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 @lilypondfile[quote]{rhythms-headword.ly}
16 This section discusses rhythms, rests, durations, beaming and bars.
21 * Displaying rhythms::
24 * Special rhythmic concerns::
29 @subsection Writing rhythms
39 @unnumberedsubsubsec Durations
41 @cindex durations, of notes
42 @cindex note durations
48 Durations are designated by numbers and dots.
49 Durations are entered as their reciprocal values. For example, a
50 quarter note is entered using a @code{4} (since it is a 1/4 note),
51 and a half note is entered using a @code{2} (since it is a 1/2
52 note). For notes longer than a whole you must use the
53 @code{\longa} (a double breve) and @code{\breve} commands.
54 Durations as short as 64th notes may be specified. Shorter values
55 are possible, but only as beamed notes.
57 @c Two 64th notes are needed to obtain beams
58 @lilypond[quote,verbatim,relative=2]
65 Here are the same durations with automatic beaming turned off.
67 @c not strictly "writing rhythms"; more of a "displaying" thing,
68 @c but it's ok here. -gp
69 @lilypond[quote,verbatim,relative=2]
76 A note with the duration of a quadruple breve may be entered with
77 @code{\maxima}, but this is supported only within ancient music
78 notation. For details, see @ref{Ancient notation}.
80 If the duration is omitted, it is set to the previously
81 entered duration. The default for the first note is a quarter
84 @lilypond[quote,verbatim,relative=2]
93 To obtain dotted note lengths, place a dot (@code{.}) after the
94 duration. Double-dotted notes are specified by appending two
97 @lilypond[quote,verbatim,relative=2]
98 a4 b c4. b8 a4. b4.. c8.
101 Some durations cannot be represented with just binary durations
102 and dots; they can be represented only by tying two or more
103 notes together. For details, see @ref{Ties}.
105 For ways of specifying durations for the syllables of lyrics and
106 ways of aligning lyrics to notes, see @ref{Vocal music}.
108 Optionally, notes can be spaced strictly proportionately to their
109 duration. For details of this and other settings which control
110 proportional notation, see @ref{Proportional notation}.
114 @funindex \dotsNeutral
116 Dots are normally moved up to avoid staff lines, except in
117 polyphonic situations. Predefined commands are available to
118 force a particular direction manually, for details
119 see @ref{Direction and placement}.
135 @rglos{Duration names notes and rests}.
138 @ref{Automatic beams},
140 @ref{Writing rhythms},
143 @ref{Ancient notation},
144 @ref{Proportional notation}.
151 @rinternals{DotColumn}.
156 @c Deliberately duplicated in Durations and Rests. -gp
157 There is no fundamental limit to rest durations (both in terms of
158 longest and shortest), but the number of glyphs is limited:
159 rests from 128th to maxima (8 x whole) may be printed.
163 @unnumberedsubsubsec Tuplets
169 Tuplets are made from a music expression by multiplying all the
170 durations with a fraction:
173 \times @var{fraction} @{ @var{music} @}
177 The duration of @var{music} will be multiplied by the
178 fraction. The fraction's denominator will be printed over or
179 under the notes, optionally with a bracket. The most common
180 tuplet is the triplet in which 3 notes have the duration of 2, so
181 the notes are 2/3 of their written length.
183 @lilypond[quote,verbatim,relative=2]
184 a2 \times 2/3 { b4 b b }
185 c4 c \times 2/3 { b4 a g }
189 @funindex \tupletDown
190 @funindex \tupletNeutral
192 The automatic placement of the tuplet bracket above or below the
193 notes may be overridden manually with predefined commands, for
194 details see @ref{Direction and placement}.
196 Tuplets may be nested:
198 @lilypond[quote,verbatim,relative=2]
200 c4 \times 4/5 { f8 e f \times 2/3 { e[ f g] } } f4 |
203 Modifying nested tuplets which begin at the same musical moment
204 must be done with @code{\tweak}.
206 To modify the duration of notes without printing a tuplet bracket,
207 see @ref{Scaling durations}.
213 @code{\tupletNeutral}.
218 @cindex tuplet formatting
219 @cindex triplet formatting
221 @funindex tupletNumberFormatFunction
222 @funindex tupletSpannerDuration
224 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
225 {entering-several-tuplets-using-only-one--times-command.ly}
227 @funindex TupletNumber
229 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
230 {changing-the-tuplet-number.ly}
232 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
233 {permitting-line-breaks-within-beamed-tuplets.ly}
242 Learning Manual: @rlearning{Tweaking methods}.
245 @ref{Time administration},
246 @ref{Scaling durations},
247 @ref{The tweak command},
248 @ref{Polymetric notation}.
254 @rinternals{TupletBracket},
255 @rinternals{TupletNumber},
256 @rinternals{TimeScaledMusic}.
259 @cindex grace notes within tuplet brackets
260 When the first note on a staff is a grace note followed by a
261 tuplet the grace note must be placed before the @code{\times}
262 command to avoid errors. Anywhere else, grace notes may be
263 placed within tuplet brackets.
266 @node Scaling durations
267 @unnumberedsubsubsec Scaling durations
269 @cindex scaling durations
270 @cindex durations, scaling
272 You can alter the duration of single notes, rests or chords by a
273 fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if
274 @code{M} is 1) to the duration.
275 This will not affect the appearance of the notes or rests
276 produced, but the altered duration will be used in calculating the
277 position within the measure and setting the duration in the MIDI
278 output. Multiplying factors may be combined such as @code{*L*M/N}.
280 In the following example, the first three notes take up exactly
281 two beats, but no triplet bracket is printed.
283 @lilypond[quote,relative=2,verbatim]
285 % Alter durations to triplets
286 a4*2/3 gis4*2/3 a4*2/3
289 % Double the duration of chord
291 % Duration of quarter, appears like sixteenth
295 The duration of skip or spacing notes may also be modified by
296 a multiplier. This is useful for skipping many measures, e.g.,
299 @cindex compressing music
300 @funindex \scaleDurations
302 Longer stretches of music may be compressed by a fraction in the
303 same way, as if every note, chord or rest had the fraction as a
304 multiplier. This leaves the appearance of the music unchanged but
305 the internal duration of the notes will be multiplied by the
306 fraction @emph{num}/@emph{den}. The spaces around the dot are
307 required. Here is an example showing how music can be compressed
310 @lilypond[quote,relative=2,verbatim]
314 % Scale music by *2/3
315 \scaleDurations #'(2 . 3) {
319 \scaleDurations #'(2 . 1) {
325 One application of this command is in polymetric
326 notation, see @ref{Polymetric notation}.
333 @ref{Invisible rests},
334 @ref{Polymetric notation}.
341 @unnumberedsubsubsec Ties
346 A tie connects two adjacent note heads of the same pitch. The tie
347 in effect extends the duration of a note.
349 @warning{Ties should not be confused with @emph{slurs}, which
350 indicate articulation, or @emph{phrasing slurs}, which indicate
351 musical phrasing. A tie is just a way of extending a note
352 duration, similar to the augmentation dot.}
354 A tie is entered using the tilde symbol @code{~}
356 @lilypond[quote,verbatim,relative=2]
362 Ties are used either when the note crosses a bar line, or when
363 dots cannot be used to denote the rhythm. Ties should also be
364 used when note values cross larger subdivisions of the measure:
366 @lilypond[verbatim,quote]
373 If you need to tie many notes across bar lines, it may be
374 easier to use automatic note splitting, see @ref{Automatic note
375 splitting}. This mechanism automatically splits long notes, and
376 ties them across bar lines.
378 @cindex ties and chords
379 @cindex chords and ties
381 When a tie is applied to a chord, all note heads whose pitches
382 match are connected. When no note heads match, no ties will be
383 created. Chords may be partially tied by placing the tie inside
386 @lilypond[quote,verbatim,relative=1]
388 <c~ e g~ b> <c e g b>
392 @cindex repeating ties
393 @cindex ties, repeating
394 @cindex volta brackets and ties
395 @cindex ties and volta brackets
397 When a second alternative of a repeat starts with a tied note, you
398 have to specify the repeated tie as follows:
400 @lilypond[quote,relative=2,verbatim]
401 \repeat volta 2 { c g <c e>2 ~ }
403 % First alternative: following note is tied normally
405 % Second alternative: following note has a repeated tie
406 { <c e>2\repeatTie d4 c } }
409 @cindex laissez vibrer
410 @cindex ties, laissez vibrer
411 @funindex \laissezVibrer
413 @notation{L.v.} ties (@notation{laissez vibrer}) indicate that
414 notes must not be damped at the end. It is used in notation for
415 piano, harp and other string and percussion instruments. They can
416 be entered as follows:
418 @lilypond[quote,verbatim,relative=1]
419 <c f g>1\laissezVibrer
422 @cindex ties, placement
425 @funindex \tieNeutral
427 The vertical placement of ties may be controlled, see
428 Predefined commands, or for details, see
429 @ref{Direction and placement}.
431 @cindex ties, appearance
436 Solid, dotted or dashed ties may be specified, see Predefined
452 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
453 {using-ties-with-arpeggios.ly}
455 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
456 {engraving-ties-manually.ly}
463 @rglos{laissez vibrer}.
465 Notation Reference: @ref{Automatic note splitting}.
471 @rinternals{LaissezVibrerTie},
472 @rinternals{LaissezVibrerTieColumn},
473 @rinternals{TieColumn},
479 Switching staves when a tie is active will not produce a slanted
482 Changing clefs or octavations during a tie is not really
483 well-defined. In these cases, a slur may be preferable.
490 @subsection Writing rests
492 Rests are entered as part of the music in music expressions.
497 * Full measure rests::
501 @unnumberedsubsubsec Rests
503 @cindex rest, entering durations
514 Rests are entered like notes with the note name @code{r}.
515 Durations longer than a whole rest use the predefined
518 @c \time 16/1 is used to avoid spurious bar lines
519 @c and long tracts of empty measures
520 @lilypond[fragment,quote,verbatim]
522 % These two lines are just to prettify this example
524 \override Staff.TimeSignature #'stencil = ##f
525 % Print a maxima rest, equal to four breves
527 % Print a longa rest, equal to two breves
531 r1 r2 r4 r8 r16 r32 r64 r128
535 @cindex rest, multi-measure
536 @cindex rest, whole-measure
538 Whole measure rests, centered in the middle of the measure, must be
539 entered as multi-measure rests. They can be used for a single
540 measure as well as many measures and are discussed in @ref{Full
543 @cindex rest, specifying vertical position
545 To explicitly specify a rest's vertical position, write a note
546 followed by @code{\rest}. A rest of the duration of the note will
547 be placed at the staff position where the note would appear. This
548 allows for precise manual formatting of polyphonic music, since the
549 automatic rest collision formatter will not move these rests.
551 @lilypond[quote,verbatim,relative=2]
557 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
564 @ref{Full measure rests}.
575 @c Deliberately duplicated in Durations and Rests. -gp
576 There is no fundamental limit to rest durations (both in terms of
577 longest and shortest), but the number of glyphs is limited: there
578 are rests from 128th to maxima (8 x whole).
581 @node Invisible rests
582 @unnumberedsubsubsec Invisible rests
585 @cindex invisible rest
586 @cindex rest, invisible
591 An invisible rest (also called a @q{spacer rest}) can be entered
592 like a note with the note name@tie{}@code{s}:
594 @lilypond[verbatim,quote,relative=2]
601 Spacer rests are available only in note mode and chord mode. In
602 other situations, for example, when entering lyrics, @code{\skip}
603 is used to skip a musical moment. @code{\skip} requires an
606 @lilypond[quote,verbatim,relative=2]
619 A spacer rest implicitly causes @code{Staff} and @code{Voice}
620 contexts to be created if none exist, just like notes and rests
623 @lilypond[quote,verbatim,fragment]
627 @code{\skip} simply skips musical time; it creates no output of
630 @lilypond[quote,verbatim,fragment]
631 % This is valid input, but does nothing
632 \skip 1 \skip1 \skip 1
640 Internals Reference: @rinternals{SkipMusic}
643 @node Full measure rests
644 @unnumberedsubsubsec Full measure rests
646 @cindex multi-measure rests
647 @cindex full-measure rests
648 @cindex rest, multi-measure
649 @cindex rest, full-measure
650 @cindex whole rest for a full measure
653 Rests for one or more full measures are entered like notes with
654 the note name uppercase @code{R}:
656 @lilypond[quote,verbatim,relative=2]
657 % Rest measures contracted to single measure
658 \compressFullBarRests
665 The duration of full-measure rests is identical to the duration notation
666 used for notes. The duration in a multi-measure rest must always be an
667 integral number of measure-lengths, so augmentation
668 dots or fractions must often be used:
670 @lilypond[quote,fragment,verbatim]
671 \compressFullBarRests
677 R1*13/8 | R1*13/8*12 |
682 A full-measure rest is printed as either a whole
683 or breve rest, centered in the measure, depending on the time
686 @lilypond[quote,verbatim,fragment]
694 @funindex \expandFullBarRests
695 @funindex \compressFullBarRests
696 @cindex multi-measure rest, expanding
697 @cindex multi-measure rest, contracting
699 By default a multi-measure rest is expanded in the printed score
700 to show all the rest measures explicitly.
701 Alternatively, a mult-measure rest can be shown as a single measure
702 containing a multi-measure rest symbol, with the number of measures of rest
703 printed above the measure:
705 @lilypond[quote,fragment,verbatim]
707 \time 3/4 r2. | R2.*2 |
710 % Rest measures contracted to single measure
711 \compressFullBarRests
713 % Rest measures expanded
720 @cindex text on multi-measure rest
721 @cindex multi-measure rest, attaching text
722 @cindex script on multi-measure rest
723 @cindex multi-measure rest, script
724 @cindex fermata on multi-measure rest
725 @cindex multi-measure rest, attaching fermata
727 Markups can be added to multi-measure rests.
728 The predefined command @code{\fermataMarkup}
729 is provided for adding fermatas.
731 @lilypond[quote,verbatim,fragment]
732 \compressFullBarRests
734 R2.*10^\markup { \italic "ad lib." }
739 Markups attached to a multi-measure rest are
740 objects of type @code{MultiMeasureRestText}, not
741 @code{TextScript}. Overrides must be directed to the correct
742 object, or they will be ignored. See the following example.
745 @lilypond[quote,verbatim,fragment]
746 % This fails, as the wrong object name is specified
747 \override TextScript #'padding = #5
749 % This is correct and works
750 \override MultiMeasureRestText #'padding = #5
754 When a multi-measure rest immediately follows a @code{\partial}
755 setting, resulting bar-check warnings may not be displayed.
758 @code{\textLengthOn},
759 @code{\textLengthOff},
760 @code{\fermataMarkup},
761 @code{\compressFullBarRests},
762 @code{\expandFullBarRests}.
768 @cindex kirchenpausen
770 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
771 {changing-form-of-multi--measure-rests.ly}
773 @cindex multi-measure rests, positioning
774 @cindex positioning multi-measure rests
776 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
777 {positioning-multi--measure-rests.ly}
779 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
780 {multi--measure-rest-markup.ly}
785 @rglos{multi-measure rest}.
790 @ref{Formatting text},
797 @rinternals{MultiMeasureRest},
798 @rinternals{MultiMeasureRestNumber},
799 @rinternals{MultiMeasureRestText}.
804 If an attempt is made to use fingerings (e.g.,
805 @code{R1*10-4}) to put numbers over multi-measure rests, the
806 fingering numeral (4) may collide with the bar counter
809 @cindex condensing rests
810 @cindex rest, condensing ordinary
812 There is no way to automatically condense multiple ordinary rests
813 into a single multi-measure rest.
815 @cindex rest, collisions of
817 Multi-measure rests do not take part in rest collisions.
819 @node Displaying rhythms
820 @subsection Displaying rhythms
826 * Polymetric notation::
827 * Automatic note splitting::
828 * Showing melody rhythms::
832 @unnumberedsubsubsec Time signature
834 @cindex time signature
838 The time signature is set as follows:
840 @lilypond[quote,verbatim,relative=2]
845 @cindex Time signature, visibility of
847 Time signatures are printed at the beginning of a piece
848 and whenever the time signature changes. If a change takes place
849 at the end of a line a warning time signature sign is printed
850 there. This default behavior may be changed, see
851 @ref{Visibility of objects}.
853 @lilypond[quote,verbatim,relative=2]
863 @funindex \numericTimeSignature
864 @funindex \defaultTimeSignature
865 @cindex time signature style
867 The time signature symbol that is used in 2/2 and 4/4 time can be
868 changed to a numeric style:
870 @lilypond[quote,verbatim,relative=2]
874 % Change to numeric style
875 \numericTimeSignature
878 % Revert to default style
879 \defaultTimeSignature
885 Mensural time signatures are covered in
886 @ref{Mensural time signatures}.
890 @code{\numericTimeSignature},
891 @code{\defaultTimeSignature}.
895 @c TODO Replace by snippet called "Changing the time signature without affecting the beaming"
896 @c Submitted to LSR 2 Nov 08
898 The @code{\time} command sets the properties
899 @code{timeSignatureFraction}, @code{beatLength}, @code{beatGrouping}
900 and @code{measureLength} in the @code{Timing} context, which is
901 normally aliased to @code{Score}. Changing the value of
902 @code{timeSignatureFraction} causes the new time signature symbol
903 to be printed without changing any of the other properties:
905 @lilypond[quote,verbatim,relative=2]
907 a16 a a a a a a a a a a a
908 % Change time signature symbol but keep 3/4 beaming
909 % due to unchanged underlying time signature
910 \set Score.timeSignatureFraction = #'(12 . 16)
911 a16 a a a a a a a a a a a
913 % Lose 3/4 beaming now \time has been changed
914 a16 a a a a a a a a a a a
917 @cindex compound time signatures
918 @cindex time signature, compound
920 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
921 {compound-time-signatures.ly}
927 @rglos{time signature}
930 @ref{Mensural time signatures},
931 @ref{Time administration}.
937 @rinternals{TimeSignature},
938 @rinternals{Timing_translator}.
942 @unnumberedsubsubsec Upbeats
946 @cindex partial measure
947 @cindex measure, partial
948 @cindex pickup measure
949 @cindex measure, change length
950 @cindex measurePosition
953 Partial or pick-up measures, such as an anacrusis or upbeat, are
954 entered using the @code{\partial} command, with the syntax
957 \partial @var{duration}
960 where @code{duration} is the rhythmic length of the interval
961 before the start of the first complete measure:
963 @lilypond[quote,verbatim,relative=2]
968 The partial measure can be any duration less than a full measure:
970 @lilypond[quote,verbatim,relative=2]
971 \partial 8*3 c8 d e |
975 Internally, this is translated into
978 \set Timing.measurePosition = -@var{duration}
981 The property @code{measurePosition} contains a rational number
982 indicating how much of the measure has passed at this point. Note
983 that this is set to a negative number by the @code{\partial}
984 command: i.e., @code{\partial 4} is internally translated to
985 @code{-4}, meaning @qq{there is a quarter note left in the measure.}
999 @rinternals{Timing_translator}.
1003 The @code{\partial} command is intended to be used only at the
1004 beginning of a piece. If you use it after the beginning, some
1005 odd warnings may occur.
1007 @node Unmetered music
1008 @unnumberedsubsubsec Unmetered music
1010 @funindex \cadenzaOn
1011 @funindex \cadenzaOff
1012 @cindex bar lines, turning off
1013 @cindex bar numbering, turning off
1015 @cindex unmetered music
1017 Bar lines and bar numbers are calculated automatically. For
1018 unmetered music (some cadenzas, for example), this is not desirable.
1019 To turn off automatic calculation of bar lines and bar numbers,
1020 use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
1021 to turn them on again.
1023 @lilypond[verbatim,relative=2,fragment]
1032 Bar numbering is resumed at the end of the cadenza as if the
1033 cadenza were not there:
1035 @lilypond[verbatim,relative=2,fragment]
1036 % Show all bar numbers
1037 \override Score.BarNumber #'break-visibility = #all-visible
1057 @c ref{Controlling visibility of objects}.
1064 LilyPond will insert line breaks and page breaks only at a
1065 bar line. Unless the unmetered music ends before the end of the
1066 staff line, you will need to insert invisible bar lines with
1073 to indicate where breaks can occur.
1076 @node Polymetric notation
1077 @unnumberedsubsubsec Polymetric notation
1079 @c This section necessarily uses \set
1080 @c This is acceptable -td
1082 @cindex double time signatures
1083 @cindex signatures, polymetric
1084 @cindex polymetric signatures
1085 @cindex meter, polymetric
1087 Polymetric notation is supported, either explicitly or by modifying
1088 the visible time signature symbol and scaling the note durations.
1090 @strong{@i{Staves with different time signatures, equal measure lengths}}
1092 This notation can be created by setting a common time signature
1093 for each staff but replacing the symbol manually by setting
1094 @code{timeSignatureFraction} to the desired fraction and scaling
1095 the printed durations in each staff to the common time
1096 signature; see @ref{Time signature}. The scaling is done with
1097 @code{\scaleDurations}, which is used in a similar way to
1098 @code{\times}, but does not create a tuplet bracket; see
1099 @ref{Scaling durations}.
1101 In this example, music with the time signatures of 3/4, 9/8, and
1102 10/8 are used in parallel. In the second staff, shown durations
1103 are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
1104 staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
1105 It will often be necessary to insert beams manually, as the
1106 duration scaling affects the autobeaming rules.
1108 @lilypond[quote,verbatim,fragment]
1117 \set Staff.timeSignatureFraction = #'(9 . 8)
1118 \scaleDurations #'(2 . 3)
1119 \repeat unfold 6 { c8[ c c] }
1123 \set Staff.timeSignatureFraction = #'(10 . 8)
1124 \scaleDurations #'(3 . 5) {
1125 \repeat unfold 2 { c8[ c c] }
1126 \repeat unfold 2 { c8[ c] } |
1127 c4. c4. \times 2/3 { c8[ c c] } c4
1133 @strong{@i{Staves with different time signatures, unequal bar lengths}}
1135 Each staff can be given its own independent time signature by
1136 moving the @code{Timing_translator} and the
1137 @code{Default_bar_line_engraver} to the @code{Staff} context.
1139 @lilypond[quote,verbatim]
1143 \remove "Timing_translator"
1144 \remove "Default_bar_line_engraver"
1148 \consists "Timing_translator"
1149 \consists "Default_bar_line_engraver"
1153 % Now each staff has its own time signature.
1179 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1180 {compound-time-signatures.ly}
1187 @rglos{polymetric time signature},
1191 @ref{Time signature},
1192 @ref{Scaling durations}.
1197 Internals Reference:
1198 @rinternals{TimeSignature},
1199 @rinternals{Timing_translator},
1200 @rinternals{Default_bar_line_engraver},
1205 When using different time signatures in parallel, notes
1206 at the same moment will be be placed at the same horizontal
1207 location. However, the bar lines in the different staves
1208 will cause the note spacing to be less regular in each of the
1209 individual staves than would be normal without the different
1212 @node Automatic note splitting
1213 @unnumberedsubsubsec Automatic note splitting
1215 @cindex notes, splitting
1216 @cindex splitting notes
1218 Long notes which overrun bar lines can be converted automatically
1219 to tied notes. This is done by replacing the
1220 @code{Note_heads_engraver} with the
1221 @code{Completion_heads_engraver}. In the following
1222 example, notes crossing the bar lines are split and tied.
1224 @lilypond[quote,verbatim,relative=1]
1226 \remove "Note_heads_engraver"
1227 \consists "Completion_heads_engraver"
1230 { c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
1233 This engraver splits all running notes at the bar line, and
1234 inserts ties. One of its uses is to debug complex scores: if the
1235 measures are not entirely filled, then the ties show exactly how
1236 much each measure is off.
1240 Music Glossary: @rglos{tie}
1243 @rlearning{Engravers explained},
1244 @rlearning{Adding and removing engravers}.
1249 Internals Reference:
1250 @rinternals{Note_heads_engraver},
1251 @rinternals{Completion_heads_engraver},
1252 @rinternals{Forbid_line_break_engraver}.
1257 Not all durations (especially those containing tuplets) can be
1258 represented exactly with normal notes and dots, but the
1259 @code{Completion_heads_engraver} will not insert tuplets.
1261 The @code{Completion_heads_engraver} only affects notes; it does not
1265 @node Showing melody rhythms
1266 @unnumberedsubsubsec Showing melody rhythms
1268 Sometimes you might want to show only the rhythm of a melody. This
1269 can be done with the rhythmic staff. All pitches of notes on such a
1270 staff are squashed, and the staff itself has a single line
1272 @lilypond[quote,relative=1,verbatim]
1274 \new RhythmicStaff {
1275 \new Voice = "myRhythm" {
1283 \lyricsto "myRhythm" {
1291 Guitar chord charts often show the strumming rhythms. This can
1292 be done with the @code{Pitch_squash_engraver} and
1293 @code{\improvisationOn}.
1296 @lilypond[quote,verbatim]
1305 \consists Pitch_squash_engraver
1317 @code{\improvisationOn},
1318 @code{\improvisationOff}.
1322 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1323 {guitar-strum-rhythms.ly}
1330 Internals Reference:
1331 @rinternals{RhythmicStaff},
1332 @rinternals{Pitch_squash_engraver}.
1339 * Setting automatic beam behavior::
1344 @node Automatic beams
1345 @unnumberedsubsubsec Automatic beams
1347 By default, beams are inserted automatically:
1349 @cindex beams, manual
1350 @cindex manual beams
1352 @lilypond[quote,verbatim,relative=2]
1354 \time 6/8 c c c c8. c16 c8
1357 If these automatic decisions are not satisfactory, beaming can be
1358 entered explicitly; see @ref{Manual beams}. It is also possible
1359 to define beaming patterns that differ from the defaults. The
1360 default beaming rules for most common time signatures are defined
1361 in @file{scm/@/auto@/-beam@/.scm}. If there are no beaming rules
1362 defined for a particular beam's duration in the time signature being
1363 used, its beaming is controlled by the values of three context
1364 properties, @code{measureLength}, @code{beatLength} and
1365 @code{beatGrouping}. Both the beaming rules and the context
1366 properties can be overridden, see @ref{Setting automatic beam behavior}.
1371 @warning{If beams are used to indicate melismata in songs, then automatic
1372 beaming should be switched off with @code{\autoBeamOff} and the beams
1373 indicated manually.}
1377 Automatic beaming may be turned off and on with
1378 @code{\autoBeamOff} and @code{\autoBeamOn} commands:
1380 @lilypond[quote,relative=1,verbatim]
1381 c4 c8 c8. c16 c8. c16 c8
1389 @code{\autoBeamOff},
1398 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1399 {beams-across-line-breaks.ly}
1401 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1402 {changing-beam-knee-gap.ly}
1408 @ref{Setting automatic beam behavior}.
1411 @file{scm/@/auto@/-beam@/.scm}.
1416 Internals Reference: @rinternals{Beam}.
1421 Automatically kneed cross-staff beams cannot be used together with
1422 hidden staves. See @ref{Hiding staves}.
1424 Beams can collide with note heads and accidentals in other voices
1427 @node Setting automatic beam behavior
1428 @unnumberedsubsubsec Setting automatic beam behavior
1430 @funindex autoBeaming
1431 @funindex autoBeamSettings
1432 @funindex (end * * * *)
1433 @funindex (begin * * * *)
1435 @cindex automatic beams, tuning
1436 @cindex tuning automatic beaming
1437 @cindex automatic beam generation
1439 @cindex lyrics and beaming
1442 The placement of automatic beams is determined by the rules
1443 described in @ref{Automatic beams}. There are two mutually
1444 exclusive ways in which these rules may be modified. The
1445 first, modifying the grouping of beats, applies to uncommon time
1446 signatures, i.e. those for which there are no predefined rules
1447 defining the beam end points. The second method, modifying the
1448 specification of the beam end points, can be used for any time
1449 signature. This second method @strong{must} be used for those time
1450 signatures and beam durations combinations for which beam ending
1451 rules are pre-defined, unless these have all been reverted. There
1452 are predefined rules for time signatures of 3/2, 3/4, 4/4, 2/4,
1453 4/8, 4/16, 6/8, 9/8 and 12/8.
1455 @i{@strong{Modifying the grouping of beats}}
1457 If there are no beam-ending rules defined for the beam duration of a
1458 particular beam in the time signature in use, its beaming is
1459 controlled by three context properties:
1460 @code{measureLength}, @code{beatLength} and @code{beatGrouping}.
1461 These properties may be set in the @code{Score}, @code{Staff} or
1462 @code{Voice} contexts to delimit their scope.
1464 These determine the beaming as follows:
1466 Beams may begin anywhere (unless a beam is already active). Beams
1467 end at a time determined by the values of @code{beatGrouping} and
1468 @code{beatLength}, as follows:
1472 @item If @code{beatGrouping} and @code{beatLength} are consistent
1473 with @code{measureLength}, @code{beatGrouping} is used to determine
1474 the end points of beams.
1476 @item If @code{beatGrouping} and @code{beatLength} are inconsistent
1477 with @code{measureLength}, @code{beatLength} is used to determine
1478 the end points of beams.
1482 @warning{These three properties become effective for a particular
1483 beam @strong{only} if there are no beam-ending rules predefined for
1484 that beam's duration in the time signature in use, or if these
1485 beam-ending rules have all been reverted.}
1487 By default the @code{measureLength} and @code{beatLength} are
1488 derived from the time signature set by the @code{\time} command.
1489 The @code{measureLength} is set to be exactly the same length as
1490 the measure length given by the time signature, and the
1491 @code{beatLength} is set to be the same as one over the denominator
1492 of the time signature.
1494 The default value of @code{beatGrouping} is taken from a table in
1495 @file{scm/@/music@/-functions@/.scm}. To find this, see
1496 @rlearning{Other sources of information}. It defines the beat
1497 grouping for 5/8, 6/8, 8/8, 9/8 and 12/8 time signatures.
1499 Both @code{measureLength} and @code{beatLength} are @i{moments},
1500 units of musical duration. A quantity of type @i{moment} is
1501 created by the scheme function @code{ly:make-moment}. For more
1502 information about this function, see @ref{Time administration}.
1504 @code{beatGrouping} is a list of integers giving the number of
1505 beats in each group.
1509 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1512 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1513 {specifying-context-with-beatgrouping.ly}
1516 @c Added to input/new 3 Nov 08
1517 @c TODO When available, change to:
1519 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1520 {using-beatlength-and-beatgrouping.ly}
1523 @c start new snippet
1524 The property @code{measureLength} determines where bar lines
1525 should be inserted and, with @code{beatLength} and
1526 @code{beatGrouping}, how automatic beams should be generated
1527 for beam durations and time signatures for which no beam-ending
1528 rules are defined. This example shows several ways of controlling
1529 beaming by setting these properties. The explanations are shown
1530 as comments in the code.
1532 @lilypond[quote,verbatim,relative=2]
1534 % The default in 3/4 time is to beam in three groups
1535 % each of a quarter note length
1536 a16 a a a a a a a a a a a
1539 % No auto-beaming is defined for 12/16
1540 a16 a a a a a a a a a a a
1543 a16 a a a a a a a a a a a
1544 % Change time signature symbol, but retain underlying 3/4 beaming
1545 \set Score.timeSignatureFraction = #'(12 . 16)
1546 a16 a a a a a a a a a a a
1548 % The 3/4 time default grouping of (1 1 1) and beatLength of 1/8
1549 % are not consistent with a measureLength of 3/4, so the beams
1550 % are grouped at beatLength intervals
1551 \set Score.beatLength = #(ly:make-moment 1 8)
1552 a16 a a a a a a a a a a a
1554 % Specify beams in groups of (3 3 2 3) 1/16th notes
1555 % 3+3+2+3=11, and 11*1/16<>3/4, so beatGrouping does not apply,
1556 % and beams are grouped at beatLength (1/16) intervals
1557 \set Score.beatLength = #(ly:make-moment 1 16)
1558 \set Score.beatGrouping = #'(3 3 2 3)
1559 a16 a a a a a a a a a a a
1561 % Specify beams in groups of (3 4 2 3) 1/16th notes
1562 % 3+4+2+3=12, and 12*1/16=3/4, so beatGrouping applies
1563 \set Score.beatLength = #(ly:make-moment 1 16)
1564 \set Score.beatGrouping = #'(3 4 2 3)
1565 a16 a a a a a a a a a a a
1569 @funindex subdivideBeams
1571 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1572 {sub-dividing-beams.ly}
1574 @cindex measure groupings
1575 @cindex beats, grouping
1576 @cindex grouping beats
1577 @cindex measure sub-grouping
1579 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1580 {conducting-signs,-measure-grouping-signs.ly}
1583 @strong{@i{Modifying the beam end points}}
1585 In common time signatures, automatic beams can start on any note
1586 but can end at only a few positions within the measure, namely at
1587 durations specified by the properties in @code{autoBeamSettings}.
1588 These properties consist of a list of rules defining where beams can
1589 end. The default @code{autoBeamSettings} rules are defined in
1590 @file{scm/@/auto@/-beam@/.scm}. To find this, see
1591 @rlearning{Other sources of information}.
1593 This method @strong{must} be used for the time signatures for which
1594 beam-ending rules are defined by default, unless these have all
1595 been reverted. It is also particularly suitable for many other time
1596 signatures if the time signature of the measures changes frequently,
1597 or if the beaming should be different for different beam durations.
1599 In order to add a rule to the list, use
1602 #(override-auto-beam-setting
1604 beam-numerator beam-denominator
1605 time-signature-numerator time-signature-denominator)
1606 moment-numerator moment-denominator [context])
1614 @item @code{beam-limit} is the type of automatic beam limit
1615 defined. This can be either @code{begin} or @code{end} but
1616 only @code{end} is effective.
1618 @item @code{beam-numerator/beam-denominator} is the beam duration
1619 to which the rule is to apply. A beam is considered to have
1620 the duration of its shortest note. Set @code{beam-numerator}
1621 and @code{beam-denominator} to @code{'*'} to have this rule apply
1622 to beams of any duration.
1624 @item @code{time-signature-numerator/time-signature-denominator}
1625 specifies the time signature to which this rule should apply.
1626 If @code{time-signature-numerator} and
1627 @code{time-signature-denominator} are set to @code{'*'} this rule
1628 will apply in any time signature.
1630 @item @code{monent-numerator/moment-denominator} is the position
1631 in the bar at which the beam should end.
1633 @item @code{context} is optional, and it specifies the context at which
1634 the change should be made. The default is @code{'Voice}.
1636 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
1637 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
1641 For example, if automatic beams should always end on the first quarter
1642 note, whatever the time signature or beam duration, use
1644 @lilypond[quote,verbatim,relative=2]
1646 #(override-auto-beam-setting '(end * * * *) 1 4)
1650 You can force the beam settings to take effect only on beams whose shortest
1651 note is a certain duration
1653 @lilypond[quote,verbatim,relative=2]
1655 % end 1/16 beams for all time signatures at the 1/16 moment
1656 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
1658 a32 a a a a16 a a a a a |
1659 % end 1/32 beams for all time signatures at the 1/16 moment
1660 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
1661 a32 a a a a16 a a a a a |
1664 You can force the beam settings to take effect only in certain time
1667 @lilypond[quote,verbatim,relative=2]
1669 % end beams of all durations in 5/8 time signature at the 2/8 moment
1670 #(override-auto-beam-setting '(end * * 5 8) 2 8)
1678 When multiple voices are used the @code{Staff} context must be
1679 specified if the beaming is to be applied to all voices in the
1682 @lilypond[quote,verbatim,relative=2]
1685 % Context not specified - does not work correctly
1686 #(override-auto-beam-setting '(end * * 7 8) 3 8)
1687 #(override-auto-beam-setting '(end * * 7 8) 4 8)
1688 #(override-auto-beam-setting '(end * * 7 8) 5 8)
1689 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1691 % Works correctly with context specified
1692 #(override-auto-beam-setting '(end * * 7 8) 3 8 'Staff)
1693 #(override-auto-beam-setting '(end * * 7 8) 4 8 'Staff)
1694 #(override-auto-beam-setting '(end * * 7 8) 5 8 'Staff)
1695 << {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
1698 @c TODO Add example using Score for multiple staves?
1699 @c Hmm. Not sure it works correctly. Needs more investigation.
1701 @warning{If any unexpected beam behavior occurs, check the default
1702 automatic beam settings in @file{scm/@/auto@/-beam@/.scm} for
1703 possible interference, because the beam endings defined there will
1704 still apply in addition to your own.}
1706 Any unwanted or conflicting default endings must be reverted for
1707 your time signature(s). Existing auto-beam rules are removed by
1711 #(revert-auto-beam-setting
1713 beam-numerator beam-denominator
1714 time-signature-numerator time-signature-denominator)
1715 moment-numerator moment-denominator [context])
1719 @code{beam-limit}, @code{beam-numerator}, @code{beam-denominator},
1720 @code{time-signature-numerator}, @code{time-signature-denominator},
1721 @code{moment-numerator}, @code{moment-denominator} and @code{context}
1722 are the same as above.
1724 @lilypond[quote,verbatim,relative=2]
1726 a16 a a a a a a a a a a a a a a a
1727 % undo a rule ending 1/16 beams in 4/4 time at 1/4 moment
1728 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
1729 a16 a a a a a a a a a a a a a a a
1732 The rule in a @code{revert-auto-beam-setting} statement must exactly
1733 match the original rule. That is, no wildcard expansion is taken into
1736 @lilypond[quote,verbatim,relative=2]
1738 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
1740 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
1742 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
1748 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1749 {beam-grouping-in-7-8-time.ly}
1753 @c TODO Does this example add anything?
1756 example, automatic beams can only end on a dotted quarter note
1758 #(override-auto-beam-setting '(end * * * *) 3 8)
1759 #(override-auto-beam-setting '(end * * * *) 1 2)
1760 #(override-auto-beam-setting '(end * * * *) 7 8)
1763 In 4/4 time signature, this means that automatic beams could end only on
1764 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
1765 3/8, has passed within the measure).
1769 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1770 {reverting-default-beam-endings.ly}
1775 @funindex \autoBeamOff
1776 @code{\autoBeamOff},
1777 @funindex \autoBeamOn
1783 If a score ends while an automatic beam has not been ended and is
1784 still accepting notes, this last beam will not be typeset at all.
1785 The same holds for polyphonic voices, entered with @code{<<
1786 @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
1787 automatic beam is still accepting notes, it is not typeset.
1796 @unnumberedsubsubsec Manual beams
1798 @cindex beams, manual
1802 In some cases it may be necessary to override the automatic
1803 beaming algorithm. For example, the autobeamer will not put beams
1804 over rests or bar lines, and in choral scores the beaming is
1805 often set to follow the meter of the lyrics rather than the
1806 notes. Such beams can be specified manually by
1807 marking the begin and end point with @code{[} and @code{]}
1809 @lilypond[quote,relative=1,verbatim]
1811 r4 r8[ g' a r8] r8 g[ | a] r8
1816 Individual notes may be marked with @code{\noBeam} to prevent them
1819 @lilypond[quote,verbatim,relative=2]
1820 \time 2/4 c8 c\noBeam c c
1823 @funindex stemLeftBeamCount
1824 @funindex stemRightBeamCount
1826 Even more strict manual control with the beams can be achieved by
1827 setting the properties @code{stemLeftBeamCount} and
1828 @code{stemRightBeamCount}. They specify the number of beams to
1829 draw on the left and right side, respectively, of the next note.
1830 If either property is set, its value will be used only once, and
1831 then it is erased. In this example, the last @code{f} is printed
1832 with only one beam on the left side, i.e., the eighth-note beam of
1833 the group as a whole.
1835 @lilypond[quote,relative=2,verbatim]
1838 \set stemLeftBeamCount = #2
1839 \set stemRightBeamCount = #1
1841 \set stemLeftBeamCount = #1
1848 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
1849 {flat-flags-and-beam-nibs.ly}
1851 @node Feathered beams
1852 @unnumberedsubsubsec Feathered beams
1854 @cindex beams, feathered
1855 @funindex \featherDurations
1857 Feathered beams are used to indicate that a small group of notes
1858 should be played at an increasing (or decreasing) tempo, without
1859 changing the overall tempo of the piece. The extent of the
1860 feathered beam must be indicated manually using @code{[} and
1861 @code{]}, and the beam feathering is turned on by specifying a
1862 direction to the @code{Beam} property @code{grow-direction}.
1864 If the placement of the notes and the sound in the MIDI output
1865 is to reflect the ritardando or accelerando indicated by the
1866 feathered beam the notes must be grouped as a
1867 music expression delimited by braces and preceded by a
1868 @code{featheredDurations} command which specifies the ratio
1869 between the durations of the first and last notes in the group.
1872 show the extent of the beam and the braces show
1873 which notes are to have their durations modified. Normally
1874 these would delimit the same group of notes, but this is not
1875 required: the two commands are independent.
1877 In the following example the eight 16th notes occupy exactly the
1878 same time as a half note, but the first note is one half as long
1879 as the last one, with the intermediate notes gradually
1880 lengthening. The first four 32nd notes gradually speed up, while
1881 the last four 32nd notes are at a constant tempo.
1883 @lilypond[relative=1,verbatim,quote]
1884 \override Beam #'grow-direction = #LEFT
1885 \featherDurations #(ly:make-moment 2 1)
1886 { c16[ c c c c c c c] }
1887 \override Beam #'grow-direction = #RIGHT
1888 \featherDurations #(ly:make-moment 2 3)
1890 % revert to non-feathered beams
1891 \override Beam #'grow-direction = #'()
1896 The spacing in the printed output represents the
1897 note durations only approximately, but the MIDI output is exact.
1901 The @code{\featherDurations} command only works with very short
1902 music snippets, and when numbers in the fraction are small.
1918 * Bar and bar number checks::
1923 @unnumberedsubsubsec Bar lines
1927 @cindex measure lines
1930 Bar lines delimit measures, and are also used to indicate
1931 repeats. Normally, simple bar lines are automatically inserted
1932 into the printed output at places based on the current time
1935 The simple bar lines inserted automatically can be changed to
1936 other types with the @code{\bar} command. For example, a closing
1937 double bar line is usually placed at the end of a piece:
1939 @lilypond[quote,relative=1,verbatim]
1943 It is not invalid if the final note in a measure does not
1944 end on the automatically entered bar line: the note is assumed
1945 to carry over into the next measure. But if a long sequence
1946 of such carry-over measures appears the music can appear compressed
1947 or even flowing off the page. This is because automatic line
1948 breaks happen only at the end of complete measures, i.e., where
1949 all notes end before the end of a measure.
1951 @warning{An incorrect duration can cause line breaks to be
1952 inhibited, leading to a line of highly compressed music or
1953 music which flows off the page.}
1956 @cindex bar lines, invisible
1957 @cindex measure lines, invisible
1959 Line breaks are also permitted at manually inserted bar lines
1960 even within incomplete measures. To allow a line break without
1961 printing a bar line, use
1968 This will insert an invisible bar line and allow (but not
1969 force) a line break to occur at this point. The bar number
1970 counter is not increased. To force a line break see
1971 @ref{Line breaking}.
1973 This and other special bar lines may be inserted manually at any
1974 point. When they coincide with the end of a measure they replace
1975 the simple bar line which would have been inserted there
1976 automatically. When they do not coincide
1977 with the end of a measure the specified bar line is inserted at that
1978 point in the printed output. Such insertions do not affect
1979 the calculation and placement of subsequent automatic bar lines.
1981 The simple bar line and five types of double bar line are available
1982 for manual insertion:
1984 @lilypond[quote,relative=1,verbatim]
1985 f1 \bar "|" g \bar "||" a \bar ".|" b \bar ".|." c \bar "|.|" d \bar "|." e
1989 together with dotted and dashed bar lines:
1991 @lilypond[quote,relative=1,verbatim]
1992 f1 \bar ":" g \bar "dashed" a
1996 and five types of repeat bar line:
1998 @lilypond[quote,relative=1,verbatim]
1999 f1 \bar "|:" g \bar ":|:" a \bar ":|.|:" b \bar ":|.:" c \bar ":|" d
2004 Although the bar line types signifying repeats may be inserted
2005 manually they do not in themselves cause LilyPond to recognize
2006 a repeated section. Such repeated sections are better entered
2007 using the various repeat commands (see @ref{Repeats}), which
2008 automatically print the appropriate bar lines.
2010 In addition, you can specify @code{"||:"}, which is equivalent to
2011 @code{"|:"} except at line breaks, where it gives a double bar
2012 line at the end of the line and a start repeat at the beginning of
2015 @lilypond[quote,relative=2,verbatim]
2016 \override Score.RehearsalMark #'padding = #3
2024 In scores with many staves, a @code{\bar} command in one staff is
2025 automatically applied to all staves. The resulting bar lines are
2026 connected between different staves of a @code{StaffGroup},
2027 @code{InnerStaffGroup}, @code{PianoStaff}, or @code{GrandStaff}.
2029 @lilypond[quote,fragment,verbatim]
2037 \new Staff { \clef bass c4 g e g }
2039 \new Staff { \clef bass c2 c2 }
2047 @funindex defaultBarType
2049 The command @code{\bar }@var{bartype} is a shortcut for
2050 @code{\set Timing.whichBar = }@var{bartype}. A bar line is
2051 created whenever the @code{whichBar} property is
2054 The default bar type used for automatically inserted bar lines is
2055 @code{"|"}. This may be changed at any time
2056 with @code{\set Timing.defaultBarType = }@var{bartype}.
2061 @ref{Line breaking},
2063 @ref{Grouping staves}.
2068 Internals Reference: @rinternals{BarLine} (created at
2069 @rinternals{Staff} level), @rinternals{SpanBar} (across
2070 staves), @rinternals{Timing_translator} (for Timing
2075 @unnumberedsubsubsec Bar numbers
2078 @cindex measure numbers
2079 @funindex currentBarNumber
2081 Bar numbers are typeset by default at the start of every line except
2082 the first line. The number itself is stored in the
2083 @code{currentBarNumber} property, which is normally updated
2084 automatically for every measure. It may also be set manually:
2086 @lilypond[verbatim,quote,fragment,relative=1]
2089 \set Score.currentBarNumber = #50
2096 @funindex barNumberVisibility
2097 @cindex bar numbers, regular spacing
2099 Bar numbers can be typeset at regular intervals instead of just at
2100 the beginning of every line. To do this the default behavior
2101 must be overridden to permit bar numbers to be printed at places
2102 other than the start of a line. This is controlled by the
2103 @code{break-visibility} property of @code{BarNumber}. This takes
2104 three values which may be set to @code{#t} or @code{#f} to specify
2105 whether the corresponding bar number is visible or not. The order
2106 of the three values is @code{end of line visible}, @code{middle of
2107 line visible}, @code{beginning of line visible}. In the following
2108 example bar numbers are printed at all possible places:
2110 @lilypond[verbatim,quote,relative=1]
2111 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2112 \set Score.currentBarNumber = #11
2113 \bar "" % Permit first bar number to be printed
2119 @c All the rest of these examples will be added to LSR
2120 @c and moved into the Snippets. -gp
2123 and here the bar numbers are printed every two measures
2124 except at the end of the line:
2126 @lilypond[verbatim,quote,relative=1]
2127 \override Score.BarNumber #'break-visibility = #'#(#f #t #t)
2128 \set Score.currentBarNumber = #11
2129 \bar "" % Permit first bar number to be printed
2130 % Print a bar number every second measure
2131 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2137 @cindex measure number, format
2138 @cindex bar number, format
2140 The size of the bar number may be changed. This is illustrated
2141 in the following example, which also shows how to enclose bar
2142 numbers in boxes and circles, and shows an alternative way
2143 of specifying @code{#(#f #t #t)} for @code{break-visibility}.
2145 @lilypond[verbatim,quote,relative=1]
2146 % Prevent bar numbers at the end of a line and permit them elsewhere
2147 \override Score.BarNumber #'break-visibility
2148 = #end-of-line-invisible
2150 % Increase the size of the bar number by 2
2151 \override Score.BarNumber #'font-size = #2
2152 \repeat unfold 3 { c1 } \bar "|"
2154 % Draw a box round the following bar number(s)
2155 \override Score.BarNumber #'stencil
2156 = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
2157 \repeat unfold 3 { c1 } \bar "|"
2159 % Draw a circle round the following bar number(s)
2160 \override Score.BarNumber #'stencil
2161 = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
2162 \repeat unfold 4 { c1 } \bar "|."
2165 @cindex bar number alignment
2167 Bar numbers by default are left-aligned to their parent object.
2168 This is usually the left edge of a line or, if numbers are printed
2169 within a line, the left bar line of the measure. The numbers may also
2170 be positioned directly on the bar line or right-aligned to the
2173 @lilypond[verbatim,quote,relative=1]
2174 \set Score.currentBarNumber = #111
2175 \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
2176 % Increase the size of the bar number by 2
2177 \override Score.BarNumber #'font-size = #2
2178 % Print a bar number every second measure
2179 \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
2181 % Center-align bar numbers
2182 \override Score.BarNumber #'self-alignment-X = #0
2184 % Right-align bar numbers
2185 \override Score.BarNumber #'self-alignment-X = #-1
2189 Bar numbers can be removed entirely by removing the
2190 @code{Bar_number_engraver} from the @code{Score} context.
2192 @lilypond[verbatim,quote]
2196 \remove "Bar_number_engraver"
2211 Internals Reference: @rinternals{BarNumber}.
2216 Bar numbers may collide with the top of the
2217 @rinternals{StaffGroup} bracket, if there is one. To solve
2218 this, the @code{padding} property of @rinternals{BarNumber} can
2219 be used to position the number correctly.
2221 Bar numbers may only be printed at bar lines; to print a bar
2222 number at the beginning of a piece, an empty bar line must be
2223 inserted there, and a value other than @code{1} must be placed
2224 in @code{currentBarNumber}:
2226 @lilypond[verbatim,quote,relative=1]
2227 \set Score.currentBarNumber = #50
2236 @node Bar and bar number checks
2237 @unnumberedsubsubsec Bar and bar number checks
2240 @funindex barCheckSynchronize
2243 Bar checks help detect errors in the entered durations.
2244 A bar check may be entered using the bar symbol, @code{|},
2245 at any place where a bar line is expected to fall.
2246 If bar check lines are encountered at other places,
2247 a list of warnings is printed in the log file,
2248 showing the line numbers and lines
2249 in which the bar checks failed. In the next
2250 example, the second bar check will signal an error.
2253 \time 3/4 c2 e4 | g2 |
2256 Bar checks can also be used in lyrics, for example
2261 Twin -- kle | Twin -- kle |
2265 An incorrect duration can result in a completely garbled score,
2266 especially if the score is polyphonic, so a good place to start
2267 correcting input is by scanning for failed bar checks and
2268 incorrect durations.
2270 If successive bar checks are off by the same musical interval,
2271 only the first warning message is displayed. This allows the
2272 warning to focus on the source of the timing error.
2276 @funindex pipeSymbol
2278 It is also possible to redefine the action taken when a bar check
2279 or pipe symbol, @code{|}, is encountered in the input, so that
2280 it does something other than a bar check. This is done by
2281 assigning a music expression to @code{pipeSymbol}.
2282 In the following example @code{|} is set to insert a double bar
2283 line wherever it appears in the input, rather than checking
2286 @lilypond[quote,verbatim]
2287 pipeSymbol = \bar "||"
2296 When copying large pieces of music, it can be helpful to check
2297 that the LilyPond bar number corresponds to the original that you
2298 are entering from. This can be checked with
2299 @code{\barNumberCheck}, for example,
2302 \barNumberCheck #123
2306 will print a warning if the @code{currentBarNumber} is not 123
2307 when it is processed.
2315 @node Rehearsal marks
2316 @unnumberedsubsubsec Rehearsal marks
2318 @cindex rehearsal marks
2319 @cindex mark, rehearsal
2322 To print a rehearsal mark, use the @code{\mark} command
2324 @lilypond[quote,verbatim,relative=2]
2333 The letter@tie{}@q{I} is skipped in accordance with engraving
2334 traditions. If you wish to include the letter @q{I}, then use
2337 \set Score.markFormatter = #format-mark-alphabet
2340 The mark is incremented automatically if you use @code{\mark
2341 \default}, but you can also use an integer argument to set the
2342 mark manually. The value to use is stored in the property
2343 @code{rehearsalMark}.
2345 @cindex rehearsal mark format
2346 @cindex rehearsal mark style
2347 @cindex style, rehearsal mark
2348 @cindex format, rehearsal mark
2349 @cindex mark, rehearsal, style
2350 @cindex mark, rehearsal, format
2352 The style is defined by the property @code{markFormatter}. It is
2353 a function taking the current mark (an integer) and the current
2354 context as argument. It should return a markup object. In the
2355 following example, @code{markFormatter} is set to a pre-defined
2356 procedure. After a few measures, it is set to a procedure that
2357 produces a boxed number.
2359 @lilypond[quote,verbatim,relative=2]
2360 \set Score.markFormatter = #format-mark-numbers
2363 \set Score.markFormatter = #format-mark-box-numbers
2365 \set Score.markFormatter = #format-mark-circle-numbers
2367 \set Score.markFormatter = #format-mark-circle-letters
2371 The file @file{scm/@/translation@/-functions@/.scm} contains the
2372 definitions of @code{format-mark-numbers} (the default format),
2373 @code{format-mark-box-numbers}, @code{format-mark-letters} and
2374 @code{format-mark-box-letters}. These can be used as inspiration
2375 for other formatting functions.
2377 You may use @code{format-mark-barnumbers},
2378 @code{format-mark-box-barnumbers}, and
2379 @code{format-mark-circle-barnumbers} to get bar numbers instead of
2380 incremented numbers or letters.
2382 Other styles of rehearsal mark can be specified manually
2389 @code{Score.markFormatter} does not affect marks specified in this
2390 manner. However, it is possible to apply a @code{\markup} to the
2394 \mark \markup@{ \box A1 @}
2401 Music glyphs (such as the segno sign) may be printed inside a
2404 @lilypond[quote,verbatim,relative=1]
2405 c1 \mark \markup { \musicglyph #"scripts.segno" }
2406 c1 \mark \markup { \musicglyph #"scripts.coda" }
2407 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
2412 See @ref{The Feta font}, for a list of symbols which may be
2413 printed with @code{\musicglyph}.
2415 For common tweaks to the positioning of rehearsal marks, see
2416 @ref{Formatting text}.
2421 @ref{The Feta font},
2422 @ref{Formatting text}.
2425 @file{scm/@/translation@/-functions@/.scm} contains
2426 the definition of @code{format-mark-numbers} and
2427 @code{format-mark-letters}. They can be used as inspiration for
2428 other formatting functions.
2433 Internals Reference: @rinternals{RehearsalMark}.
2435 @node Special rhythmic concerns
2436 @subsection Special rhythmic concerns
2441 * Aligning to cadenzas::
2442 * Time administration::
2446 @unnumberedsubsubsec Grace notes
2451 @cindex appoggiatura
2452 @cindex acciaccatura
2454 Grace notes are ornaments that are written out. Grace notes
2455 are printed in a smaller font and take up no logical time
2458 @lilypond[quote,relative=2,verbatim]
2460 \grace { c16[ d16] } c2
2463 Lilypond also supports two special types of grace notes, the
2464 @emph{acciaccatura}--an unmeasured grace note indicated by a slurred
2465 small note with a slashed stem--and the @emph{appoggiatura}, which
2466 takes a fixed fraction of the main note and appears in small print
2469 @lilypond[quote,relative=2,verbatim]
2473 \acciaccatura { g16[ f] } e4
2476 The placement of grace notes is synchronized between different
2477 staves. In the following example, there are two sixteenth grace
2478 notes for every eighth grace note
2480 @lilypond[quote,relative=2,verbatim]
2481 << \new Staff { e2 \grace { c16[ d e f] } e2 }
2482 \new Staff { c2 \grace { g8[ b] } c2 } >>
2485 @funindex \afterGrace
2487 @cindex grace notes, following
2489 If you want to end a note with a grace, use the @code{\afterGrace}
2490 command. It takes two arguments: the main note, and the grace
2491 notes following the main note.
2493 @lilypond[quote,verbatim,relative=2]
2494 c1 \afterGrace d1 { c16[ d] } c1
2497 This will put the grace notes after a space lasting 3/4 of the
2498 length of the main note. The default fraction 3/4 can be changed by
2499 setting @code{afterGraceFraction}. The following example shows
2500 the results from setting the space at the default, at 15/16, and
2501 finally at 1/2 of the main note.
2503 @lilypond[quote,verbatim,relative=2]
2506 c1 \afterGrace d1 { c16[ d] } c1
2509 #(define afterGraceFraction (cons 15 16))
2510 c1 \afterGrace d1 { c16[ d] } c1
2513 #(define afterGraceFraction (cons 1 2))
2514 c1 \afterGrace d1 { c16[ d] } c1
2519 The space between the main note and the grace note may also be
2520 specified using spacers. The following example places the grace
2521 note after a space lasting 7/8 of the main note.
2523 @lilypond[quote,verbatim,relative=2]
2526 { s2 s4. \grace { c16[ d] } } >>
2531 A @code{\grace} music expression will introduce special
2532 typesetting settings, for example, to produce smaller type, and
2533 set directions. Hence, when introducing layout tweaks to
2534 override the special settings, they should be placed inside
2535 the grace expression. The overrides should also be reverted
2536 inside the grace expression. Here, the grace note's default stem
2537 direction is overriden and then reverted.
2539 @lilypond[quote,verbatim,relative=2]
2551 @cindex stem, with slash
2556 The slash through the stem found in @emph{acciaccatura}s can be applied
2557 in other situations:
2559 @lilypond[quote,verbatim,relative=2]
2561 \override Stem #'stroke-style = #"grace"
2566 The layout of grace expressions can be changed throughout the
2567 music using the function @code{add-grace-property}. The following
2568 example undefines the @code{Stem} direction for this grace, so
2569 that stems do not always point up.
2571 @lilypond[quote,verbatim,relative=2]
2574 #(add-grace-property 'Voice 'Stem 'direction ly:stem::calc-direction)
2575 #(remove-grace-property 'Voice 'Stem 'direction)
2577 \acciaccatura { f16 } g4
2578 \grace { d16[ e] } f4
2579 \appoggiatura { a,32[ b c d] } e2
2585 Another option is to change the variables @code{startGraceMusic},
2586 @code{stopGraceMusic}, @code{startAcciaccaturaMusic},
2587 @code{stopAcciaccaturaMusic}, @code{startAppoggiaturaMusic},
2588 @code{stopAppoggiaturaMusic}. The default values of these can be
2589 seen in the file @code{ly/@/grace@/-init@/.ly}. By redefining
2590 them other effects may be obtained.
2592 Grace notes may be forced to align with regular notes
2595 @lilypond[verbatim,quote]
2598 \override Score.SpacingSpanner #'strict-grace-spacing = ##t
2601 \afterGrace c4 { c16[ c8 c16] }
2605 c16 c c c c c c c c4 r
2615 @rglos{grace notes},
2616 @rglos{acciaccatura},
2617 @rglos{appoggiatura}.
2619 Installed Files: @file{ly/@/grace@/-init@/.ly}.
2621 Snippets: @rlsr{Rhythms}.
2623 Internals Reference: @rinternals{GraceMusic}.
2628 A multi-note beamed @i{acciaccatura} is printed without a slash,
2629 and looks exactly the same as a multi-note beamed
2632 @c TODO Add link to LSR snippet to add slash when available
2634 Grace note synchronization can also lead to surprises. Staff
2635 notation, such as key signatures, bar lines, etc., are also
2636 synchronized. Take care when you mix staves with grace notes and
2637 staves without, for example,
2639 @lilypond[quote,relative=2,verbatim]
2640 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2641 \new Staff { c4 \bar "|:" d2. } >>
2645 This can be remedied by inserting grace skips of the corresponding
2646 durations in the other staves. For the above example
2648 @lilypond[quote,relative=2,verbatim]
2649 << \new Staff { e4 \bar "|:" \grace c16 d2. }
2650 \new Staff { c4 \bar "|:" \grace s16 d2. } >>
2653 Grace sections should only be used within sequential music
2654 expressions. Nesting or juxtaposing grace sections is not
2655 supported, and might produce crashes or other errors.
2657 @node Aligning to cadenzas
2658 @unnumberedsubsubsec Aligning to cadenzas
2661 @cindex cadenza, aligning to
2662 @cindex aligning to cadenza
2664 In an orchestral context, cadenzas present a special problem: when
2665 constructing a score that includes a measured cadenza or other solo
2666 passage, all other instruments should skip just as many notes as the
2667 length of the cadenza, otherwise they will start too soon or too late.
2669 One solution to this problem is to use the functions
2670 @code{mmrest-of-length} and @code{skip-of-length}. These Scheme
2671 functions take a defined piece of music as an argument and generate a
2672 multi-measure rest or @code{\skip} exactly as long as the piece.
2674 @lilypond[verbatim,quote]
2675 MyCadenza = \relative c' {
2686 #(ly:export (mmrest-of-length MyCadenza))
2688 #(ly:export (skip-of-length MyCadenza))
2703 @node Time administration
2704 @unnumberedsubsubsec Time administration
2706 @cindex time administration
2707 @cindex timing (within the score)
2708 @cindex music, unmetered
2709 @cindex unmetered music
2711 @funindex currentBarNumber
2712 @funindex measurePosition
2713 @funindex measureLength
2715 Time is administered by the @code{Timing_translator}, which by
2716 default is to be found in the @code{Score} context. An alias,
2717 @code{Timing}, is added to the context in which the
2718 @code{Timing_translator} is placed.
2720 The following properties of @code{Timing} are used
2721 to keep track of timing within the score.
2724 @cindex measure number
2727 @item currentBarNumber
2728 The current measure number. For an example showing the
2729 use of this property see @ref{Bar numbers}.
2732 The length of the measures in the current time signature. For a
2733 4/4 time this is@tie{}1, and for 6/8 it is 3/4. Its value
2734 determines when bar lines are inserted and how automatic beams
2735 should be generated.
2737 @item measurePosition
2738 The point within the measure where we currently are. This
2739 quantity is reset by subtracting @code{measureLength} whenever
2740 @code{measureLength} is reached or exceeded. When that happens,
2741 @code{currentBarNumber} is incremented.
2744 If set to true, the above variables are updated for every time
2745 step. When set to false, the engraver stays in the current
2746 measure indefinitely.
2750 Timing can be changed by setting any of these variables
2751 explicitly. In the next example, the default 4/4 time
2752 signature is printed, but @code{measureLength} is set to 5/4.
2753 At 4/8 through the third measure, the @code{measurePosition} is
2754 advanced by 1/8 to 5/8, shortening that bar by 1/8.
2755 The next bar line then falls at 9/8 rather than 5/4.
2757 @lilypond[quote,verbatim,relative=1]
2758 \set Score.measureLength = #(ly:make-moment 5 4)
2762 \set Score.measurePosition = #(ly:make-moment 5 8)
2768 As the example illustrates, @code{ly:make-moment n m} constructs a
2769 duration of n/m of a whole note. For example,
2770 @code{ly:make-moment 1 8} is an eighth note duration and
2771 @code{ly:make-moment 7 16} is the duration of seven sixteenths
2777 This manual: @ref{Bar numbers}, @ref{Unmetered music}
2782 Internals Reference: @rinternals{Timing_translator},