa rest, equal to two breves
540 r1 r2 r4 r8 r16 r32 r64 r128
544 @cindex rest, multi-measure
545 @cindex rest, whole-measure
547 Whole measure rests, centered in the middle of the measure, must be
548 entered as multi-measure rests. They can be used for a single
549 measure as well as many measures and are discussed in @ref{Full
552 @cindex rest, specifying vertical position
554 To explicitly specify a rest's vertical position, write a note
555 followed by @code{\rest}. A rest of the duration of the note will
556 be placed at the staff position where the note would appear. This
557 allows for precise manual formatting of polyphonic music, since the
558 automatic rest collision formatter will not move these rests.
560 @lilypond[quote,verbatim,relative=2]
566 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
573 @ref{Full measure rests}.
584 @c Deliberately duplicated in Durations and Rests. -gp
585 There is no fundamental limit to rest durations (both in terms of
586 longest and shortest), but the number of glyphs is limited: there
587 are rests from 128th to maxima (8 x whole).
590 @node Invisible rests
591 @unnumberedsubsubsec Invisible rests
594 @cindex invisible rest
595 @cindex rest, invisible
600 An invisible rest (also called a @q{spacer rest}) can be entered
601 like a note with the note name@tie{}@code{s}:
603 @lilypond[verbatim,quote,relative=2]
610 Spacer rests are available only in note mode and chord mode. In
611 other situations, for example, when entering lyrics, @code{\skip}
612 is used to skip a musical moment. @code{\skip} requires an
615 @lilypond[quote,verbatim,relative=2]
628 A spacer rest implicitly causes @code{Staff} and @code{Voice}
629 contexts to be created if none exist, just like notes and rests
632 @lilypond[quote,verbatim,fragment]
636 @code{\skip} simply skips musical time; it creates no output of
639 @lilypond[quote,verbatim,fragment]
640 % This is valid input, but does nothing
641 \skip 1 \skip1 \skip 1
649 Internals Reference: @rinternals{SkipMusic}
652 @node Full measure rests
653 @unnumberedsubsubsec Full measure rests
655 @cindex multi-measure rests
656 @cindex full-measure rests
657 @cindex rest, multi-measure
658 @cindex rest, full-measure
659 @cindex whole rest for a full measure
662 Rests for one or more full measures are entered like notes with
663 the note name uppercase @code{R}:
665 @lilypond[quote,verbatim,relative=2]
666 % Rest measures contracted to single measure
667 \compressFullBarRests
674 The duration of full-measure rests is identical to the duration notation
675 used for notes. The duration in a multi-measure rest must always be an
676 integral number of measure-lengths, so augmentation
677 dots or fractions must often be used:
679 @lilypond[quote,fragment,verbatim]
680 \compressFullBarRests
686 R1*13/8 | R1*13/8*12 |
691 A full-measure rest is printed as either a whole
692 or breve rest, centered in the measure, depending on the time
695 @lilypond[quote,verbatim,fragment]
703 @funindex \expandFullBarRests
704 @funindex \compressFullBarRests
705 @cindex multi-measure rest, expanding
706 @cindex multi-measure rest, contracting
708 By default a multi-measure rest is expanded in the printed score
709 to show all the rest measures explicitly.
710 Alternatively, a mult-measure rest can be shown as a single measure
711 containing a multi-measure rest symbol, with the number of measures of rest
712 printed above the measure:
714 @lilypond[quote,fragment,verbatim]
716 \time 3/4 r2. | R2.*2 |
719 % Rest measures contracted to single measure
720 \compressFullBarRests
722 % Rest measures expanded
729 @cindex text on multi-measure rest
730 @cindex multi-measure rest, attaching text
731 @cindex script on multi-measure rest
732 @cindex multi-measure rest, script
733 @cindex fermata on multi-measure rest
734 @cindex multi-measure rest, attaching fermata
736 Markups can be added to multi-measure rests.
737 The predefined command @code{\fermataMarkup}
738 is provided for adding fermatas.
740 @lilypond[quote,verbatim,fragment]
741 \compressFullBarRests
743 R2.*10^\markup { \italic "ad lib." }
748 Markups attached to a multi-measure rest are
749 objects of type @code{MultiMeasureRestText}, not
750 @code{TextScript}. Overrides must be directed to the correct
751 object, or they will be ignored. See the following example.
754 @lilypond[quote,verbatim,fragment]
755 % This fails, as the wrong object name is specified
756 \override TextScript #'padding = #5
758 % This is correct and works
759 \override MultiMeasureRestText #'padding = #5
763 When a multi-measure rest immediately follows a @code{\partial}
764 setting, resulting bar-check warnings may not be displayed.
767 @code{\textLengthOn},
768 @code{\textLengthOff},
769 @code{\fermataMarkup},
770 @code{\compressFullBarRests},
771 @code{\expandFullBarRests}.
777 @cindex kirchenpausen
779 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
780 {changing-form-of-multi--measure-rests.ly}
782 @cindex multi-measure rests, positioning
783 @cindex positioning multi-measure rests
785 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
786 {positioning-multi--measure-rests.ly}
788 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
789 {multi--measure-rest-markup.ly}
794 @rglos{multi-measure rest}.
799 @ref{Formatting text},
806 @rinternals{MultiMeasureRest},
807 @rinternals{MultiMeasureRestNumber},
808 @rinternals{MultiMeasureRestText}.
813 If an attempt is made to use fingerings (e.g.,
814 @code{R1*10-4}) to put numbers over multi-measure rests, the
815 fingering numeral (4) may collide with the bar counter
818 @cindex condensing rests
819 @cindex rest, condensing ordinary
821 There is no way to automatically condense multiple ordinary rests
822 into a single multi-measure rest.
824 @cindex rest, collisions of
826 Multi-measure rests do not take part in rest collisions.
828 @node Displaying rhythms
829 @subsection Displaying rhythms
835 * Polymetric notation::
836 * Automatic note splitting::
837 * Showing melody rhythms::
841 @unnumberedsubsubsec Time signature
843 @cindex time signature
847 The time signature is set as follows:
849 @lilypond[quote,verbatim,relative=2]
854 @cindex Time signature, visibility of
856 Time signatures are printed at the beginning of a piece
857 and whenever the time signature changes. If a change takes place
858 at the end of a line a warning time signature sign is printed
859 there. This default behavior may be changed, see
860 @ref{Visibility of objects}.
862 @lilypond[quote,verbatim,relative=2]
872 @funindex \numericTimeSignature
873 @funindex \defaultTimeSignature
874 @cindex time signature style
876 The time signature symbol that is used in 2/2 and 4/4 time can be
877 changed to a numeric style:
879 @lilypond[quote,verbatim,relative=2]
883 % Change to numeric style
884 \numericTimeSignature
887 % Revert to default style
888 \defaultTimeSignature
894 Mensural time signatures are covered in
895 @ref{Mensural time signatures}.
899 @code{\numericTimeSignature},
900 @code{\defaultTimeSignature}.
904 @c TODO Send as snippet called "Changing the time signature without affecting the beat length"
906 The @code{\time} command sets the properties
907 @code{timeSignatureFraction}, @code{beatLength}, and
908 @code{measureLength} in the @code{Timing} context, which is
909 normally aliased to @code{Score}. Changing the value of
910 @code{timeSignatureFraction} causes the new time signature symbol
911 to be printed without changing the other properties:
913 @lilypond[quote,verbatim,relative=2]
915 a16 a a a a a a a a a a a
916 % Change time signature but keep 3/4 beaming
917 % due to unchanged beatLength
918 \set Score.timeSignatureFraction = #'(12 . 16)
919 a16 a a a a a a a a a a a
921 % Lose 3/4 beaming now beatLength has changed to 16
922 a16 a a a a a a a a a a a
925 @cindex compound time signatures
926 @cindex time signature, compound
928 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
929 {compound-time-signatures.ly}
935 @rglos{time signature}
938 @ref{Mensural time signatures},
939 @ref{Time administration}.
945 @rinternals{TimeSignature},
946 @rinternals{Timing_translator}.
950 @unnumberedsubsubsec Upbeats
954 @cindex partial measure
955 @cindex measure, partial
956 @cindex pickup measure
957 @cindex measure, change length
958 @cindex measurePosition
961 Partial or pick-up measures, such as an anacrusis or upbeat, are
962 entered using the @code{\partial} command, with the syntax
965 \partial @var{duration}
968 where @code{duration} is the rhythmic length of the interval
969 before the start of the first complete measure:
971 @lilypond[quote,verbatim,relative=2]
976 The partial measure can be any duration less than a full measure:
978 @lilypond[quote,verbatim,relative=2]
979 \partial 8*3 c8 d e |
983 Internally, this is translated into
986 \set Timing.measurePosition = -@var{duration}
989 The property @code{measurePosition} contains a rational number
990 indicating how much of the measure has passed at this point. Note
991 that this is set to a negative number by the @code{\partial}
992 command: i.e., @code{\partial 4} is internally translated to
993 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
1007 @rinternals{Timing_translator}.
1011 The @code{\partial} command is intended to be used only at the
1012 beginning of a piece. If you use it after the beginning, some
1013 odd warnings may occur.
1015 @node Unmetered music
1016 @unnumberedsubsubsec Unmetered music
1018 @funindex \cadenzaOn
1019 @funindex \cadenzaOff
1020 @cindex bar lines, turning off
1021 @cindex bar numbering, turning off
1023 @cindex unmetered music
1025 Bar lines and bar numbers are calculated automatically. For
1026 unmetered music (some cadenzas, for example), this is not desirable.
1027 To turn off automatic calculation of bar lines and bar numbers,
1028 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1029 to turn them on again.
1031 @lilypond[verbatim,relative=2,fragment]
1040 Bar numbering is resumed at the end of the cadenza as if the
1041 cadenza were not there:
1043 @lilypond[verbatim,relative=2,fragment]
1044 % Show all bar numbers
1045 \override Score.BarNumber #'break-visibility = #all-visible
1065 @c ref{Controlling visibility of objects}.
1072 LilyPond will insert line breaks and page breaks only at a
1073 bar line. Unless the unmetered music ends before the end of the
1074 staff line, you will need to insert invisible bar lines with
1081 to indicate where breaks can occur.
1084 @node Polymetric notation
1085 @unnumberedsubsubsec Polymetric notation
1087 @cindex double time signatures
1088 @cindex signatures, polymetric
1089 @cindex polymetric signatures
1090 @cindex meter, polymetric
1092 Polymetric notation is supported, either explicitly or through
1093 clever use of markup features.
1095 @strong{Staves with different time signatures, equal measure lengths}
1097 This notation can be created by setting a common time signature
1098 for each staff but replacing the symbol manually by setting
1099 @code{timeSignatureFraction} to the desired fraction and scaling
1100 the printed durations in each staff to the common time
1101 signature. This is done with @code{\scaleDurations}, which
1102 is used in a similar way to @code{\times}, but does not create
1103 a tuplet bracket, see @ref{Scaling durations}.
1105 In this example, music with the time signatures of 3/4, 9/8, and
1106 10/8 are used in parallel. In the second staff, shown durations
1107 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1108 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1110 @lilypond[quote,verbatim,fragment]
1119 \set Staff.timeSignatureFraction = #'(9 . 8)
1120 \scaleDurations #'(2 . 3)
1121 \repeat unfold 6 { c8[ c c] }
1125 \set Staff.timeSignatureFraction = #'(10 . 8)
1126 \scaleDurations #'(3 . 5) {
1127 \repeat unfold 2 { c8[ c c] }
1128 \repeat unfold 2 { c8[ c] } |
1129 c4. c4. \times 2/3 { c8 c c } c4
1135 @strong{Staves with different time signatures, unequal bar lengths}
1137 Each staff can be given its own independent time signature by
1138 moving the @code{Timing_translator} to the @code{Staff} context.
1140 @lilypond[quote,verbatim]
1144 \remove "Timing_translator"
1145 \remove "Default_bar_line_engraver"
1149 \consists "Timing_translator"
1150 \consists "Default_bar_line_engraver"
1154 % Now each staff has its own time signature.
1180 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1181 {compound-time-signatures.ly}
1188 @rglos{polymetric time signature},
1191 Notation Reference: @ref{Scaling durations}
1196 Internals Reference:
1197 @rinternals{TimeSignature},
1198 @rinternals{Timing_translator},
1203 When using different time signatures in parallel, notes
1204 at the same moment will be be placed at the same horizontal
1205 location. However, the bar lines in the different staves
1206 will cause the note spacing to be less regular in each of the
1207 individual staves than would be normal without the different
1210 @node Automatic note splitting
1211 @unnumberedsubsubsec Automatic note splitting
1213 @cindex notes, splitting
1214 @cindex splitting notes
1216 Long notes which overrun bar lines can be converted automatically
1217 to tied notes. This is done by replacing the
1218 @code{Note_heads_engraver} with the
1219 @code{Completion_heads_engraver}. In the following
1220 example, notes crossing the bar lines are split and tied.
1222 @lilypond[quote,verbatim,relative=1]
1224 \remove "Note_heads_engraver"
1225 \consists "Completion_heads_engraver"
1228 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1231 This engraver splits all running notes at the bar line, and
1232 inserts ties. One of its uses is to debug complex scores: if the
1233 measures are not entirely filled, then the ties show exactly how
1234 much each measure is off.
1238 Music Glossary: @rglos{tie}
1241 @rlearning{Engravers explained},
1242 @rlearning{Adding and removing engravers}.
1247 Internals Reference:
1248 @rinternals{Note_heads_engraver},
1249 @rinternals{Completion_heads_engraver},
1250 @rinternals{Forbid_line_break_engraver}.
1255 Not all durations (especially those containing tuplets) can be
1256 represented exactly with normal notes and dots, but the
1257 @code{Completion_heads_engraver} will not insert tuplets.
1259 The @code{Completion_heads_engraver} only affects notes; it does not
1263 @node Showing melody rhythms
1264 @unnumberedsubsubsec Showing melody rhythms
1266 Sometimes you might want to show only the rhythm of a melody. This
1267 can be done with the rhythmic staff. All pitches of notes on such a
1268 staff are squashed, and the staff itself has a single line
1270 @lilypond[quote,relative=1,verbatim]
1272 \new RhythmicStaff {
1273 \new Voice = "myRhythm" {
1281 \lyricsto "myRhythm" {
1289 Guitar chord charts often show the strumming rhythms. This can
1290 be done with the @code{Pitch_squash_engraver} and
1291 @code{\improvisationOn}.
1294 @lilypond[quote,verbatim]
1303 \consists Pitch_squash_engraver
1315 @code{\improvisationOn},
1316 @code{\improvisationOff}.
1320 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1321 {guitar-strum-rhythms.ly}
1328 Internals Reference:
1329 @rinternals{RhythmicStaff},
1330 @rinternals{Pitch_squash_engraver}.
1337 * Setting automatic beam behavior::
1342 @node Automatic beams
1343 @unnumberedsubsubsec Automatic beams
1345 By default, beams are inserted automatically:
1347 @cindex beams, manual
1348 @cindex manual beams
1350 @lilypond[quote,verbatim,relative=2]
1352 \time 6/8 c c c c8. c16 c8
1355 If these automatic decisions are not satisfactory, beaming can be
1356 entered explicitly; see @ref{Manual beams}. It is also possible
1357 to define beaming patterns that differ from the defaults. The
1358 default beaming rules for most common time signatures are defined
1359 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1360 defined for the time signature being used the beaming is controlled
1361 by the values of three context properties, @code{measureLength},
1362 @code{beatLength} and @code{beatGrouping}. Both the beaming rules
1363 and the context properties can be overridden, see
1364 @ref{Setting automatic beam behavior}.
1369 @warning{If beams are used to indicate melismata in songs, then automatic
1370 beaming should be switched off with @code{\autoBeamOff} and the beams
1371 indicated manually.}
1375 Automatic beaming may be turned off and on with
1376 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1378 @lilypond[quote,relative=1,verbatim]
1379 c4 c8 c8. c16 c8. c16 c8
1387 @code{\autoBeamOff},
1396 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1397 {beams-across-line-breaks.ly}
1399 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1400 {changing-beam-knee-gap.ly}
1406 @ref{Setting automatic beam behavior}.
1409 @file{scm/@/auto@/-beam@/.scm}.
1414 Internals Reference: @rinternals{Beam}.
1419 Automatically kneed cross-staff beams cannot be used together with
1420 hidden staves. See @ref{Hiding staves}.
1422 Beams can collide with note heads and accidentals in other voices
1425 @node Setting automatic beam behavior
1426 @unnumberedsubsubsec Setting automatic beam behavior
1428 @funindex autoBeaming
1429 @funindex autoBeamSettings
1430 @funindex (end * * * *)
1431 @funindex (begin * * * *)
1433 @cindex automatic beams, tuning
1434 @cindex tuning automatic beaming
1435 @cindex automatic beam generation
1437 @cindex lyrics and beaming
1440 The placement of automatic beams is determined by the rules
1441 described in @ref{Automatic beams}. There are two mutually
1442 exclusive ways in which these rules may be modified. The
1443 first, modifying the grouping of beats, applies to uncommon time
1444 signatures, i.e. those for which there are no predefined rules
1445 defining the beam end points. The second method, modifying the
1446 specification of the beam end points, can be used for any time
1447 signature. This second method @strong{must} be used for those time
1448 signatures for which beam ending rules are pre-defined, unless
1449 these have all been reverted. There are predefined rules for time
1450 signatures of 3/2, 3/4, 4/4, 2/4, 4/8, 4/16, 6/8, 9/8 and 12/8.
1452 @i{@strong{Modifying the grouping of beats}}
1454 If there are no beam-ending rules defined for the time signature
1455 in use the beaming is controlled by three context properties:
1456 @code{measureLength}, @code{beatLength} and @code{beatGrouping}.
1457 These properties may be set in the @code{Score}, @code{Staff} or
1458 @code{Voice} contexts to delimit their scope.
1460 These determine the beaming as follows:
1462 Beams may begin anywhere (unless a beam is already active). Beams
1463 end at a time determined by the values of @code{beatGrouping} and
1464 @code{beatLength}, as follows:
1468 @item If @code{beatGrouping} and @code{beatLength} are consistent
1469 with @code{measureLength}, @code{beatGrouping} is used to determine
1470 the end points of beams.
1472 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1473 with @code{measureLength}, @code{beatLength} is used to determine
1474 the end points of beams.
1478 @warning{These three properties are effective @strong{only} if
1479 there are no beam-ending rules defined for the time signature in
1480 force, or if these beam-ending rules have all been reverted.}
1482 By default the @code{measureLength} and @code{beatLength} are
1483 derived from the time signature set by the @code{\time} command.
1484 The @code{measureLength} is set to be exactly the same length as
1485 the measure length given by the time signature, and the
1486 @code{beatLength} is set to be the same as one over the denominator
1487 of the time signature.
1489 The default value of @code{beatGrouping} is taken from a table in
1490 @file{scm/@/music@/-functions@/.scm}. To find this, see
1491 @rlearning{Other sources of information}. It defines the beat
1492 grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
1494 Both @code{measureLength} and @code{beatLength} are @i{moments},
1495 units of musical duration. A quantity of type @i{moment} is
1496 created by the scheme function @code{ly:make-moment}. For more
1497 information about this function, see @ref{Time administration}.
1499 @code{beatGrouping} is a list of integers giving the number of
1500 beats in each group.
1504 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1507 @c TODO Convert to snippet called "Specifying context with beatGrouping"
1509 By specifying the context, the effect of @code{beatGrouping} can be
1510 limited to the context specified, and the values set in higher-level
1511 contexts overridden:
1513 @lilypond[quote,verbatim]
1519 \set Staff.beatGrouping = #'(2 3 2)
1526 \set Voice.beatGrouping = #'(1 3 3)
1535 @c TODO Send as snippet?
1537 The property @code{measureLength} determines where bar lines
1538 should be inserted and, with @code{beatLength} and
1539 @code{beatGrouping}, how automatic beams should be generated
1540 for time signatures for which no beam-ending rules are defined.
1542 @lilypond[quote,verbatim,relative=2]
1543 \time 3/4 % auto beam on 1/4 note groups
1544 a16 a a a a a a a a a a a a a a a
1545 \time 12/16 % no defined auto-beaming for this time sig
1546 a16 a a a a a a a a a a a a a a a
1548 a16 a a a a a a a a a a a a a a a
1549 \set Score.timeSignatureFraction = #'(12 . 16) %keep 3/4 beaming
1551 a16 a a a a a a a a a a a a a a a
1552 \set Score.beatLength = #(ly:make-moment 1 8) %beam on 1/8 notes
1553 a16 a a a a a a a a a a a a a a a
1554 \set Score.beatLength = #(ly:make-moment 1 16)
1555 \set Score.beatGrouping = #'(3 4 2 3) %beam on 3/16, 7/16, 9/16, 12/16
1556 a16 a a a a a a a a a a a a a a a
1562 @funindex subdivideBeams
1564 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1565 {sub-dividing-beams.ly}
1567 @cindex measure groupings
1568 @cindex beats, grouping
1569 @cindex grouping beats
1570 @cindex measure sub-grouping
1572 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1573 {conducting-signs,-measure-grouping-signs.ly}
1576 @strong{@i{Modifying the beam end points}}
1578 In common time signatures, automatic beams can start on any note
1579 but can end at only a few positions within the measure, namely at
1580 durations specified by the properties in @code{autoBeamSettings}.
1581 These properties consist of a list of rules defining where beams can
1582 end. The default @code{autoBeamSettings} rules are defined in
1583 @file{scm/@/auto@/-beam@/.scm}. To find this, see
1584 @rlearning{Other sources of information}.
1586 This method @strong{must} be used for the time signatures for which
1587 beam-ending rules are defined by default, unless these have all
1588 been reverted. It is also particularly suitable for many other time
1589 signatures if the time signature of the measures changes frequently,
1590 or if the beaming should be different for different beam durations.
1592 In order to add a rule to the list, use
1595 #(override-auto-beam-setting
1597 beam-numerator beam-denominator
1598 time-signature-numerator time-signature-denominator)
1599 moment-numerator moment-denominator [context])
1607 @item @code{beam-limit} is the type of automatic beam limit
1608 defined. This can be either @code{begin} or @code{end} but
1609 only @code{end} is effective.
1611 @item @code{beam-numerator/beam-denominator} is the beam duration
1612 to which the rule is to apply. A beam is considered to have
1613 the duration of its shortest note. Set @code{beam-numerator}
1614 and @code{beam-denominator} to @code{'*'} to have this rule apply
1615 to beams of any duration.
1617 @item @code{time-signature-numerator/time-signature-denominator}
1618 specifies the time signature to which this rule should apply.
1619 If @code{time-signature-numerator} and
1620 @code{time-signature-denominator} are set to @code{'*'} this rule
1621 will apply in any time signature.
1623 @item @code{monent-numerator/moment-denominator} is the position
1624 in the bar at which the beam should end.
1626 @item @code{context} is optional, and it specifies the context at which
1627 the change should be made. The default is @code{'Voice}.
1629 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1630 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1634 For example, if automatic beams should always end on the first quarter
1635 note, whatever the time signature or beam duration, use
1637 @lilypond[quote,verbatim,relative=2]
1639 #(override-auto-beam-setting '(end * * * *) 1 4)
1643 You can force the beam settings to take effect only on beams whose shortest
1644 note is a certain duration
1646 @lilypond[quote,verbatim,relative=2]
1648 % end 1/16 beams for all time signatures at the 1/16 moment
1649 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1651 a32 a a a a16 a a a a a |
1652 % end 1/32 beams for all time signatures at the 1/16 moment
1653 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1654 a32 a a a a16 a a a a a |
1657 You can force the beam settings to take effect only in certain time
1660 @lilypond[quote,verbatim,relative=2]
1662 % end beams of all durations in 5/8 time signature at the 2/8 moment
1663 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1671 When multiple voices are used the @code{Staff} context must be
1672 specified if the beaming is to be applied to all voices in the
1675 @lilypond[quote,verbatim,relative=2]
1678 % Context not specified - does not work correctly
1679 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1680 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1681 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1682 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1684 % Works correctly with context specified
1685 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1686 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1687 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1688 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1691 @c TODO Add example using Score for multiple staves?
1692 @c Hmm. Not sure it works correctly. Needs more investigation.
1694 @warning{If any unexpected beam behavior occurs, check the default
1695 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1696 possible interference, because the beam endings defined there will
1697 still apply in addition to your own.}
1699 Any unwanted or conflicting default endings must be reverted for
1700 your time signature(s). Existing auto-beam rules are removed by
1704 #(revert-auto-beam-setting
1706 beam-numerator beam-denominator
1707 time-signature-numerator time-signature-denominator)
1708 moment-numerator moment-denominator [context])
1712 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1713 @code{time-signature-numerator}, @code{time-signature-denominator},
1714 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1715 are the same as above.
1717 @lilypond[quote,verbatim,relative=2]
1719 a16 a a a a a a a a a a a a a a a
1720 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1721 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1722 a16 a a a a a a a a a a a a a a a
1725 The rule in a @code{revert-auto-beam-setting} statement must exactly
1726 match the original rule. That is, no wildcard expansion is taken into
1729 @lilypond[quote,verbatim,relative=2]
1731 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1733 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1735 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1741 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1742 {beam-grouping-in-7-8-time.ly}
1746 @c TODO Does this example add anything?
1749 example, automatic beams can only end on a dotted quarter note
1751 #(override-auto-beam-setting '(end * * * *) 3 8)
1752 #(override-auto-beam-setting '(end * * * *) 1 2)
1753 #(override-auto-beam-setting '(end * * * *) 7 8)
1756 In 4/4 time signature, this means that automatic beams could end only on
1757 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1758 3/8, has passed within the measure).
1762 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1763 {reverting-default-beam-endings.ly}
1768 @funindex \autoBeamOff
1769 @code{\autoBeamOff},
1770 @funindex \autoBeamOn
1776 If a score ends while an automatic beam has not been ended and is
1777 still accepting notes, this last beam will not be typeset at all.
1778 The same holds for polyphonic voices, entered with @code{<<
1779 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1780 automatic beam is still accepting notes, it is not typeset.
1789 @unnumberedsubsubsec Manual beams
1791 @cindex beams, manual
1795 In some cases it may be necessary to override the automatic
1796 beaming algorithm. For example, the autobeamer will not put beams
1797 over rests or bar lines, and in choral scores the beaming is
1798 often set to follow the meter of the lyrics rather than the
1799 notes. Such beams can be specified manually by
1800 marking the begin and end point with @code{[} and @code{]}
1802 @lilypond[quote,relative=1,verbatim]
1804 r4 r8[ g' a r8] r8 g[ | a] r8
1809 Individual notes may be marked with @code{\noBeam} to prevent them
1812 @lilypond[quote,verbatim,relative=2]
1813 \time 2/4 c8 c\noBeam c c
1816 @funindex stemLeftBeamCount
1817 @funindex stemRightBeamCount
1819 Even more strict manual control with the beams can be achieved by
1820 setting the properties @code{stemLeftBeamCount} and
1821 @code{stemRightBeamCount}. They specify the number of beams to
1822 draw on the left and right side, respectively, of the next note.
1823 If either property is set, its value will be used only once, and
1824 then it is erased. In this example, the last @code{f} is printed
1825 with only one beam on the left side, i.e., the eighth-note beam of
1826 the group as a whole.
1828 @lilypond[quote,relative=2,verbatim]
1831 \set stemLeftBeamCount = #2
1832 \set stemRightBeamCount = #1
1834 \set stemLeftBeamCount = #1
1841 @c TODO Add snippet "Flat flags and beam nibs" when available
1842 @c Added to LSR 27 Oct 08
1844 @node Feathered beams
1845 @unnumberedsubsubsec Feathered beams
1847 @cindex beams, feathered
1848 @funindex \featherDurations
1850 Feathered beams are used to indicate that a small group of notes
1851 should be played at an increasing (or decreasing) tempo, without
1852 changing the overall tempo of the piece. The extent of the
1853 feathered beam must be indicated manually using @code{[} and
1854 @code{]}, and the beam feathering is turned on by specifying a
1855 direction to the @code{Beam} property @code{grow-direction}.
1857 If the placement of the notes and the sound in the MIDI output
1858 is to reflect the ritardando or accelerando indicated by the
1859 feathered beam the notes must be grouped as a
1860 music expression delimited by braces and preceded by a
1861 @code{featheredDurations} command which specifies the ratio
1862 between the durations of the first and last notes in the group.
1865 show the extent of the beam and the braces show
1866 which notes are to have their durations modified. Normally
1867 these would delimit the same group of notes, but this is not
1868 required: the two commands are independent.
1870 In the following example the eight 16th notes occupy exactly the
1871 same time as a half note, but the first note is one half as long
1872 as the last one, with the intermediate notes gradually
1873 lengthening. The first four 32nd notes gradually speed up, while
1874 the last four 32nd notes are at a constant tempo.
1876 @lilypond[relative=1,verbatim,quote]
1877 \override Beam #'grow-direction = #LEFT
1878 \featherDurations #(ly:make-moment 2 1)
1879 { c16[ c c c c c c c] }
1880 \override Beam #'grow-direction = #RIGHT
1881 \featherDurations #(ly:make-moment 2 3)
1883 % revert to non-feathered beams
1884 \override Beam #'grow-direction = #'()
1889 The spacing in the printed output represents the
1890 note durations only approximately, but the MIDI output is exact.
1894 The @code{\featherDurations} command only works with very short
1895 music snippets, and when numbers in the fraction are small.
1911 * Bar and bar number checks::
1916 @unnumberedsubsubsec Bar lines
1920 @cindex measure lines
1923 Bar lines delimit measures, and are also used to indicate
1924 repeats. Normally, simple bar lines are automatically inserted
1925 into the printed output at places based on the current time
1928 The simple bar lines inserted automatically can be changed to
1929 other types with the @code{\bar} command. For example, a closing
1930 double bar line is usually placed at the end of a piece:
1932 @lilypond[quote,relative=1,verbatim]
1936 It is not invalid if the final note in a measure does not
1937 end on the automatically entered bar line: the note is assumed
1938 to carry over into the next measure. But if a long sequence
1939 of such carry-over measures appears the music can appear compressed
1940 or even flowing off the page. This is because automatic line
1941 breaks happen only at the end of complete measures, i.e., where
1942 all notes end before the end of a measure.
1944 @warning{An incorrect duration can cause line breaks to be
1945 inhibited, leading to a line of highly compressed music or
1946 music which flows off the page.}
1949 @cindex bar lines, invisible
1950 @cindex measure lines, invisible
1952 Line breaks are also permitted at manually inserted bar lines
1953 even within incomplete measures. To allow a line break without
1954 printing a bar line, use
1961 This will insert an invisible bar line and allow (but not
1962 force) a line break to occur at this point. The bar number
1963 counter is not increased. To force a line break see
1964 @ref{Line breaking}.
1966 This and other special bar lines may be inserted manually at any
1967 point. When they coincide with the end of a measure they replace
1968 the simple bar line which would have been inserted there
1969 automatically. When they do not coincide
1970 with the end of a measure the specified bar line is inserted at that
1971 point in the printed output. Such insertions do not affect
1972 the calculation and placement of subsequent automatic bar lines.
1974 The simple bar line and five types of double bar line are available
1975 for manual insertion:
1977 @lilypond[quote,relative=1,verbatim]
1978 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
1982 together with dotted and dashed bar lines:
1984 @lilypond[quote,relative=1,verbatim]
1985 f1 \bar ":" g \bar "dashed" a
1989 and five types of repeat bar line:
1991 @lilypond[quote,relative=1,verbatim]
1992 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
1997 Although the bar line types signifying repeats may be inserted
1998 manually they do not in themselves cause LilyPond to recognize
1999 a repeated section. Such repeated sections are better entered
2000 using the various repeat commands (see @ref{Repeats}), which
2001 automatically print the appropriate bar lines.
2003 In addition, you can specify @code{"||:"}, which is equivalent to
2004 @code{"|:"} except at line breaks, where it gives a double bar
2005 line at the end of the line and a start repeat at the beginning of
2008 @lilypond[quote,relative=2,verbatim]
2009 \override Score.RehearsalMark #'padding = #3
2017 In scores with many staves, a @code{\bar} command in one staff is
2018 automatically applied to all staves. The resulting bar lines are
2019 connected between different staves of a @code{StaffGroup},
2020 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
2022 @lilypond[quote,fragment,verbatim]
2030 \new Staff { \clef bass c4 g e g }
2032 \new Staff { \clef bass c2 c2 }
2040 @funindex defaultBarType
2042 The command @code{\bar }@var{bartype} is a shortcut for
2043 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2044 created whenever the @code{whichBar} property is
2047 The default bar type used for automatically inserted bar lines is
2048 @code{"|"}. This may be changed at any time
2049 with @code{\set Timing.defaultBarType = }@var{bartype}.
2054 @ref{Line breaking},
2056 @ref{Grouping staves}.
2061 Internals Reference: @rinternals{BarLine} (created at
2062 @rinternals{Staff} level), @rinternals{SpanBar} (across
2063 staves), @rinternals{Timing_translator} (for Timing
2068 @unnumberedsubsubsec Bar numbers
2071 @cindex measure numbers
2072 @funindex currentBarNumber
2074 Bar numbers are typeset by default at the start of every line except
2075 the first line. The number itself is stored in the
2076 @code{currentBarNumber} property, which is normally updated
2077 automatically for every measure. It may also be set manually:
2079 @lilypond[verbatim,quote,fragment,relative=1]
2082 \set Score.currentBarNumber = #50
2089 @funindex barNumberVisibility
2090 @cindex bar numbers, regular spacing
2092 Bar numbers can be typeset at regular intervals instead of just at
2093 the beginning of every line. To do this the default behavior
2094 must be overridden to permit bar numbers to be printed at places
2095 other than the start of a line. This is controlled by the
2096 @code{break-visibility} property of @code{BarNumber}. This takes
2097 three values which may be set to @code{#t} or @code{#f} to specify
2098 whether the corresponding bar number is visible or not. The order
2099 of the three values is @code{end of line visible}, @code{middle of
2100 line visible}, @code{beginning of line visible}. In the following
2101 example bar numbers are printed at all possible places:
2103 @lilypond[verbatim,quote,relative=1]
2104 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2105 \set Score.currentBarNumber = #11
2106 \bar "" % Permit first bar number to be printed
2112 @c All the rest of these examples will be added to LSR
2113 @c and moved into the Snippets. -gp
2116 and here the bar numbers are printed every two measures
2117 except at the end of the line:
2119 @lilypond[verbatim,quote,relative=1]
2120 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2121 \set Score.currentBarNumber = #11
2122 \bar "" % Permit first bar number to be printed
2123 % Print a bar number every second measure
2124 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2130 @cindex measure number, format
2131 @cindex bar number, format
2133 The size of the bar number may be changed. This is illustrated
2134 in the following example, which also shows how to enclose bar
2135 numbers in boxes and circles, and shows an alternative way
2136 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2138 @lilypond[verbatim,quote,relative=1]
2139 % Prevent bar numbers at the end of a line and permit them elsewhere
2140 \override Score.BarNumber #'break-visibility
2141 = #end-of-line-invisible
2143 % Increase the size of the bar number by 2
2144 \override Score.BarNumber #'font-size = #2
2145 \repeat unfold 3 { c1 } \bar "|"
2147 % Draw a box round the following bar number(s)
2148 \override Score.BarNumber #'stencil
2149 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2150 \repeat unfold 3 { c1 } \bar "|"
2152 % Draw a circle round the following bar number(s)
2153 \override Score.BarNumber #'stencil
2154 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2155 \repeat unfold 4 { c1 } \bar "|."
2158 @cindex bar number alignment
2160 Bar numbers by default are left-aligned to their parent object.
2161 This is usually the left edge of a line or, if numbers are printed
2162 within a line, the left bar line of the measure. The numbers may also
2163 be positioned directly on the bar line or right-aligned to the
2166 @lilypond[verbatim,quote,relative=1]
2167 \set Score.currentBarNumber = #111
2168 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2169 % Increase the size of the bar number by 2
2170 \override Score.BarNumber #'font-size = #2
2171 % Print a bar number every second measure
2172 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2174 % Center-align bar numbers
2175 \override Score.BarNumber #'self-alignment-X = #0
2177 % Right-align bar numbers
2178 \override Score.BarNumber #'self-alignment-X = #-1
2182 Bar numbers can be removed entirely by removing the
2183 @code{Bar_number_engraver} from the @code{Score} context.
2185 @lilypond[verbatim,quote]
2189 \remove "Bar_number_engraver"
2204 Internals Reference: @rinternals{BarNumber}.
2209 Bar numbers may collide with the top of the
2210 @rinternals{StaffGroup} bracket, if there is one. To solve
2211 this, the @code{padding} property of @rinternals{BarNumber} can
2212 be used to position the number correctly.
2214 Bar numbers may only be printed at bar lines; to print a bar
2215 number at the beginning of a piece, an empty bar line must be
2216 inserted there, and a value other than @code{1} must be placed
2217 in @code{currentBarNumber}:
2219 @lilypond[verbatim,quote,relative=1]
2220 \set Score.currentBarNumber = #50
2229 @node Bar and bar number checks
2230 @unnumberedsubsubsec Bar and bar number checks
2233 @funindex barCheckSynchronize
2236 Bar checks help detect errors in the entered durations.
2237 A bar check may be entered using the bar symbol, @code{|},
2238 at any place where a bar line is expected to fall.
2239 If bar check lines are encountered at other places,
2240 a list of warnings is printed in the log file,
2241 showing the line numbers and lines
2242 in which the bar checks failed. In the next
2243 example, the second bar check will signal an error.
2246 \time 3/4 c2 e4 | g2 |
2249 Bar checks can also be used in lyrics, for example
2254 Twin -- kle | Twin -- kle |
2258 An incorrect duration can result in a completely garbled score,
2259 especially if the score is polyphonic, so a good place to start
2260 correcting input is by scanning for failed bar checks and
2261 incorrect durations.
2263 If successive bar checks are off by the same musical interval,
2264 only the first warning message is displayed. This allows the
2265 warning to focus on the source of the timing error.
2269 @funindex pipeSymbol
2271 It is also possible to redefine the action taken when a bar check
2272 or pipe symbol, @code{|}, is encountered in the input, so that
2273 it does something other than a bar check. This is done by
2274 assigning a music expression to @code{pipeSymbol}.
2275 In the following example @code{|} is set to insert a double bar
2276 line wherever it appears in the input, rather than checking
2279 @lilypond[quote,verbatim]
2280 pipeSymbol = \bar "||"
2289 When copying large pieces of music, it can be helpful to check
2290 that the LilyPond bar number corresponds to the original that you
2291 are entering from. This can be checked with
2292 @code{\barNumberCheck}, for example,
2295 \barNumberCheck #123
2299 will print a warning if the @code{currentBarNumber} is not 123
2300 when it is processed.
2308 @node Rehearsal marks
2309 @unnumberedsubsubsec Rehearsal marks
2311 @cindex rehearsal marks
2312 @cindex mark, rehearsal
2315 To print a rehearsal mark, use the @code{\mark} command
2317 @lilypond[quote,verbatim,relative=2]
2326 The letter@tie{}@q{I} is skipped in accordance with engraving
2327 traditions. If you wish to include the letter @q{I}, then use
2330 \set Score.markFormatter = #format-mark-alphabet
2333 The mark is incremented automatically if you use @code{\mark
2334 \default}, but you can also use an integer argument to set the
2335 mark manually. The value to use is stored in the property
2336 @code{rehearsalMark}.
2338 @cindex rehearsal mark format
2339 @cindex rehearsal mark style
2340 @cindex style, rehearsal mark
2341 @cindex format, rehearsal mark
2342 @cindex mark, rehearsal, style
2343 @cindex mark, rehearsal, format
2345 The style is defined by the property @code{markFormatter}. It is
2346 a function taking the current mark (an integer) and the current
2347 context as argument. It should return a markup object. In the
2348 following example, @code{markFormatter} is set to a pre-defined
2349 procedure. After a few measures, it is set to a procedure that
2350 produces a boxed number.
2352 @lilypond[quote,verbatim,relative=2]
2353 \set Score.markFormatter = #format-mark-numbers
2356 \set Score.markFormatter = #format-mark-box-numbers
2358 \set Score.markFormatter = #format-mark-circle-numbers
2360 \set Score.markFormatter = #format-mark-circle-letters
2364 The file @file{scm/@/translation@/-functions@/.scm} contains the
2365 definitions of @code{format-mark-numbers} (the default format),
2366 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2367 @code{format-mark-box-letters}. These can be used as inspiration
2368 for other formatting functions.
2370 You may use @code{format-mark-barnumbers},
2371 @code{format-mark-box-barnumbers}, and
2372 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2373 incremented numbers or letters.
2375 Other styles of rehearsal mark can be specified manually
2382 @code{Score.markFormatter} does not affect marks specified in this
2383 manner. However, it is possible to apply a @code{\markup} to the
2387 \mark \markup@{ \box A1 @}
2394 Music glyphs (such as the segno sign) may be printed inside a
2397 @lilypond[quote,verbatim,relative=1]
2398 c1 \mark \markup { \musicglyph #"scripts.segno" }
2399 c1 \mark \markup { \musicglyph #"scripts.coda" }
2400 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2405 See @ref{The Feta font}, for a list of symbols which may be
2406 printed with @code{\musicglyph}.
2408 For common tweaks to the positioning of rehearsal marks, see
2409 @ref{Formatting text}.
2414 @ref{The Feta font},
2415 @ref{Formatting text}.
2418 @file{scm/@/translation@/-functions@/.scm} contains
2419 the definition of @code{format-mark-numbers} and
2420 @code{format-mark-letters}. They can be used as inspiration for
2421 other formatting functions.
2426 Internals Reference: @rinternals{RehearsalMark}.
2428 @node Special rhythmic concerns
2429 @subsection Special rhythmic concerns
2434 * Aligning to cadenzas::
2435 * Time administration::
2439 @unnumberedsubsubsec Grace notes
2444 @cindex appoggiatura
2445 @cindex acciaccatura
2447 Grace notes are ornaments that are written out. Grace notes
2448 are printed in a smaller font and take up no logical time
2451 @lilypond[quote,relative=2,verbatim]
2453 \grace { c16[ d16] } c2
2456 Lilypond also supports two special types of grace notes, the
2457 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2458 small note with a slashed stem--and the @emph{appoggiatura}, which
2459 takes a fixed fraction of the main note and appears in small print
2462 @lilypond[quote,relative=2,verbatim]
2466 \acciaccatura { g16[ f] } e4
2469 The placement of grace notes is synchronized between different
2470 staves. In the following example, there are two sixteenth grace
2471 notes for every eighth grace note
2473 @lilypond[quote,relative=2,verbatim]
2474 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2475 \new Staff { c2 \grace { g8[ b] } c2 } >>
2478 @funindex \afterGrace
2480 @cindex grace notes, following
2482 If you want to end a note with a grace, use the @code{\afterGrace}
2483 command. It takes two arguments: the main note, and the grace
2484 notes following the main note.
2486 @lilypond[quote,verbatim,relative=2]
2487 c1 \afterGrace d1 { c16[ d] } c1
2490 This will put the grace notes after a space lasting 3/4 of the
2491 length of the main note. The default fraction 3/4 can be changed by
2492 setting @code{afterGraceFraction}. The following example shows
2493 the results from setting the space at the default, at 15/16, and
2494 finally at 1/2 of the main note.
2496 @lilypond[quote,verbatim,relative=2]
2499 c1 \afterGrace d1 { c16[ d] } c1
2502 #(define afterGraceFraction (cons 15 16))
2503 c1 \afterGrace d1 { c16[ d] } c1
2506 #(define afterGraceFraction (cons 1 2))
2507 c1 \afterGrace d1 { c16[ d] } c1
2512 The space between the main note and the grace note may also be
2513 specified using spacers. The following example places the grace
2514 note after a space lasting 7/8 of the main note.
2516 @lilypond[quote,verbatim,relative=2]
2519 { s2 s4. \grace { c16[ d] } } >>
2524 A @code{\grace} music expression will introduce special
2525 typesetting settings, for example, to produce smaller type, and
2526 set directions. Hence, when introducing layout tweaks to
2527 override the special settings, they should be placed inside
2528 the grace expression. The overrides should also be reverted
2529 inside the grace expression. Here, the grace note's default stem
2530 direction is overriden and then reverted.
2532 @lilypond[quote,verbatim,relative=2]
2544 @cindex stem, with slash
2549 The slash through the stem found in @emph{acciaccatura}s can be applied
2550 in other situations:
2552 @lilypond[quote,verbatim,relative=2]
2554 \override Stem #'stroke-style = #"grace"
2559 The layout of grace expressions can be changed throughout the
2560 music using the function @code{add-grace-property}. The following
2561 example undefines the @code{Stem} direction for this grace, so
2562 that stems do not always point up.
2564 @lilypond[quote,verbatim,relative=2]
2567 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2568 #(remove-grace-property 'Voice 'Stem 'direction)
2570 \acciaccatura { f16 } g4
2571 \grace { d16[ e] } f4
2572 \appoggiatura { a,32[ b c d] } e2
2578 Another option is to change the variables @code{startGraceMusic},
2579 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2580 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2581 @code{stopAppoggiaturaMusic}. The default values of these can be
2582 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2583 them other effects may be obtained.
2585 Grace notes may be forced to align with regular notes
2588 @lilypond[verbatim,quote]
2591 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2594 \afterGrace c4 { c16[ c8 c16] }
2598 c16 c c c c c c c c4 r
2608 @rglos{grace notes},
2609 @rglos{acciaccatura},
2610 @rglos{appoggiatura}.
2612 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2614 Snippets: @rlsr{Rhythms}.
2616 Internals Reference: @rinternals{GraceMusic}.
2621 A multi-note beamed @i{acciaccatura} is printed without a slash,
2622 and looks exactly the same as a multi-note beamed
2625 @c TODO Add link to LSR snippet to add slash when available
2627 Grace note synchronization can also lead to surprises. Staff
2628 notation, such as key signatures, bar lines, etc., are also
2629 synchronized. Take care when you mix staves with grace notes and
2630 staves without, for example,
2632 @lilypond[quote,relative=2,verbatim]
2633 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2634 \new Staff { c4 \bar "|:" d2. } >>
2638 This can be remedied by inserting grace skips of the corresponding
2639 durations in the other staves. For the above example
2641 @lilypond[quote,relative=2,verbatim]
2642 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2643 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2646 Grace sections should only be used within sequential music
2647 expressions. Nesting or juxtaposing grace sections is not
2648 supported, and might produce crashes or other errors.
2650 @node Aligning to cadenzas
2651 @unnumberedsubsubsec Aligning to cadenzas
2654 @cindex cadenza, aligning to
2655 @cindex aligning to cadenza
2657 In an orchestral context, cadenzas present a special problem: when
2658 constructing a score that includes a measured cadenza or other solo
2659 passage, all other instruments should skip just as many notes as the
2660 length of the cadenza, otherwise they will start too soon or too late.
2662 One solution to this problem is to use the functions
2663 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2664 functions take a defined piece of music as an argument and generate a
2665 multi-measure rest or @code{\skip} exactly as long as the piece.
2667 @lilypond[verbatim,quote]
2668 MyCadenza = \relative c' {
2679 #(ly:export (mmrest-of-length MyCadenza))
2681 #(ly:export (skip-of-length MyCadenza))
2696 @node Time administration
2697 @unnumberedsubsubsec Time administration
2699 @cindex time administration
2700 @cindex timing (within the score)
2701 @cindex music, unmetered
2702 @cindex unmetered music
2704 @funindex currentBarNumber
2705 @funindex measurePosition
2706 @funindex measureLength
2708 Time is administered by the @code{Timing_translator}, which by
2709 default is to be found in the @code{Score} context. An alias,
2710 @code{Timing}, is added to the context in which the
2711 @code{Timing_translator} is placed.
2713 The following properties of @code{Timing} are used
2714 to keep track of timing within the score.
2717 @cindex measure number
2720 @item currentBarNumber
2721 The current measure number. For an example showing the
2722 use of this property see @ref{Bar numbers}.
2725 The length of the measures in the current time signature. For a
2726 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2727 determines when bar lines are inserted and how automatic beams
2728 should be generated.
2730 @item measurePosition
2731 The point within the measure where we currently are. This
2732 quantity is reset by subtracting @code{measureLength} whenever
2733 @code{measureLength} is reached or exceeded. When that happens,
2734 @code{currentBarNumber} is incremented.
2737 If set to true, the above variables are updated for every time
2738 step. When set to false, the engraver stays in the current
2739 measure indefinitely.
2743 Timing can be changed by setting any of these variables
2744 explicitly. In the next example, the default 4/4 time
2745 signature is printed, but @code{measureLength} is set to 5/4.
2746 At 4/8 through the third measure, the @code{measurePosition} is
2747 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2748 The next bar line then falls at 9/8 rather than 5/4.
2750 @lilypond[quote,verbatim,relative=1]
2751 \set Score.measureLength = #(ly:make-moment 5 4)
2755 \set Score.measurePosition = #(ly:make-moment 5 8)
2761 As the example illustrates, @code{ly:make-moment n m} constructs a
2762 duration of n/m of a whole note. For example,
2763 @code{ly:make-moment 1 8} is an eighth note duration and
2764 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2770 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2775 Internals Reference: @rinternals{Timing_translator},