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These snippets illustrate the Notation Reference, section Rhythms.
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved. For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to combine manual beaming, manual slurs, ties and phrasing slurs with tuplet sections (enclosed within curly braces).
{ r16[ g16 \times 2/3 { r16 e'8] } g16( a \times 2/3 { b d e') } g8[( a \times 2/3 { b d') e']~ } \time 2/4 \times 4/5 { e'32\( a b d' e' } a'4.\) }
Using the powerful pre-configured tools such as the \drummode
function and the DrumStaff
context, inputting drum parts is
quite easy: drums are placed at their own staff positions (with a
special clef symbol) and have note heads according to the drum.
Attaching an extra symbol to the drum or restricting the number of
lines is possible.
drh = \drummode { cymc4.^"crash" hhc16^"h.h." hh hhc8 hho hhc8 hh16 hh hhc4 r4 r2 } drl = \drummode { bd4 sn8 bd bd4 << bd ss >> bd8 tommh tommh bd toml toml bd tomfh16 tomfh } timb = \drummode { timh4 ssh timl8 ssh r timh r4 ssh8 timl r4 cb8 cb } \score { << \new DrumStaff \with { drumStyleTable = #timbales-style \override StaffSymbol #'line-count = #2 \override BarLine #'bar-size = #2 } << \set Staff.instrumentName = #"timbales" \timb >> \new DrumStaff << \set Staff.instrumentName = #"drums" \new DrumVoice { \stemUp \drh } \new DrumVoice { \stemDown \drl } >> >> \layout { } \midi { \context { \Score tempoWholesPerMinute = #(ly:make-moment 120 4) } } }
Beams can be subdivided automatically. By setting the property
subdivideBeams
, beams are subdivided at beat positions (as
specified in beatLength
).
\score { \new Staff \relative c'' { << { \voiceOne \set subdivideBeams = ##t b32[ a g f c' b a g b^"subdivide beams" a g f c' b a g] \oneVoice } \new Voice { \voiceTwo b32_"default"[ a g f c' b a g b a g f c' b a g] } >> \set beatLength = #(ly:make-moment 1 8) b32^"beatLength 1 8"[ a g f c' b a g] \set beatLength = #(ly:make-moment 1 16) b32^"beatLength 1 16"[ a g f c' b a g] } }
In a simple time signature of 2/2 or 4/4, 8th notes are beamed by default as two sets of four.
Using a macro which overrides the autobeaming behavior, this snippet changes the beaming to quarter note beats.
% Automatic beams two per two in 4/4 or 2/2 time signature % _____ % Default | | | | % _ _ % Required | | | | % macro for beamed two per two in 2/2 and 4/4 time signature qBeam = { #(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff) #(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff) #(override-auto-beam-setting '(end 1 8 * *) 3 4 'Staff) } \score { << \new Staff \relative c'' { \time 4/4 g8^\markup { without the macro } g g g g g g g g8 g g g4 g8 g g } %Use the macro \new Staff \relative c'' { \time 4/4 \qBeam g8^\markup { with the macro } g g g g g g g g8 g g g4 g8 g g } >> \layout { \context { \Staff \override TimeSignature #'style = #'() } } }
By default, beams can't be printed across line breaks. This behavior
can be overridden by setting the breakable
property.
\layout { ragged-right = ##t } \relative c'' { \override Score.Beam #'breakable = ##t \time 3/16 c16[ d e \break f16] r r }
If there are ten or fewer measures of rests, a series of longa
and breve rests (called in German "Kirchenpausen" - church rests)
is printed within the staff; otherwise a simple line is shown.
This default number of ten may be changed by overriding the
expand-limit
property:
\relative c'' { \compressFullBarRests R1*2 | R1*5 | R1*9 \override MultiMeasureRest #'expand-limit = 3 R1*2 | R1*5 | R1*9 }
The text used for crescendos and decrescendos can be
changed by modifying the context properties crescendoText
and decrescendoText
. The style of the spanner line can
be changed by modifying the 'style
property of
DynamicTextSpanner
. The default value is
'hairpin
, and other possible values include
'line
, 'dashed-line
, and
'dotted-line
:
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner #'style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
By default, only the numerator of the tuplet number is printed over the
tuplet bracket, i.e., the denominator of the argument to the
\times
command. Alternatively, num:den of the tuplet number may
be printed, or the tuplet number may be suppressed altogether.
\relative c'' { \times 2/3 { c8 c c } \times 2/3 { c8 c c } \override TupletNumber #'text = #tuplet-number::calc-fraction-text \times 2/3 { c8 c c } \override TupletNumber #'stencil = ##f \times 2/3 { c8 c c } }
\scaleDurations
The measureLength
property, together with
measurePosition
, determines when a bar line is needed. However,
when using \scaleDurations
, the scaling of durations makes it
difficult to change time signatures. In this case, measureLength
should be set manually, using the ly:make-moment
callback. The
second argument must be the same as the second argument of
\scaleDurations
.
\layout { \context { \Score \remove "Timing_translator" \remove "Default_bar_line_engraver" } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" } } << \new Staff { \scaleDurations #'(8 . 5) { \time 6/8 \set Timing.measureLength = #(ly:make-moment 3 5) b8 b b b b b \time 2/4 \set Timing.measureLength = #(ly:make-moment 2 5) b4 b } } \new Staff { \clef bass \time 2/4 c2 d e f } >>
This form of notation is used for the chant of the Psalms, where verses aren't always the same length.
stemOn = { \override Staff.Stem #'transparent = ##f } stemOff = { \override Staff.Stem #'transparent = ##t } \score { \new Staff \with { \remove "Time_signature_engraver" } { \key g \minor \set Score.timing = ##f \stemOff a'\breve bes'4 g'4 \stemOn a'2 \bar "||" \stemOff a'\breve g'4 a'4 \stemOn f'2 \bar "||" \stemOff a'\breve^\markup { \italic flexe } \stemOn g'2 \bar "||" } }
Odd 20th century time signatures (such as "5/8") can often be played as compound time signatures (e.g. "3/8 + 2/8"), which combine two or more inequal metrics. LilyPond can make such music quite easy to read and play, by explicitly printing the compound time signatures and adapting the automatic beaming behavior. (Graphic measure grouping indications can also be added; see the appropriate snippet in this database.)
#(define (compound-time one two num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)))) )) \relative { \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(compound-time "2" "3" "8") \time 5/8 #(override-auto-beam-setting '(end 1 8 5 8) 1 4) c8 d e fis gis c8 fis, gis e d c8 d e4 gis8 }
The Scheme function set-time-signature
, in combination with the
Measure_grouping_engraver
, creates measure grouping signs. Such
signs ease reading rhythmically complex modern music. In the following
example, the 9/8 measure is subdivided into 2, 2, 2 and 3 beats. This
is passed to set-time-signature
as the third argument (2 2
2 3)
.
\score { \relative c'' { #(set-time-signature 9 8 '(2 2 2 3)) #(revert-auto-beam-setting '(end * * 9 8) 3 8) #(override-auto-beam-setting '(end 1 8 9 8) 1 4) #(override-auto-beam-setting '(end 1 8 9 8) 2 4) #(override-auto-beam-setting '(end 1 8 9 8) 3 4) g8 g d d g g a( bes g) | #(set-time-signature 5 8 '(3 2)) a4. g4 } \layout { \context { \Staff \consists "Measure_grouping_engraver" } } }
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property TupletBracket
#'bracket-visibility
to either ##t
(always print a bracket),
##f
(never print a bracket) or #'if-no-beam
(only print a
bracket if there is no beam).
mus = \relative c'' { \times 2/3 { c16[ d e } f8] \times 2/3 { c8 d e } \times 2/3 { c4 d e } } \new Voice \relative c'{ << \mus s4^"default" >> \override TupletBracket #'bracket-visibility = #'if-no-beam << \mus s4^"'if-no-beam" >> \override TupletBracket #'bracket-visibility = ##t << \mus s4^"#t" >> \override TupletBracket #'bracket-visibility = ##f << \mus s4^"#f" >> }
Ties may be engraved manually by changing the tie-configuration
property of the TieColumn
object. The first number indicates the
distance from the center of the staff in staff-spaces, and the second
number indicates the direction (1 = up, -1 = down).
\relative c' { <c e g>2 ~ <c e g> \override TieColumn #'tie-configuration = #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1)) <c e g> ~ <c e g> }
The property tupletSpannerDuration
sets how long each of the
tuplets contained within the brackets after \times
should last.
Many consecutive tuplets can then be placed within a single
\times
expression, thus saving typing.
In the example, two triplets are shown, while \times
was
entered only once.
For more information about make-moment
, see "Time
administration".
\relative c' { \time 2/4 \set tupletSpannerDuration = #(ly:make-moment 1 4) \times 2/3 { c8 c c c c c } }
This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number you want.
\relative c''{ c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default \break \set Score.markFormatter = #format-mark-numbers c1 \mark #1 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark #14 c1 \mark \default c1 \mark \default c1 \mark \default c1 \mark \default }
Though the polymetric time signature shown was not the most essential item here, it has been included to show the beat of this piece (which is the template of a real Balkan song!).
#(define (set-time-signature one two three four five six seven eight nine ten eleven num) (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one num)) #:vcenter "+" (#:column (two num)) #:vcenter "+" (#:column (three num)) #:vcenter "+" (#:column (four num)) #:vcenter "+" (#:column (five num)) #:vcenter "+" (#:column (six num)) #:vcenter "+" (#:column (seven num)) #:vcenter "+" (#:column (eight num)) #:vcenter "+" (#:column (nine num)) #:vcenter "+" (#:column (ten num)) #:vcenter "+" (#:column (eleven num)))) )) melody = \relative c'' { \set Staff.instrumentName = #"Bb Sop." \key g \major \time 25/8 \override Staff.TimeSignature #'stencil = #ly:text-interface::print \override Staff.TimeSignature #'text = #(set-time-signature "3" "2" "2" "3" "2" "2" "2" "2" "3" "2" "2" "8" ) \set Staff.beatGrouping = #'(3 2 2 3 2 2 2 2 3 2 2) #(override-auto-beam-setting '(end * * 25 8) 3 8) #(override-auto-beam-setting '(end * * 25 8) 5 8) #(override-auto-beam-setting '(end * * 25 8) 7 8) #(override-auto-beam-setting '(end * * 25 8) 10 8) #(override-auto-beam-setting '(end * * 25 8) 12 8) #(override-auto-beam-setting '(end * * 25 8) 14 8) #(override-auto-beam-setting '(end * * 25 8) 16 8) #(override-auto-beam-setting '(end * * 25 8) 18 8) #(override-auto-beam-setting '(end * * 25 8) 21 8) #(override-auto-beam-setting '(end * * 25 8) 23 8) c8 c c d4 c8 c b c b a4 g fis8 e d c b' c d e4-^ fis8 g \break c,4. d4 c4 d4. c4 d c2 d4. e4-^ d4 c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 c4. d4 c4 d4. c4 d c2 d4. e4-^ d4 \break } drum = \new DrumStaff \drummode { \bar "|:" bd4.^\markup { "Drums" } sn4 bd \bar ":" sn4. bd4 sn \bar ":" bd sn bd4. sn4 bd \bar ":|" } { \melody \drum }
Setting the transparent
property will cause an object to be
printed in "invisible ink": the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices. To prevent the blanked stem's flag from interfering with tie positioning, the stem is extended.
\relative c'' { \time 2/4 << { \once \override Stem #'transparent = ##t \once \override Stem #'length = #8 b8 ~ b\noBeam \once \override Stem #'transparent = ##t \once \override Stem #'length = #8 g8 ~ g\noBeam } \\ { b8 g g e } >> }
Beam positions may be controlled manually, by overriding the
positions
setting of the Beam
grob.
\relative c' { \time 2/4 % from upper staffline (position 4) to center (position 0) \override Beam #'positions = #'(2 . 0) c8 c % from center to one above center (position 2) \override Beam #'positions = #'(0 . 1) c8 c }
When using multi-measure rests in a polyphonic staff, the rests will be placed differently depending on the voice they belong to. However they can be printed on the same staff line, using the following setting.
normalPos= \revert MultiMeasureRest #'staff-position { << { c''1 R1 c''1 \normalPos R1 } \\ { c'1 R1 c'1 \normalPos R1 } >> }
Tuplet brackets can be made to run to prefatory matter or the next note. Default tuplet brackets end at the right edge of the final note of the tuplet; full-length tuplet brackets extend farther to the right, either to cover all the non-rhythmic notation up to the following note, or to cover only the whitespace before the next item of notation, be that a clef, time signature, key signature, or another note. The example shows how to switch tuplets to full length mode and how to modify what material they cover.
\new RhythmicStaff { % Set tuplets to be extendable... \set tupletFullLength = ##t % ...to cover all items up to the next note \set tupletFullLengthNote = ##t \time 2/4 \times 2/3 { c4 c c } % ...or to cover just whitespace \set tupletFullLengthNote = ##f \time 4/4 \times 4/5 { c4 c1 } \time 3/4 c2. }
This artificial example shows how both manual and automatic line breaks may be permitted to within a beamed tuplet. Note that such off-beat tuplets have to be beamed manually.
\layout { \context { \Voice % Permit line breaks within tuplets \remove "Forbid_line_break_engraver" % Allow beams to be broken at line breaks \override Beam #'breakable = ##t } } \relative c'' { a8 \repeat unfold 8 { \times 2/3 { c[ b a] } } % Insert a manual line break within a tuplet \times 2/3 { c[ b \bar "" \break a] } \repeat unfold 2 { \times 2/3 { c[ b a] } } c8 }
Unlike ordinary rests, there is no predefined command to change the vertical position on the staff of a multi-measure rest symbol of either form by attaching it to a note. However, in polyphonic music multi-measure rests in odd-numbered and even-numbered voices are vertically separated. The positioning of multi-measure rests can be controlled as follows:
\relative c'' { % Multi-measure rests by default are set under the second line R1 % They can be moved with an override \override MultiMeasureRest #'staff-position = #-2 R1 % A value of 0 is the default position; % the following trick moves the rest to the center line \override MultiMeasureRest #'staff-position = #-0.01 R1 % Multi-measure rests in odd-numbered voices are under the top line << { R1 } \\ { a1 } >> % Multi-measure rests in even-numbered voices are under the bottom line << { c1 } \\ { R1 } >> % They remain separated even in empty measures << { R1 } \\ { R1 } >> % This brings them together even though there are two voices \compressFullBarRests << \revert MultiMeasureRest #'staff-position { R1*3 } \\ \revert MultiMeasureRest #'staff-position { R1*3 } >> }
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
In the following snippet, two parts have a completely different time
signature, yet remain synchronized. The bar lines can no longer be
printed at the Score
level; to allow independent bar lines in
each part, the Barline_engraver
is moved from the Score
context to the Staff
context.
\paper { indent = #0 ragged-right = ##t } global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } } \layout { \context { \Score \remove "Timing_translator" \remove "Time_signature_engraver" \remove "Default_bar_line_engraver" \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'strict-note-spacing = ##t proportionalNotationDuration = #(ly:make-moment 1 64) } \context { \Staff \consists "Timing_translator" \consists "Default_bar_line_engraver" \consists "Time_signature_engraver" } \context { \Voice \remove "Forbid_line_break_engraver" tupletFullLength = ##t } } Bassklarinette = \new Staff << \global { \bar "|" \clef treble \time 3/8 d''4. \bar "|" \time 3/4 r8 des''2( c''8) \bar "|" \time 7/8 r4. ees''2 ~ \bar "|" \time 2/4 \tupletUp \times 2/3 { ees''4 r4 d''4 ~ } \bar "|" \time 3/8 \tupletUp \times 3/4 { d''4 r4 } \bar "|" \time 2/4 e''2 \bar "|" \time 3/8 es''4. \bar "|" \time 3/4 r8 d''2 r8 \bar "|" } >> Perkussion = \new StaffGroup << \new Staff << \global { \bar "|" \clef percussion \time 3/4 r4 c'2 ~ \bar "|" c'2. \bar "|" R2. \bar "|" r2 g'4 ~ \bar "|" g'2. ~ \bar "|" g'2. } >> \new Staff << \global { \bar "|" \clef percussion \time 3/4 R2. \bar "|" g'2. ~ \bar "|" g'2. \bar "|" r4 g'2 ~ \bar "|" g'2 r4 \bar "|" g'2. } >> >> \score { << \Bassklarinette \Perkussion >> }
Rests may be used in various styles.
\layout { indent = 0.0 \context { \Staff \remove "Time_signature_engraver" } } \relative c { \set Score.timing = ##f \override Staff.Rest #'style = #'mensural r\maxima^\markup \typewriter { mensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'neomensural r\maxima^\markup \typewriter { neomensural } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'classical r\maxima^\markup \typewriter { classical } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 \bar "" \override Staff.Rest #'style = #'default r\maxima^\markup \typewriter { default } r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 r128 }
In "simple" lead-sheets, sometimes no actual notes are written,
instead only "rhythmic patterns" and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
standard support for this using \repeat percent
is unsuitable
here since the first beat has to be an ordinary note or rest. This
example shows two solutions to this problem, by redefining ordinary
rests to be printed as slashes. (If the duration of each beat is not a
quarter note, replace the r4
in the definitions with a rest of
the appropriate duration).
% Macro to print single slash rs = { \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \once \override Rest #'thickness = #'0.48 \once \override Rest #'slope = #'1.7 r4 } % Function to print a specified number of slashes comp = #(define-music-function (parser location count) ( integer?) #{ \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #'0.48 \override Rest #'slope = #'1.7 \repeat unfold $count { r4 } \revert Rest #'stencil #} ) \score{ \relative c' { c d e f | \rs \rs \rs \rs | \comp #4 | } }
Although s
skips cannot be used in \lyricmode
(it is
taken to be a literal "s", not a space), double quotes (""
)
or underscores (_
) are available.So for example:
<< \relative c'' { a4 b c d } \new Lyrics \lyricmode { a4 "" _ gap } >>
The s
syntax for skips is only available in note mode and chord
mode. In other situations, for example, when entering lyrics, using the
\skip
command is recommended.
<< \relative { a'1 a } \new Lyrics \lyricmode { \skip 1 bla1 } >>
This example shows how to add a markup command to get a three sided box around some text (or other markup).
% New command to add a three sided box, with sides north, west and south % Based on the box-stencil command defined in scm/stencil.scm % Note that you use ";" to comment a line in Scheme #(define-public (NWS-box-stencil stencil thickness padding) "Add a box around STENCIL, producing a new stencil." (let* ((x-ext (interval-widen (ly:stencil-extent stencil 0) padding)) (y-ext (interval-widen (ly:stencil-extent stencil 1) padding)) (y-rule (make-filled-box-stencil (cons 0 thickness) y-ext)) (x-rule (make-filled-box-stencil (interval-widen x-ext thickness) (cons 0 thickness)))) ; (set! stencil (ly:stencil-combine-at-edge stencil X 1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil X -1 y-rule padding)) (set! stencil (ly:stencil-combine-at-edge stencil Y 1 x-rule 0.0)) (set! stencil (ly:stencil-combine-at-edge stencil Y -1 x-rule 0.0)) stencil)) % The corresponding markup command, based on the \box command defined % in scm/define-markup-commands.scm #(define-markup-command (NWS-box layout props arg) (markup?) "Draw a box round @var{arg}. Looks at @code{thickness}, @code{box-padding} and @code{font-size} properties to determine line thickness and padding around the markup." (let* ((th (chain-assoc-get 'thickness props 0.1)) (size (chain-assoc-get 'font-size props 0)) (pad (* (magstep size) (chain-assoc-get 'box-padding props 0.2))) (m (interpret-markup layout props arg))) (NWS-box-stencil m th pad))) % Test it: \layout { ragged-right = ##f } \relative c' { c2^\markup { \NWS-box ABCD } c^\markup { \NWS-box \note #"4" #1.0 } }
Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
tieWaitForNote
property to "true". The same feature is also
useful, for example, to tie a tremolo to a chord, but in principle, it
can also be used for ordinary consecutive notes, as demonstrated in
this example.
\relative c' { \set tieWaitForNote = ##t \grace { c16[~ e~ g]~ } <c, e g>2 \repeat tremolo 8 { c32~ c'~ } <c c,>1 e8~ c~ a~ f~ <e' c a f>2 \tieUp c8~ a \tieDown \tieDotted g~ c g2 }
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