Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.15.39"
@node Rhythms
@section Rhythms
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-number-of-augmentation-dots-per-note.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{alternative-breve-note.ly}
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{changing-the-number-of-augmentation-dots-per-note.ly}
@seealso
Music Glossary:
@rinternals{Dots},
@rinternals{DotColumn}.
-
@knownissues
-
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited:
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{entering-several-tuplets-using-only-one--times-command.ly}
@cindex Tuplet number changes
@funindex TupletNumber
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-the-tuplet-number.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{non-default-tuplet-numbers.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{controlling-tuplet-bracket-visibility.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
-
@seealso
Music Glossary:
@rglos{triplet},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
-
@cindex grace notes within tuplet brackets
@knownissues
@cindex scaling durations
@cindex durations, scaling
-You can alter the duration of single notes, rests or chords by a
+The duration of single notes, rests or chords may be multiplied by a
fraction @code{N/M} by appending @code{*N/M} (or @code{*N} if @code{M}
is 1) to the duration. This will not affect the appearance of the
notes or rests produced, but the altered duration will be used in
calculating the position within the measure and setting the duration
-in the MIDI output. Multiplying factors may be combined such as
-@code{*L*M/N}.
+in the MIDI output. Multiplying factors may be combined like
+@code{*L*M/N}. Factors are part of the duration: if a duration is
+not specified for subsequent notes, the default duration taken from
+the preceding note will include any scaling factor.
In the following example, the first three notes take up exactly
two beats, but no triplet bracket is printed.
@lilypond[quote,relative=2,verbatim]
\time 2/4
% Alter durations to triplets
-a4*2/3 gis4*2/3 a4*2/3
+a4*2/3 gis a
% Normal durations
-a4 a4
+a4 a
% Double the duration of chord
<a d>4*2
% Duration of quarter, appears like sixteenth
b16*4 c4
@end lilypond
-The duration of spacing notes may also be modified by
+The duration of spacer rests may also be modified by
a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
same way, as if every note, chord or rest had the fraction as a
multiplier. This leaves the appearance of the music unchanged but
the internal duration of the notes will be multiplied by the
-fraction @emph{num}/@emph{den}. The spaces around the dot are
-required. Here is an example showing how music can be compressed
-and expanded:
+fraction @emph{num}/@emph{den}. Here is an example showing how music
+can be compressed and expanded:
@lilypond[quote,relative=2,verbatim]
\time 2/4
% Normal durations
<c a>4 c8 a
% Scale music by *2/3
-\scaleDurations #'(2 . 3) {
+\scaleDurations 2/3 {
<c a f>4. c8 a f
}
% Scale music by *2
-\scaleDurations #'(2 . 1) {
+\scaleDurations 2/1 {
<c' a>4 c8 b
}
@end lilypond
One application of this command is in polymetric
notation, see @ref{Polymetric notation}.
-
@seealso
Notation Reference:
@ref{Tuplets},
c2 ~ c
@end lilypond
-Dash pattern definitions for ties have the same structure as
-dash pattern definitions for slurs.
-For more information about complex dash patterns,
-see the snippets under @ref{Slurs}.
+Dash pattern definitions for ties have the same structure as dash
+pattern definitions for slurs. For more information about complex dash
+patterns, see @ref{Slurs}.
+
+Override @var{whiteout} and @var{layer} layout properties for ties that
+collide with other objects in a staff.
+
+@lilypond[verbatim,quote,ragged-right,relative=2]
+\override Tie #'layer = #-2
+\override Staff.TimeSignature #'layer = #-1
+\override Staff.KeySignature #'layer = #-1
+\override Staff.TimeSignature #'whiteout = ##t
+\override Staff.KeySignature #'whiteout = ##t
+b2 b~
+\time 3/4
+\key a \major
+b r4
+@end lilypond
@predefined
@code{\tieUp},
@code{\tieSolid}.
@endpredefined
-
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{using-ties-with-arpeggios.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
-
@seealso
Music Glossary:
@rglos{tie},
@ref{Automatic note splitting}.
Snippets:
+@rlsr{Expressive marks},
@rlsr{Rhythms}.
Internals Reference:
@rinternals{TieColumn},
@rinternals{Tie}.
-
@knownissues
+Switching staves when a tie is active will not produce a slanted tie.
-Switching staves when a tie is active will not produce a slanted
-tie.
-
-Changing clefs or octavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
-
+Changing clefs or ottavations during a tie is not really well-defined.
+In these cases, a slur may be preferable.
@node Writing rests
@funindex breve
Rests are entered like notes with the note name @code{r}.
-Durations longer than a whole rest use the predefined
-commands shown:
+Durations longer than a whole rest use the following predefined
+commands:
@c \time 16/1 is used to avoid spurious bar lines
@c and long tracts of empty measures
-@lilypond[fragment,quote,verbatim]
+@lilypond[quote,verbatim,relative=2]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
Whole measure rests, centered in the middle of the measure, must be
entered as multi-measure rests. They can be used for a single
-measure as well as many measures and are discussed in @ref{Full
-measure rests}.
+measure as well as many measures and are discussed in
+@ref{Full measure rests}.
@cindex rest, specifying vertical position
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
-
@seealso
Music Glossary:
@rglos{breve},
Internals Reference:
@rinternals{Rest}.
-
@knownissues
-
@c Deliberately duplicated in Durations and Rests. -gp
There is no fundamental limit to rest durations (both in terms of
longest and shortest), but the number of glyphs is limited: there
@lilypond[quote,verbatim,relative=2]
<<
{
- \repeat unfold 8 {a4}
+ \repeat unfold 8 { a4 }
}
{
a4 \skip 2 a |
contexts to be created if none exist, just like notes and rests
do:
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim,relative=2]
s1 s s
@end lilypond
@code{\skip} simply skips musical time; it creates no output of
any kind.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim,relative=2]
% This is valid input, but does nothing
\skip 1 \skip1 \skip 1
@end lilypond
-
@seealso
Learning Manual:
@rlearning{Visibility and color of objects}.
always be an integral number of measure-lengths, so augmentation dots
or fractions must often be used:
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,verbatim,relative=2]
\compressFullBarRests
\time 2/4
R1 | R2 |
A full-measure rest is printed as either a whole or breve rest,
centered in the measure, depending on the time signature.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim,relative=2]
\time 4/4
R1 |
\time 6/4
rest can be shown as a single measure containing a multi-measure rest
symbol, with the number of measures of rest printed above the measure:
-@lilypond[quote,fragment,verbatim]
+@lilypond[quote,verbatim,relative=2]
% Default behavior
\time 3/4 r2. | R2.*2 |
\time 2/4 R2 |
The predefined command @code{\fermataMarkup}
is provided for adding fermatas.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim,relative=2]
\compressFullBarRests
\time 3/4
R2.*10^\markup { \italic "ad lib." }
R2.^\fermataMarkup
@end lilypond
-@warning{
-Markups attached to a multi-measure rest are
-objects of type @code{MultiMeasureRestText}, not
-@code{TextScript}. Overrides must be directed to the correct
-object, or they will be ignored. See the following example.
-}
+@warning{Markups attached to a multi-measure rest are objects of type
+@code{MultiMeasureRestText}, not @code{TextScript}. Overrides must
+be directed to the correct object, or they will be ignored. See the
+following example:}
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim,relative=2]
% This fails, as the wrong object name is specified
\override TextScript #'padding = #5
R1^"wrong"
-% This is correct and works
+% This is the correct object name to be specified
\override MultiMeasureRestText #'padding = #5
R1^"right"
@end lilypond
@cindex rest, church
@cindex kirchenpausen
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-form-of-multi-measure-rests.ly}
@cindex multi-measure rests, positioning
@cindex positioning multi-measure rests
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{positioning-multi-measure-rests.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{multi-measure-rest-markup.ly}
-
@seealso
Music Glossary:
@rglos{multi-measure rest}.
@rinternals{MultiMeasureRestNumber},
@rinternals{MultiMeasureRestText}.
-
@cindex fingerings and multi-measure rests
@cindex multi-measure rests and fingerings
@knownissues
-
-If an attempt is made to use fingerings (e.g.,
-@code{R1*10-4}) to put numbers over multi-measure rests, the
-fingering numeral (4) may collide with the bar counter
-numeral (10).
+Fingerings over multi-measure rests (e.g. @code{R1*10-4}) may result
+in the fingering numeral colliding with the bar counter
+numeral.
@cindex condensing rests
@cindex rest, condensing ordinary
Multi-measure rests do not take part in rest collisions.
+
@node Displaying rhythms
@subsection Displaying rhythms
@lilypond[quote,verbatim]
\score {
- \relative c' {
- \overrideTimeSignatureSettings
- #'Score % context
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
- #'(3 1) % beatStructure
- #'() % beamExceptions
- \time 4/4
- \repeat unfold 8 c8 |
+ \new Staff {
+ \relative c' {
+ \overrideTimeSignatureSettings
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 { c8 } |
+ }
}
}
@end lilypond
-@code{\overrideTimeSignatureSettings} takes five arguments:
+@code{\overrideTimeSignatureSettings} takes four arguments:
@enumerate
-@item
-@code{@var{context}}, a Scheme symbol that describes the context
-to which the default setting will apply.
@item
-@code{@var{timeSignatureFraction}}, a Scheme pair describing the
+@code{@var{timeSignatureFraction}}, a fraction describing the
time signature.
@item
-@code{@var{baseMomentFraction}}, a Scheme pair containing the numerator
+@code{@var{baseMomentFraction}}, a fraction containing the numerator
and denominator of the basic timing unit for the time signature.
@item
described in @ref{Setting automatic beam behavior}.
@end enumerate
+The context containing @code{\overrideTimeSignatureSettings} must
+be instantiated before the @code{\overrideTimeSignatureSettings}
+call is executed. That means it must either be explicitly
+instantiated or there must be music in the context before the
+@code{\overrideTimeSignatureSettings} call:
+
+@lilypond[quote,verbatim]
+\score {
+ \relative c' {
+ % This call will fail because the context isn't yet instantiated
+ \overrideTimeSignatureSettings
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ c8^\markup {"Beamed (2 2)"}
+ \repeat unfold 7 { c8 } |
+ % This call will succeed
+ \overrideTimeSignatureSettings
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ c8^\markup {"Beamed (3 1)"}
+ \repeat unfold 7 { c8 } |
+ }
+}
+@end lilypond
+
+
@cindex time signature properties, restoring default values
@cindex restoring default properties for time signatures
@funindex \revertTimeSignatureSettings
@lilypond[quote,verbatim]
\score{
\relative c' {
- \repeat unfold 8 c8 |
+ \repeat unfold 8 { c8 } |
\overrideTimeSignatureSettings
- #'Score % context
- #'(4 . 4) % timeSignatureFraction
- #'(1 . 4) % baseMomentFraction
- #'(3 1) % beatStructure
- #'((end . (((1 . 8) . (3 1))))) % beamExceptions
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
\time 4/4
- \repeat unfold 8 c8 |
- \revertTimeSignatureSettings #'Score #'(4 . 4)
+ \repeat unfold 8 { c8 } |
+ \revertTimeSignatureSettings 4/4
\time 4/4
- \repeat unfold 8 c8 |
+ \repeat unfold 8 { c8 } |
+ }
+}
+@end lilypond
+
+Different values of default time signature properties can be established
+for different staves by moving the @code{Timing_translator} and the
+@code{Default_bar_line_engraver} from the @code{Score} context to the
+@code{Staff} context.
+
+@lilypond[quote, verbatim]
+\score {
+ \new StaffGroup <<
+ \new Staff {
+ \overrideTimeSignatureSettings
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
+ #'(3 1) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 {c''8}
+ }
+ \new Staff {
+ \overrideTimeSignatureSettings
+ 4/4 % timeSignatureFraction
+ 1/4 % baseMomentFraction
+ #'(1 3) % beatStructure
+ #'() % beamExceptions
+ \time 4/4
+ \repeat unfold 8 {c''8}
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
+ }
+ \context {
+ \Staff
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
+ }
}
}
@end lilypond
@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-the-time-signature-without-affecting-the-beaming.ly}
-
-@cindex compound time signatures
-@cindex time signature, compound
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{compound-time-signatures.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{time-signature-printing-only-the-numerator-as-a-number-instead-of-the-fraction.ly}
-
@seealso
Music Glossary:
@rglos{time signature}
@rinternals{TimeSignature},
@rinternals{Timing_translator}.
+
@node Metronome marks
@unnumberedsubsubsec Metronome marks
e4. d8 c2
@end lilypond
+Metronome marks may also be printed as a range of two numbers:
+
+@lilypond[verbatim,quote,relative=1]
+\tempo 4 = 40 ~ 46
+c4. e8 a4 g
+b,2 d4 r
+@end lilypond
+
Tempo indications with text can be used instead:
@lilypond[verbatim,quote,relative=2]
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{printing-metronome-and-rehearsal-marks-below-the-staff.ly}
@c perhaps also an example of how to move it horizontally?
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-the-tempo-without-a-metronome-mark.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{creating-metronome-marks-in-markup-mode.ly}
For more details, see @ref{Formatting text}.
-
@seealso
Music Glossary:
@rglos{metronome},
@cindex upbeat
@cindex partial measure
@cindex measure, partial
+@cindex measure, pickup
@cindex pickup measure
-@cindex measure, change length
@funindex measurePosition
@funindex \partial
@funindex partial
-Partial or pick-up measures, such as an anacrusis or upbeat, are
-entered using the @code{\partial} command, with the syntax
+Partial or pick-up measures, such as an @emph{anacrusis} or an
+@emph{upbeat}, are entered using the @code{\partial} command,
@example
\partial @var{duration}
@end example
@noindent
-where @code{@var{duration}} is the rhythmic length of the
-remaining interval of the current measure before the start of the
-next.
+where @code{@var{duration}} is the @emph{remaining} length of the
+partial measure @emph{before} the start of the next full measure.
-@lilypond[quote,verbatim,relative=2]
-\partial 4 e4 |
-a2. c,4 |
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\partial 8
+e8 | a4 c8 b c4 |
@end lilypond
-The partial measure can be any duration less than the full measure:
+The @var{duration} can be any value less than a full measure:
-@lilypond[quote,verbatim,relative=2]
-\partial 8*3 c8 d e |
-a2. c,4 |
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\partial 4.
+r4 e8 | a4 c8 b c4 |
@end lilypond
-Internally, @code{\partial @var{duration}} is translated into:
+The @code{\partial @var{duration}} can also be written as;
@example
\set Timing.measurePosition -@var{duration}
@end example
-For example, @code{\partial 8*3} becomes:
+So @code{\partial 8} becomes:
-@example
-\set Timing.measurePosition = #(ly:make-moment -3 8)
-@end example
+@lilypond[quote,verbatim,relative=1]
+\time 3/4
+\set Timing.measurePosition = #(ly:make-moment -1 8)
+e8 | a4 c8 b c4 |
+@end lilypond
The property @code{measurePosition} contains a rational number
indicating how much of the measure has passed at this point. Note
that this is set to a negative number by the @code{\partial} command:
-i.e., @code{\partial 4} is internally translated to @code{-4}, meaning
-@qq{there is a quarter note left in the measure.}
+i.e., @code{\partial 4} is internally translated to @w{@code{-4}},
+meaning @qq{there is a quarter note left in the measure.}
@seealso
Music Glossary:
@rinternals{Timing_translator}.
@knownissues
+The @code{\partial} command should be used only at the beginning of a
+piece. If you use it after the beginning, warnings or problems may
+occur, so use @code{\set Timing.measurePosition} instead.
+
+@lilypond[quote,verbatim,relative=1]
+\time 6/8
+\partial 8
+e8 | a4 c8 b[ c b] |
+\set Timing.measurePosition = #(ly:make-moment -1 4)
+r8 e,8 | a4 c8 b[ c b] |
+@end lilypond
-The @code{\partial} command is intended to be used only at the
-beginning of a piece. If you use it after the beginning, some
-odd warnings or effects may occur, in this case use
-@code{\set Timing.measurePosition} instead.
@node Unmetered music
@unnumberedsubsubsec Unmetered music
-@cindex bar lines, turning off
-@cindex bar numbering, turning off
@cindex cadenza
+@cindex cadenza, beams
+@cindex cadenza, accidentals
+@cindex cadenza, bar lines
+@cindex cadenza, bar numbers
@cindex unmetered music
+@cindex unmetered music, beams
+@cindex unmetered music, accidentals
+@cindex unmetered music, bar lines
+@cindex unmetered music, bar numbers
+@cindex accidentals, cadenzas
+@cindex accidentals, unmetered music
+@cindex bar lines, cadenzas
+@cindex bar lines, unmetered music
+@cindex bar numbers, cadenzas
+@cindex bar numbers, unmetered music
+@cindex beams, cadenzas
+@cindex beams, unmetered music
@funindex \cadenzaOn
@funindex cadenzaOn
@funindex \cadenzaOff
@funindex cadenzaOff
-Bar lines and bar numbers are calculated automatically. For
-unmetered music (some cadenzas, for example), this is not desirable.
-To turn off automatic calculation of bar lines and bar numbers,
-use the command @code{\cadenzaOn}, and use @code{\cadenzaOff}
-to turn them on again.
+In metered music bar lines are inserted and bar numbers are calculated
+automatically. In unmetered music (i.e. cadenzas), this is not
+desirable and can be @q{switched off} using the command
+@code{\cadenzaOn}, then @q{switched back on} at the appropriate place
+using @code{\cadenzaOff}.
@lilypond[verbatim,relative=2,quote]
c4 d e d
d4 e d c
@end lilypond
-Bar numbering is resumed at the end of the cadenza as if the
-cadenza were not there:
+Bar numbering is resumed at the end of the cadenza.
@lilypond[verbatim,relative=2,quote]
% Show all bar numbers
d4 e d c
@end lilypond
-@cindex beaming in cadenzas
-@cindex beaming in unmetered music
-@cindex cadenza, beaming in
-@cindex unmetered music, beaming in
+A new bar is never started within a cadenza, even if one or more
+@code{\bar} commands are inserted within it. Therefore, reminder
+accidentals will need to be added manually. See @ref{Accidentals}.
-Automatic beaming is disabled by @code{\cadenzaOn} and enabled
-by @code{\cadenzaOff}. Therefore, all beaming in cadenzas
-must be entered manually (@ref{Manual beams}).
+@lilypond[verbatim,relative=2,quote]
+c4 d e d
+\cadenzaOn
+cis4 d cis d
+\bar "|"
+cis4 d cis! d
+\cadenzaOff
+\bar "|"
+@end lilypond
+
+Automatic beaming is disabled by @code{\cadenzaOn}. Therefore, all
+beaming in cadenzas must be entered manually. See @ref{Manual beams}.
@lilypond[verbatim,relative=2,quote]
-\repeat unfold 8 {c8}
+\repeat unfold 8 { c8 }
\cadenzaOn
-\repeat unfold 5 {c8}
+cis8 c c c c
\bar"|"
+c8 c c
\cadenzaOff
-\repeat unfold 8 {c8}
+\repeat unfold 8 { c8 }
@end lilypond
-Note that these predefined commands affect all staves in the
-score, even when they are placed in just one @code{Voice}
-context. To change this, move the @code{Timing_translator}
-from the @code{Score} context to the @code{Staff} context, as
-shown in @ref{Polymetric notation}.
+These predefined commands affect all staves in the score, even when
+placed in just one @code{Voice} context. To change this, move the
+@code{Timing_translator} from the @code{Score} context to the
+@code{Staff} context. See @ref{Polymetric notation}.
@predefined
@code{\cadenzaOn},
@code{\cadenzaOff}.
@endpredefined
-
@seealso
Music Glossary:
@rglos{cadenza}.
Notation Reference:
@ref{Visibility of objects},
@ref{Polymetric notation},
-@ref{Manual beams}.
+@ref{Manual beams},
+@ref{Accidentals}.
Snippets:
@rlsr{Rhythms}.
-
-@cindex cadenza line breaks
-@cindex cadenza page breaks
+@cindex cadenza, line breaks
+@cindex cadenza, page breaks
@cindex unmetered music, line breaks
@cindex unmetered music, page breaks
@cindex breaks in unmetered music
-@cindex line breaks in cadenzas
-@cindex page breaks in cadenzas
-@cindex line breaks in unmetered music
-@cindex page breaks in unmetered music
+@cindex line breaks, cadenzas
+@cindex page breaks, cadenzas
+@cindex line breaks, unmetered music
+@cindex page breaks, unmetered music
@knownissues
-
-LilyPond will insert line breaks and page breaks only at a
-bar line. Unless the unmetered music ends before the end of the
-staff line, you will need to insert invisible bar lines with
+Automatic line and page breaks are inserted only at bar lines, so
+@q{invisible} bar lines will need to be inserted manually in long
+stretches of unmetered music to permit breaking:
@example
\bar ""
@end example
-@noindent
-to indicate where breaks can occur.
-
-You should explicitly create a @code{Voice} context when starting a
-piece with @code{\cadenzaOn}, otherwise strange errors may occur.
+Explicitly create a @code{Voice} context when starting a piece with
+@code{\cadenzaOn}, else unexpected errors may occur.
@example
\new Voice @{
@funindex \times
@funindex times
-Polymetric notation is supported, either explicitly or by modifying
-the visible time signature symbol and scaling the note durations.
+Polymetric notation is supported explicitly or by manually modifying the
+visible time signature symbol and/or scaling note durations.
-@strong{@i{Staves with different time signatures, equal measure lengths}}
+@subsubheading Different time signatures with equal-length measures
-This notation can be created by setting a common time signature
-for each staff but replacing the symbol manually by setting
-@code{timeSignatureFraction} to the desired fraction and scaling
-the printed durations in each staff to the common time
-signature; see @ref{Time signature}. The scaling is done with
-@code{\scaleDurations}, which is used in a similar way to
-@code{\times}, but does not create a tuplet bracket; see
-@ref{Scaling durations}.
+Set a common time signature for each staff, and set the
+@code{timeSignatureFraction} to the desired fraction. Then use the
+@code{\scaleDurations} function to scale the durations of the notes in
+each staff to the common time signature.
-@cindex beaming in polymetric music
-@cindex beaming in polymetric meter
+@cindex beams, with polymetric meters
+@cindex polymetric meters, with beams
-In this example, music with the time signatures of 3/4, 9/8, and
-10/8 are used in parallel. In the second staff, shown durations
-are multiplied by 2/3, as 2/3 * 9/8 = 3/4, and in the third
-staff, shown durations are multiplied by 3/5, as 3/5 * 10/8 = 3/4.
-It will often be necessary to insert beams manually, as the
-duration scaling affects the autobeaming rules.
+In the following example, music with the time signatures of 3/4, 9/8 and
+10/8 are used in parallel. In the second staff, shown durations are
+multiplied by 2/3 (because 2/3 * 9/8 = 3/4) and in the third staff, the
+shown durations are multiplied by 3/5 (because 3/5 * 10/8 = 3/4). It
+may be necessary to insert beams manually, as the duration scaling will
+affect the autobeaming rules.
-@lilypond[quote,verbatim,fragment]
+@lilypond[quote,verbatim]
\relative c' <<
\new Staff {
\time 3/4
c4 c c |
- c c c |
+ c4 c c |
}
\new Staff {
\time 3/4
- \set Staff.timeSignatureFraction = #'(9 . 8)
- \scaleDurations #'(2 . 3)
- \repeat unfold 6 { c8[ c c] }
+ \set Staff.timeSignatureFraction = 9/8
+ \scaleDurations 2/3
+ \repeat unfold 6 { c8[ c c] }
}
\new Staff {
\time 3/4
- \set Staff.timeSignatureFraction = #'(10 . 8)
- \scaleDurations #'(3 . 5) {
+ \set Staff.timeSignatureFraction = 10/8
+ \scaleDurations 3/5 {
\repeat unfold 2 { c8[ c c] }
\repeat unfold 2 { c8[ c] } |
- c4. c4. \times 2/3 { c8[ c c] } c4
+ c4. c \times 2/3 { c8[ c c] } c4
}
}
>>
@end lilypond
-@strong{@i{Staves with different time signatures, unequal bar lengths}}
+@subsubheading Different time signatures with unequal-length measures
Each staff can be given its own independent time signature by
moving the @code{Timing_translator} and the
>>
@end lilypond
-@snippets
+@funindex \compoundMeter
+@cindex compound time signatures
+@cindex time signature, compound
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{compound-time-signatures.ly}
+@subsubheading Compound time signatures
+These are created using the @code{\compoundMeter} function. The syntax
+for this is:
+
+@example
+\compoundMeter #'@code{(list of lists)}
+@end example
+
+The simplest construction is a single list, where the @emph{last} number
+indicates the bottom number of the time signature and those that come
+before it, the top numbers.
+
+@lilypond[quote,verbatim]
+\relative c' {
+ \compoundMeter #'((2 2 2 8))
+ \repeat unfold 6 c8 \repeat unfold 12 c16
+}
+@end lilypond
+
+More complex meters can be constructed using additional lists. Also,
+automatic beaming settings will be adjusted depending on the values.
+
+@lilypond[quote,verbatim]
+\relative c' {
+ \compoundMeter #'((1 4) (3 8))
+ \repeat unfold 5 c8 \repeat unfold 10 c16
+}
+
+\relative c' {
+ \compoundMeter #'((1 2 3 8) (3 4))
+ \repeat unfold 12 c8
+}
+@end lilypond
@seealso
Music Glossary:
@rglos{meter}.
Notation Reference:
+@ref{Automatic beams},
+@ref{Manual beams},
@ref{Time signature},
@ref{Scaling durations}.
@rinternals{Default_bar_line_engraver},
@rinternals{Staff}.
-
@knownissues
+When using different time signatures in parallel, notes at the same
+moment will be placed at the same horizontal location. However, the bar
+lines in the different staves will cause the note spacing to be less
+regular in each of the individual staves than would be normal without
+the different time signatures.
-When using different time signatures in parallel, notes
-at the same moment will be placed at the same horizontal
-location. However, the bar lines in the different staves
-will cause the note spacing to be less regular in each of the
-individual staves than would be normal without the different
-time signatures.
@node Automatic note splitting
@unnumberedsubsubsec Automatic note splitting
@cindex notes, splitting
@cindex splitting notes
+@cindex rests, splitting
+@cindex splitting rests
@funindex Note_heads_engraver
@funindex Completion_heads_engraver
+@funindex Completion_rest_engraver
-Long notes which overrun bar lines can be converted automatically
-to tied notes. This is done by replacing the
-@code{Note_heads_engraver} with the
-@code{Completion_heads_engraver}. In the following
-example, notes crossing the bar lines are split and tied.
+Long notes which overrun bar lines can be converted automatically to
+tied notes. This is done by replacing the @code{Note_heads_engraver}
+with the @code{Completion_heads_engraver}. Similarly, long rests which
+overrun bar lines are split automatically by replacing the
+@code{Rest_engraver} with the @code{Completion_rest_engraver}. In the
+following example, notes and rests crossing the bar lines are split,
+notes are also tied.
@lilypond[quote,verbatim,relative=1]
\new Voice \with {
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
+ \remove "Rest_engraver"
+ \consists "Completion_rest_engraver"
}
-{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 }
+{ c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 r1*2 }
@end lilypond
-This engraver splits all running notes at the bar line, and
-inserts ties. One of its uses is to debug complex scores: if the
-measures are not entirely filled, then the ties show exactly how
+These engravers split all running notes and rests at the bar line, and
+inserts ties for notes. One of its uses is to debug complex scores: if
+the measures are not entirely filled, then the ties show exactly how
much each measure is off.
-
@seealso
Music Glossary:
@rglos{tie}
Internals Reference:
@rinternals{Note_heads_engraver},
@rinternals{Completion_heads_engraver},
+@rinternals{Rest_engraver},
+@rinternals{Completion_rest_engraver},
@rinternals{Forbid_line_break_engraver}.
-
@knownissues
-
Not all durations (especially those containing tuplets) can be
represented exactly with normal notes and dots, but the
@code{Completion_heads_engraver} will not insert tuplets.
c1 f g c
}
}
-
\new Voice \with {
\consists Pitch_squash_engraver
} \relative c'' {
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{guitar-strum-rhythms.ly}
-
@seealso
Snippets:
@rlsr{Rhythms}.
@cindex beams, manual
@cindex manual beams
-@cindex beams, setting rules for
-@cindex beams, custom rules for
+@cindex beams, customizing rules
@funindex \autoBeamOn
@funindex autoBeamOn
@lilypond[quote,verbatim,relative=2]
\time 2/4 c8 c c c
-\time 6/8 c c c c8. c16 c8
+\time 6/8 c8 c c c8. c16 c8
@end lilypond
If these automatic decisions are not satisfactory, beaming can be
c16 c8
@end lilypond
-@cindex melismata, beams
-@cindex beams and melismata
+@cindex melismata, with beams
+@cindex beams, with melismata
@warning{If beams are used to indicate melismata in songs, then
automatic beaming should be switched off with @code{\autoBeamOff}
-and the beams indicated manually.}
-
-@warning{Using @code{@bs{}partcombine} with @code{@bs{}autoBeamOff} can
-produce unintended results. See the snippet below for more information.}
+and the beams indicated manually. Using @code{@bs{}partcombine} with
+@code{@bs{}autoBeamOff} can produce unintended results. See the
+snippets for more information.}
Beaming patterns that differ from the automatic defaults can be
created; see @ref{Setting automatic beam behavior}.
-
@predefined
@code{\autoBeamOff},
@code{\autoBeamOn}.
@endpredefined
-
-@snippets
-
-
-@cindex line breaks and beams
-@cindex beams and line breaks
-
+@cindex beams, line breaks
+@cindex line breaks, beams
+@cindex beams, with knee gap
+@cindex knee gap, with beams
@funindex breakable
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@snippets
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{beams-across-line-breaks.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-beam-knee-gap.ly}
-@cindex \partcombine and \autoBeamOff
-@cindex \autoBeamOff and \partcombine
-
+@cindex beams, \partcombine with \autoBeamOff
+@cindex voices, \partcombine with \autoBeamOff
-@lilypondfile [verbatim, lilyquote, ragged-right, texidoc, doctitle]
+@lilypondfile [verbatim, quote, ragged-right, texidoc, doctitle]
{partcombine-and-autobeamoff.ly}
-
@seealso
Notation Reference:
@ref{Manual beams},
@ref{Setting automatic beam behavior}.
Installed Files:
-@file{scm/@/auto@/-beam@/.scm}.
+@file{scm/auto-beam.scm}.
Snippets:
@rlsr{Rhythms}.
@rinternals{beam-interface},
@rinternals{unbreakable-spanner-interface}.
-
@knownissues
-
-Beams can collide with note heads and accidentals in other voices.
+The properties of a beam are determined at the @emph{start} of its
+construction and any additional beam-property changes that occur before
+the beam has been completed will not take effect until the @emph{next},
+new beam starts.
@node Setting automatic beam behavior
@unnumberedsubsubsec Setting automatic beam behavior
-
-@cindex automatic beams, tuning
-@cindex tuning automatic beaming
-@cindex automatic beam generation
-@cindex autobeam
-@cindex lyrics and beaming
+@cindex beams, with lyrics
+@cindex lyrics, with beams
@funindex autoBeaming
@funindex baseMoment
@funindex \set
@funindex set
-The placement of automatic beams is determined by the context properties
-@code{baseMoment}, @code{beatStructure}, @code{beamExceptions},
-and @code{autoBeaming}.
-
-The following rules, in order of priority, apply when determining
-the appearance of beams:
-
-@itemize
-@item
-If a manual beam is specified with @code{[..]} set the beam
-as specified, otherwise
-
-@item
-if @code{\autoBeamOff} is in force do not beam, otherwise
-
-@item
-if a beam-ending rule is defined in @code{beamExceptions}
-for the beam-type, use it to determine the valid places where
-beams may end, otherwise
-
-@item
-if a beam-ending rule is defined in @code{beamExceptions}
-for a longer beam-type, use it to determined the valid places
-where beams may end, otherwise
-
-@item
-use the values of @code{baseMoment} and @code{beatStructure} to
-determine the ends of the beats in the measure, and
-end beams at the end of beats.
-
-@end itemize
-
-The beam-type is the duration of the shortest note in the beamed group.
-
-@i{@strong{Modifying the grouping of beats}}
-
-By default @code{baseMoment} is set by the @code{\time} command,
-normally to one over the denominator of the time signature.
-Any exceptions to this default
-can be found in @file{scm/@/time@/-signature@/-settings@/.scm}.
-Changing the default value of @code{baseMoment} for a given
-time signature is described in @ref{Time signature}.
-
-@code{baseMoment} is a @i{moment},
-a unit of musical duration. A quantity of type @i{moment} is
-created by the scheme function @code{ly:make-moment}. For more
-information about this function, see @ref{Time administration}.
-
-Special (i.e., other than at the end of the beat) autobeam settings
-are stored in the
-@code{beamExceptions} property. Default values of @code{beamExceptions}
-are established by the @code{\time} command. Default values of
-@code{beamExceptions} for a time signature
-are determined in @file{scm/@/time@/-signature@/-settings@/.scm}.
-Entries in @code{beamExceptions} are indexed by rule type and beam type.
-
-Rule type should be @code{#'end} for beam ending.
-
-The ending rules consist of a scheme alist
-(or list of pairs) that
-indicates the beam type and the grouping to be applied to
-beams containing notes with a shortest duration of that
-beam type.
-
-@example
-#'((beam-type1 . grouping-1)
- (beam-type2 . grouping-2)
- (beam-type3 . grouping-3))
-@end example
-
-Beam type is a scheme pair indicating the duration
-of the beam, e.g., @code{(1 . 16)}.
-
-Grouping is a scheme list indicating the grouping to be applied to
-the beam. The grouping is in units of the beam type.
-
-For reference, the default beaming rules are found in
-@file{scm/time-signature-settings.scm}.
-
-Alternate values for @code{beamExceptions}
-can be defined using the @code{\set} command.
-
-@warning{
-A @code{beamExceptions} value must be
-@emph{complete} exceptions list. That is, every exception that should
-be applied must be included in the setting.
-It is not possible to add, remove, or change only one of the exceptions.
-While this may seem cumbersome,
-it means that the current beaming settings need not be known
-in order to specify a new beaming pattern.}
+In most instances, automatic beams will end at the end of a beat.
+The ending points for beats are determined by the context properties
+@code{baseMoment} and @code{beatStructure}. @code{beatStructure}
+is a scheme list that defines the length of each beat in the measure
+in units of @code{baseMoment}. By default, @code{baseMoment} is
+the one over numerator of the time signature. By default,
+each unit of length @code{baseMoment} is a single beat.
@lilypond[quote,relative=2,verbatim]
\time 5/16
-c8^"beats" c16 c8 |
-\set beatStructure = #'(2 3)
-c8^"(2+3)" c16 c8
-\set beatStructure = #'(3 2)
-c8^"(3+2)" c16 c8
+c16^"default" c c c c |
+\set Timing.beatStructure = #'(2 3)
+c16^"(2+3)" c c c c |
+\set Timing.beatStructure = #'(3 2)
+c16^"(3+2)" c c c c |
@end lilypond
Beam setting changes can be limited to specific contexts. If no
@lilypond[quote,verbatim,relative=2]
\time 7/8
% rhythm 3-1-1-2
-% Context Voice specified -- does not work correctly
+% Change applied to Voice by default -- does not work correctly
% Because of autogenerated voices, all beating will
% be at baseMoment (1 . 8)
\set beatStructure = #'(3 1 1 2)
<< {a8 a a a16 a a a a8 a} \\ {f4. f8 f f f} >>
@end lilypond
-Beam settings can be set back to default behavior. This
-is accomplished by setting the time signature.
+The value of @code{baseMoment} can be adjusted to change
+the beaming behavior, if desired. When this is done,
+the value of @code{beatStructure} must be set to be
+compatible with the new value of @code{baseMoment}.
@lilypond[quote,verbatim,relative=2]
-\time 4/4
-\repeat unfold 8 {a8}
-% eliminate beam exception that groups beats 1, 2 and 3, 4
-\set Timing.beamExceptions = #'()
-\repeat unfold 8 {a8}
+\time 5/8
+\set Timing.baseMoment = #(ly:make-moment 1 16)
+\set Timing.beatStructure = #'(7 3)
+\repeat unfold 10 { a16 }
+@end lilypond
+
+@code{baseMoment} is a @i{moment}; a unit of musical duration. A
+quantity of type @i{moment} is created by the scheme function
+@code{ly:make-moment}. For more information about this function,
+see @ref{Time administration}.
+
+By default @code{baseMoment} is set to one over the denominator of
+the time signature. Any exceptions to this default can be found in
+@file{scm/time-signature-settings.scm}.
+
+Special autobeaming rules (other than ending a beam on a beat)
+are defined in the @code{beamExceptions} property.
+
+@lilypond[quote,relative=2,verbatim]
+\time 3/16
+\set Timing.beatStructure = #'(2 1)
+\set Timing.beamExceptions =
+ #'( ;start of alist
+ (end . ;entry for end of beams
+ ( ;start of alist of end points
+ ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
+ ))) %close all entries
+c16 c c |
+\repeat unfold 6 { c32 } |
+@end lilypond
+
+@code{beamExceptions} is an alist with a key of rule-type and a value
+of beaming-rules.
+
+At this time the only available value of rule-type is
+@code{'end} for beam ending.
+
+Beaming-rules is a scheme alist (or list of pairs) that indicates the
+beam type and the grouping to be applied to beams containing notes with
+a shortest duration of that beam type.
+
+@example
+#'((beam-type1 . grouping-1)
+ (beam-type2 . grouping-2)
+ (beam-type3 . grouping-3))
+@end example
+
+Beam type is a scheme pair indicating the duration of the beam,
+e.g., @code{(1 . 16)}.
+
+Grouping is a scheme list indicating the grouping to be applied to
+the beam. The grouping is in units of the beam type.
+
+@warning{ A @code{beamExceptions} value must be @emph{complete}
+exceptions list. That is, every exception that should be applied
+must be included in the setting. It is not possible to add, remove,
+or change only one of the exceptions. While this may seem cumbersome,
+it means that the current beaming settings need not be known in order
+to specify a new beaming pattern.}
+
+When the time signature is changed, default values of
+@code{Timing.baseMoment}, @code{Timing.beatStructure},
+and @code{Timing.beamExceptions} are set. Setting the time signature
+will reset the automatic beaming settings for the @code{Timing}
+context to the default behavior.
+
+@lilypond[quote,verbatim,relative=2]
+\time 6/8
+\repeat unfold 6 { a8 }
+% group (4 + 2)
+\set Timing.beatStructure = #'(4 2)
+\repeat unfold 6 { a8 }
% go back to default behavior
+\time 6/8
+\repeat unfold 6 { a8 }
+@end lilypond
+
+The default automatic beaming settings for a time signature
+are determined in @file{scm/time-signature-settings.scm}.
+Changing the default automatic beaming settings
+for a time signature is described in @ref{Time signature}.
+
+Many automatic beaming settings for a time signature contain an
+entry for @code{beamExceptions}. For example, 4/4 time tries to
+beam the measure in two if there are only eighth notes. The
+@code{beamExceptions} rule can override the @code{beatStructure} setting
+if @code{beamExceptions} is not reset.
+
+@lilypond[quote,verbatim,relative=2]
\time 4/4
-\repeat unfold 8 {a8}
+\set Timing.baseMoment = #(ly:make-moment 1 8)
+\set Timing.beatStructure = #'(3 3 2)
+% This won't beam (3 3 2) because of beamExceptions
+\repeat unfold 8 {c8} |
+% This will beam (3 3 2) because we clear beamExceptions
+\set Timing.beamExceptions = #'()
+\repeat unfold 8 {c8}
@end lilypond
+In traditional engraving, eighth notes can have special beaming rules.
+A measure consisting of only eighth notes can be beamed in one. This rule is
+controlled by the context property @code{beamWholeMeasure}:
+
+@lilypond[quote,verbatim,relative=2]
+\time 3/4
+% By default we beam in one
+\repeat unfold 6 { a8 }
+% We can avoid beaming in one
+\set Timing.beamWholeMeasure = ##f
+\repeat unfold 6 { a8 }
+@end lilypond
+
+In some engraving from the Romantic and Classical periods,
+a half-measure of eighth notes can be beamed
+together even though this violates the general rule (see Gould, p. 153).
+This behavior is controlled by the context property @code{beamHalfMeasure}:
+
+@lilypond[quote,verbatim,relative=2]
+\time 3/4
+% By default we avoid half-measure beams
+r4. a8 a a |
+% We can allow half-measure beams
+\set Timing.beamHalfMeasure = ##t
+r4. a8 a a |
+@end lilypond
+
+@i{@strong{How automatic beaming works}}
+
+When automatic beaming is enabled, the placement of automatic beams
+is determined by the context properties
+@code{baseMoment}, @code{beatStructure}, and @code{beamExceptions}.
+
+The following rules, in order of priority, apply when determining
+the appearance of beams:
+
+@itemize
+@item
+If a manual beam is specified with @code{[..]} set the beam
+as specified, otherwise
+
+@item
+if a beam-ending rule is defined in @code{beamExceptions}
+for the beam-type, use it to determine the valid places where
+beams may end, otherwise
+
+@item
+if a beam-ending rule is defined in @code{beamExceptions}
+for a longer beam-type, use it to determined the valid places
+where beams may end, otherwise
+
+@item
+use the values of @code{baseMoment} and @code{beatStructure} to
+determine the ends of the beats in the measure, and
+end beams at the end of beats.
+
+@end itemize
+
+In the rules above, the @emph{beam-type} is the duration of the
+shortest note in the beamed group.
+
+The default beaming rules can be found in
+@file{scm/time-signature-settings.scm}.
@snippets
@cindex beams, subdividing
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{subdividing-beams.ly}
+@cindex beamlets, orienting
+
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
+{strict-beat-beaming.ly}
+
@cindex measure groupings
@cindex beats, grouping
@cindex grouping beats
@cindex measure sub-grouping
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{conducting-signs,-measure-grouping-signs.ly}
-@cindex beam, last in score
-@cindex beam, last in polyphonic voice
+@cindex beam, endings in a score
+@cindex beam, endings with multiple voices
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{beam-endings-in-score-context.ly}
-
@seealso
-Installed files:
+Installed Files:
@file{scm/beam-settings.scm}.
Snippets:
@rinternals{BeamForbidEvent},
@rinternals{beam-interface}.
-
@knownissues
-
If a score ends while an automatic beam has not been ended and is
still accepting notes, this last beam will not be typeset at all.
-The same holds for polyphonic voices, entered with @code{<<
-@dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
+The same holds for polyphonic voices, entered with
+@code{<< @dots{} \\ @dots{} >>}. If a polyphonic voice ends while an
automatic beam is still accepting notes, it is not typeset.
The workaround for these problems is to manually beam the last
beam in the voice or score.
+By default, the @code{Timing} translator is aliased to the
+@code{Score} context. This means that setting the time signature
+in one staff will affect the beaming of the other staves as well.
+Thus, a time signature setting in a later staff will reset custom
+beaming that was set in an earlier staff.
+One way to avoid this problem is to set the time signature
+in only one staff.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ \new Staff {
+ \time 3/4
+ \set Timing.baseMoment = #(ly:make-moment 1 8)
+ \set Timing.beatStructure = #'(1 5)
+ \repeat unfold 6 { a8 }
+ }
+ \new Staff {
+ \repeat unfold 6 { a8 }
+ }
+>>
+@end lilypond
+
+The default beam settings for the time signature can also be changed, so
+that the desired beaming will always be used. Changes in automatic
+beaming settings for a time signature are described in
+@ref{Time signature}.
+
+@lilypond[quote,verbatim,relative=2]
+<<
+ \new Staff {
+ \overrideTimeSignatureSettings
+ 3/4 % timeSignatureFraction
+ 1/8 % baseMomentFraction
+ #'(1 5) % beatStructure
+ #'() % beamExceptions
+ \time 3/4
+ \repeat unfold 6 { a8 }
+ }
+ \new Staff {
+ \time 3/4
+ \repeat unfold 6 { a8 }
+ }
+>>
+@end lilypond
+
+
@node Manual beams
@unnumberedsubsubsec Manual beams
marking the begin and end point with @code{[} and @code{]}.
@lilypond[quote,relative=1,verbatim]
-r4 r8[ g' a r8] r8 g[ | a] r8
+r4 r8[ g' a r] r g[ | a] r
@end lilypond
@cindex manual beams, direction shorthand for
@lilypond[quote,verbatim,relative=2]
c4 d8[
\grace { e32[ d c d] }
-e8] e8[ e
+e8] e[ e
\grace { f16 }
e8 e]
@end lilypond
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{flat-flags-and-beam-nibs.ly}
-
@seealso
Notation Reference:
@ref{Direction and placement},
direction to the @code{Beam} property @code{grow-direction}.
If the placement of the notes and the sound in the MIDI output is to
-reflect the ritardando or accelerando indicated by the feathered beam
-the notes must be grouped as a music expression delimited by braces
-and preceded by a @code{featherDurations} command which specifies
+reflect the @emph{ritardando} or @emph{accelerando} indicated by the
+feathered beam the notes must be grouped as a music expression delimited
+by braces and preceded by a @code{featherDurations} command which specifies
the ratio between the durations of the first and last notes in the
group.
The spacing in the printed output represents the
note durations only approximately, but the MIDI output is exact.
-
@predefined
@code{\featherDurations}.
@endpredefined
Snippets:
@rlsr{Rhythms}.
-
@knownissues
-
The @code{\featherDurations} command only works with very short
music snippets, and when numbers in the fraction are small.
@node Bars
@subsection Bars
-
@menu
* Bar lines::
* Bar numbers::
a1 \bar ":|.|:"
b1 \bar ":|.:"
c1 \bar ":|"
-d1
+e1
@end lilypond
Additionally, a bar line can be printed as a simple tick:
@code{"|"}. This may be changed at any time with
@samp{\set Timing.defaultBarType = @var{bartype}}.
-
@seealso
Notation Reference:
@ref{Line breaking},
c1 | c | c | c
@end lilypond
-
@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-the-bar-number-for-the-first-measure.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-bar-numbers-at-regular-intervals.ly}
@cindex measure number, format
@cindex bar number, format
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{printing-bar-numbers-inside-boxes-or-circles.ly}
+@cindex bar numbers, with letters
+@cindex bar numbers, with repeats
+
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{alternative-bar-numbering.ly}
+
@cindex bar number alignment
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{aligning-bar-numbers.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{removing-bar-numbers-from-a-score.ly}
-
@seealso
Snippets:
@rlsr{Rhythms}.
@rinternals{BarNumber},
@rinternals{Bar_number_engraver}.
-
@cindex bar number collision
@cindex collision, bar number
@knownissues
-
Bar numbers may collide with the top of the @code{StaffGroup} bracket,
if there is one. To solve this, the @code{padding} property of
@code{BarNumber} can be used to position the number correctly. See
@lilypond[quote,verbatim]
pipeSymbol = \bar "||"
{
- c'2 c'2 |
- c'2 c'2
- c'2 | c'2
- c'2 c'2
+ c'2 c' |
+ c'2 c'
+ c'2 | c'
+ c'2 c'
}
@end lilypond
will print a warning if the @code{currentBarNumber} is not 123
when it is processed.
-
@seealso
Snippets:
@rlsr{Rhythms}.
c1
@end lilypond
-The file @file{scm/@/translation@/-functions@/.scm} contains the
+The file @file{scm/translation-functions.scm} contains the
definitions of @code{format-mark-numbers} (the default format),
@code{format-mark-box-numbers}, @code{format-mark-letters} and
@code{format-mark-box-letters}. These can be used as inspiration
@ref{Formatting text}. For more precise control, see
@code{break-alignable-interface} in @ref{Aligning objects}.
+The file @file{scm/translation-functions.scm} contains
+the definitions of @code{format-mark-numbers} and
+@code{format-mark-letters}. They can be used as inspiration for
+other formatting functions.
@seealso
Notation Reference:
@ref{Aligning objects}.
Installed Files:
-@file{scm/@/translation@/-functions@/.scm} contains
-the definitions of @code{format-mark-numbers} and
-@code{format-mark-letters}. They can be used as inspiration for
-other formatting functions.
+@file{scm/translation-functions.scm}.
Snippets:
@rlsr{Rhythms}.
@cindex acciaccatura
@funindex \grace
-@funindex grace
+@funindex \slashedGrace
+@funindex \acciaccatura
+@funindex \appoggiatura
-Grace notes are ornaments that are written out. Grace notes
-are printed in a smaller font and take up no logical time
-in a measure.
+Grace notes are musical ornaments, printed in a smaller font, that take
+up no additional logical time in a measure.
@lilypond[quote,relative=2,verbatim]
-c4 \grace c16 c4
-\grace { c16[ d16] } c2
+c4 \grace b16 a4(
+\grace { b16[ c16] } a2)
@end lilypond
-LilyPond also supports two special types of grace notes, the
+There are three other types of grace notes possible; the
@emph{acciaccatura} -- an unmeasured grace note indicated by a slurred
-small note with a slashed stem -- and the @emph{appoggiatura}, which
-takes a fixed fraction of the main note and appears in small print
-without a slash.
+note with a slashed stem -- and the @emph{appoggiatura}, which takes a
+fixed fraction of the main note it is attached to and prints without the
+slash. It is also possible to write a grace note with a slashed stem,
+like the @emph{acciaccatura} but without the slur, so as to place it
+between notes that are slurred themselves, using the
+@code{\slashedGrace} function.
@lilypond[quote,relative=2,verbatim]
-\grace c8 b4
\acciaccatura d8 c4
\appoggiatura e8 d4
-\acciaccatura { g16[ f] } e4
+\acciaccatura { g16[ f] } e2
+\slashedGrace a,8 g4
+\slashedGrace b16 a4(
+\slashedGrace b8 a2)
@end lilypond
-The placement of grace notes is synchronized between different
-staves. In the following example, there are two sixteenth grace
-notes for every eighth grace note
+The placement of grace notes is synchronized between different staves.
+In the following example, there are two sixteenth grace notes for every
+eighth grace note
@lilypond[quote,relative=2,verbatim]
<<
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{using-grace-note-slashes-with-normal-heads.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{tweaking-grace-layout-within-music.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{redefining-grace-note-global-defaults.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{positioning-grace-notes-with-floating-space.ly}
-
@seealso
Music Glossary:
@rglos{grace notes},
@rglos{appoggiatura}.
Notation Reference:
+@ref{Scaling durations},
@ref{Manual beams}.
Installed Files:
-@file{ly/@/grace@/-init@/.ly}.
+@file{ly/grace-init.ly}.
Snippets:
@rlsr{Rhythms}.
@knownissues
-
@cindex acciaccatura, multi-note
@cindex multi-note acciaccatura
@cindex grace-note synchronization
>>
@end lilypond
-Grace sections should only be used within sequential music
-expressions. Nesting or juxtaposing grace sections is not
-supported, and might produce crashes or other errors.
+The use of grace notes within voice contexts confuses the way the voice
+is typeset. This can be overcome by inserting a rest or note between the
+voice command and the grace note.
+
+@lilypond[quote,verbatim]
+accMusic = {
+ \acciaccatura { f8 } e8 r8 \acciaccatura { f8 } e8 r4
+}
+
+\new Staff {
+ <<
+ \new Voice {
+ \relative c'' {
+ r8 r8 \voiceOne \accMusic \oneVoice r8 |
+ r8 \voiceOne r8 \accMusic \oneVoice r8 |
+ }
+ }
+ \new Voice {
+ \relative c' {
+ s8 s8 \voiceTwo \accMusic \oneVoice s8 |
+ s8 \voiceTwo r8 \accMusic \oneVoice s8 |
+ }
+ }
+ >>
+}
+@end lilypond
+
+Grace sections should only be used within sequential music expressions.
+Nesting or juxtaposing grace sections is not supported, and might
+produce crashes or other errors.
+
+Each grace note in MIDI output has a length of 1/4 of its actual
+duration. If the combined length of the grace notes is greater than the
+length of the preceding note a @qq{@code{Going back in MIDI time}}
+error will be generated. Either make the grace notes shorter in
+duration, for example:
+
+@example
+\acciaccatura @{ c'8[ d' e' f' g'] @}
+@end example
+
+becomes:
+
+@example
+\acciaccatura @{ c'16[ d' e' f' g'] @}
+@end example
+
+Or explicitly change the musical duration:
+
+@example
+\acciaccatura @{ \scaleDurations 1/2 @{ c'8[ d' e' f' g'] @} @}
+@end example
+
+See @ref{Scaling durations}.
+
@node Aligning to cadenzas
@unnumberedsubsubsec Aligning to cadenzas
\MyCadenza c'1
}
\new Staff {
- #(ly:export (mmrest-of-length MyCadenza))
+ $(mmrest-of-length MyCadenza)
c'1
- #(ly:export (skip-of-length MyCadenza))
+ $(skip-of-length MyCadenza)
c'1
}
>>
@end lilypond
-
@seealso
Music Glossary:
@rglos{cadenza}.
@code{ly:make-moment 7 16} is the duration of seven sixteenths
notes.
-
@seealso
Notation Reference:
@ref{Bar numbers},
Internals Reference:
@rinternals{Timing_translator},
@rinternals{Score}.
-
projects / lilypond.git / blobdiff