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rhythms.itely
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rhythms.itely
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@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
Guide, node Updating translation committishes..
@end ignore
@c \version "2.21.0"
@node Rhythms
@section Rhythms
@lilypondfile[quote]{rhythms-headword.ly}
This section discusses rhythms, rests, durations, beaming and bars.
@menu
* Writing rhythms::
* Writing rests::
* Displaying rhythms::
* Beams::
* Bars::
* Special rhythmic concerns::
@end menu
@node Writing rhythms
@subsection Writing rhythms
@menu
* Durations::
* Tuplets::
* Scaling durations::
* Ties::
@end menu
@node Durations
@unnumberedsubsubsec Durations
@cindex duration, of note
@cindex note duration
@cindex length of note
@cindex note length
@funindex \longa
@funindex \breve
@funindex \maxima
The durations of notes are entered using numbers and dots. The number
entered is based on the reciprocal value of the length of the note. For
example, a quarter note is designated using the numerical value of
@code{4} as it is a 1/4 note, a half note using @code{2}, an eighth
using @code{8} and so on. Durations as short as @code{1024} notes can be
entered but shorter values, while possible, can only be entered as
beamed notes. Also see @ref{Beams}.
For notes longer than a whole use the @code{\longa} -- double breve --
and @code{\breve} commands. A note with the duration of a quadruple
breve is possible using the @code{\maxima} command but is only supported
within ancient music notation. See @ref{Ancient notation}.
@c Two 64th notes are needed to obtain beams
@lilypond[quote,verbatim]
\relative {
\time 8/1
c''\longa c\breve c1 c2
c4 c8 c16 c32 c64 c128 c128
}
@end lilypond
Here are the same durations with automatic beaming turned off.
@c not strictly "writing rhythms"; more of a "displaying" thing,
@c but it's ok here. -gp
@lilypond[quote,verbatim]
\relative {
\time 8/1
\autoBeamOff
c''\longa c\breve c1 c2
c4 c8 c16 c32 c64 c128 c128
}
@end lilypond
@cindex duration, default
@cindex default note duration
@cindex note duration, default
@cindex duration, isolated
@cindex isolated duration
Isolated durations -- durations without a pitch -- that occur within a
music sequence will take their pitch from the preceding note or chord.
@lilypond[quote,verbatim]
\relative {
\time 8/1
c'' \longa \breve 1 2
4 8 16 32 64 128 128
}
@end lilypond
@cindex pitch, default
@cindex default pitch
@cindex note pitch, default
@cindex pitch, isolated
@cindex isolated pitch
Isolated pitches -- pitches without a duration -- that occur within a
music sequence will take their duration from the preceding note or
chord. If there is no preceding duration, then default for the note is
always @code{4}, a quarter note.
@lilypond[quote,verbatim]
\relative { a' a a2 a a4 a a1 a }
@end lilypond
@cindex note, dotted
@cindex dotted note
@cindex note, double-dotted
@cindex double-dotted note
@funindex .
Place a dot (@code{.}) after the duration to obtain @q{dotted} note
lengths. Double-dotted notes are specified by appending two dots,
and so on.
@lilypond[quote,verbatim]
\relative { a'4 b c4. b8 a4. b4.. c8. }
@end lilypond
@funindex \dotsUp
@funindex \dotsDown
@funindex \dotsNeutral
To avoid clashing with staff lines, dots on notes are normally moved up.
In polyphonic situations however, they can be placed, manually, above or
below the staff as required. See @ref{Direction and placement}.
Some note durations cannot be represented using just numbers and dots
but only by tying two or more notes together. See @ref{Ties}.
To specify durations that align the syllables of lyrics and notes
together see @ref{Vocal music}.
Notes can also be spaced proportionately to their duration, see
@ref{Proportional notation}.
@predefined
@code{\autoBeamOn},
@code{\autoBeamOff},
@code{\dotsUp},
@code{\dotsDown},
@code{\dotsNeutral}.
@endpredefined
@snippets
@cindex breve note, alternative style
@cindex alternative style of breve notes
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{alternative-breve-notes.ly}
@cindex augmentation dot, change number of
@cindex change number of augmentation dots
@cindex dotted note, change number of dots
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-the-number-of-augmentation-dots-per-note.ly}
@seealso
Music Glossary:
@rglos{breve},
@rglos{longa},
@rglos{maxima},
@rglos{note value},
@rglos{Duration names notes and rests}.
Notation Reference:
@ref{Beams},
@ref{Ties},
@ref{Stems},
@ref{Writing rhythms},
@ref{Writing rests},
@ref{Vocal music},
@ref{Ancient notation},
@ref{Proportional notation}.
Snippets:
@rlsr{Rhythms}.
Internals Reference:
@rinternals{Dots},
@rinternals{DotColumn}.
@knownissues
@c Deliberately duplicated in Durations and Rests. -gp
While there is no fundamental limit to rest durations (longest or
shortest), there is a limit to the number of glyphs possible so only
rests between @code{1024} and @code{\maxima} may be printed.
@node Tuplets
@unnumberedsubsubsec Tuplets
@cindex tuplet
@cindex triplet
@funindex \tuplet
Tuplets are made from a music expression with the @code{\tuplet}
command, multiplying the speed of the music expression by a fraction:
@example
\tuplet @var{fraction} @{ @var{music} @}
@end example
@noindent
The fraction's numerator will be printed over or under the notes,
optionally with a bracket. The most common tuplets are triplets
(3@tie{}notes sound within the duration normally allowed for@tie{}2).
@lilypond[quote,verbatim]
\relative {
a'2 \tuplet 3/2 { b4 4 4 }
c4 c \tuplet 3/2 { b4 a g }
}
@end lilypond
@cindex tuplet, grouping
@noindent
When entering long passages of tuplets, having to write a separate
@code{\tuplet} command for each group is inconvenient. It is possible
to specify the duration of one tuplet group directly before the music
in order to have the tuplets grouped automatically:
@lilypond[quote,verbatim]
\relative {
g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
}
@end lilypond
@cindex tuplet bracket, placement
@funindex \tupletUp
@funindex \tupletDown
@funindex \tupletNeutral
Tuplet brackets may be manually placed above or below the staff:
@lilypond[quote,verbatim]
\relative {
\tupletUp \tuplet 3/2 { c''8 d e }
\tupletNeutral \tuplet 3/2 { c8 d e }
\tupletDown \tuplet 3/2 { f,8 g a }
\tupletNeutral \tuplet 3/2 { f8 g a }
}
@end lilypond
Tuplets may be nested:
@lilypond[quote,verbatim]
\relative {
\autoBeamOff
c''4 \tuplet 5/4 { f8 e f \tuplet 3/2 { e[ f g] } } f4
}
@end lilypond
Modifying nested tuplets which begin at the same musical moment must be
done with @code{\tweak}.
To modify the duration of notes without printing a tuplet bracket, see
@ref{Scaling durations}.
@predefined
@code{\tupletUp},
@code{\tupletDown},
@code{\tupletNeutral}.
@endpredefined
@snippets
@cindex tuplet, formatting
@cindex triplet, formatting
@cindex entering multiple tuplets
@cindex tuplet, entering multiple
@funindex tupletNumberFormatFunction
@funindex tupletSpannerDuration
@funindex \tupletSpan
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{entering-several-tuplets-using-only-one--tuplet-command.ly}
@cindex tuplet number, change
@cindex change tuplet number
@funindex TupletNumber
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{changing-the-tuplet-number.ly}
@cindex tuplet number, non-default
@cindex non-default tuplet numbers
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{non-default-tuplet-numbers.ly}
@cindex tuplet bracket, visibility
@cindex visibility of tuplet brackets
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{controlling-tuplet-bracket-visibility.ly}
@cindex beamed tuplet, line break within
@cindex tuplet, beamed, line break within
@funindex Forbid_line_break_engraver
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{permitting-line-breaks-within-beamed-tuplets.ly}
@seealso
Music Glossary:
@rglos{triplet},
@rglos{tuplet},
@rglos{polymetric}.
Learning Manual:
@rlearning{Tweaking methods}.
Notation Reference:
@ref{Direction and placement},
@ref{Time administration},
@ref{Scaling durations},
@ref{The tweak command},
@ref{Polymetric notation}.
Snippets:
@rlsr{Rhythms}.
Internals Reference:
@rinternals{TupletBracket},
@rinternals{TupletNumber},
@rinternals{TimeScaledMusic}.
@node Scaling durations
@unnumberedsubsubsec Scaling durations
@cindex scaling duration
@cindex duration, scaling
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. Factors may also be added by
using Scheme expressions evaluating to a number or musical length
like @code{*#(ly:music-length @var{music})}. This is convenient
for scaling a duration of @samp{1} to let a note or multi-measure
rest stretch to a length derived from a music variable.
Adding a factor 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 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,verbatim]
\relative {
\time 2/4
% Alter durations to triplets
a'4*2/3 gis a
% Normal durations
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 spacer rests may also be modified by
a multiplier. This is useful for skipping many measures, e.g.,
@code{s1*23}.
@cindex compressing music
@cindex expanding music
@funindex \scaleDurations
Longer stretches of music may be compressed by a fraction in the
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 given
scale factor, usually @emph{num}/@emph{den}. Here is an example
showing how music can be compressed and expanded:
@lilypond[quote,verbatim]
\relative {
\time 2/4
% Normal durations
<c'' a>4 c8 a
% Scale music by *2/3
\scaleDurations 2/3 {
<c a f>4. c8 a f
}
% Scale music by *2
\scaleDurations 2 {
<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},
@ref{Invisible rests},
@ref{Polymetric notation}.
Snippets:
@rlsr{Rhythms}.
@knownissues
The calculation of the position within a measure must take into
account all the scaling factors applied to the notes within that
measure and any fractional carry-out from earlier measures. This
calculation is carried out using rational numbers. If an intermediate
numerator or denominator in that calculation exceeds 2^30 the
execution and typesetting will stop at that point without indicating
an error.
@node Ties
@unnumberedsubsubsec Ties
@cindex tie
@funindex ~
A tie connects two adjacent note heads of the same pitch. The tie
in effect extends the duration of a note.
@warning{Ties should not be confused with @emph{slurs}, which
indicate articulation, or @emph{phrasing slurs}, which indicate
musical phrasing. A tie is just a way of extending a note
duration, similar to the augmentation dot.}
A tie is entered by appending a tilde symbol (@code{~}) to the first
of each pair of notes being tied. This indicates that the note
should be tied to the following note, which must be at the same pitch.
@lilypond[quote,verbatim]
{ a'2~ 4~ 16 r r8 }
@end lilypond
Ties can make use of the @q{last explicit pitch} interpretation of
isolated durations:
@lilypond[quote,verbatim]
{ a'2~ 4~ 16 r r8 }
@end lilypond
Ties are used either when the note crosses a bar line, or when
dots cannot be used to denote the rhythm. Ties should also be
used when note values cross larger subdivisions of the measure:
@lilypond[verbatim,quote]
\relative {
r8 c'4.~ 4 r4 |
r8^"not" c2~ 8 r4
}
@end lilypond
If you need to tie many notes across bar lines, it may be
easier to use automatic note splitting, see @ref{Automatic note
splitting}. This mechanism automatically splits long notes, and
ties them across bar lines.
@cindex tie, in chord
@cindex chord, and tie
When a tie is applied to a chord, all note heads whose pitches
match are connected. When no note heads match, no ties will be
created. Chords may be partially tied by placing the ties inside
the chord.
@lilypond[quote,verbatim]
\relative c' {
<c e g>2~ 2 |
<c e g>4~ <c e g c>
<c~ e g~ b> <c e g b> |
}
@end lilypond
@cindex repeating tie
@cindex tie, repeating
@cindex volta bracket, and tie
@cindex tie, and volta bracket
@funindex \repeatTie
When a second alternative of a repeat starts with a tied note, you
have to specify the repeated tie as follows:
@lilypond[quote,verbatim]
\relative {
\repeat volta 2 { c'' g <c e>2~ }
\alternative {
% First alternative: following note is tied normally
{ <c e>2. r4 }
% Second alternative: following note has a repeated tie
{ <c e>2\repeatTie d4 c }
}
}
@end lilypond
@cindex laissez vibrer
@cindex tie, laissez vibrer
@funindex \laissezVibrer
@notation{L.v.}@: ties (@notation{laissez vibrer}) indicate that
notes must not be damped at the end. It is used in notation for
piano, harp and other string and percussion instruments. They can
be entered as follows:
@lilypond[quote,verbatim,fragment]
<c' f' g'>1\laissezVibrer
@end lilypond
@cindex tie, placement
@funindex \tieUp
@funindex \tieDown
@funindex \tieNeutral
Ties may be made to curve up or down manually; see
@ref{Direction and placement}.
@cindex tie, appearance
@cindex tie, dotted
@cindex tie, dashed
@cindex dashed tie
@cindex dotted tie
@funindex \tieDotted
@funindex \tieDashed
@funindex \tieSolid
@funindex \tieDashPattern
@funindex \tieHalfDashed
@funindex \tieHalfSolid
Ties may be made dashed, dotted, or a combination of solid and
dashed.
@lilypond[quote, verbatim]
\relative c' {
\tieDotted
c2~ 2
\tieDashed
c2~ 2
\tieHalfDashed
c2~ 2
\tieHalfSolid
c2~ 2
\tieSolid
c2~ 2
}
@end lilypond
Custom dash patterns can be specified:
@lilypond[quote, verbatim]
\relative c' {
\tieDashPattern #0.3 #0.75
c2~ 2
\tieDashPattern #0.7 #1.5
c2~ 2
\tieSolid
c2~ 2
}
@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 @ref{Slurs}.
Override @var{whiteout} and @var{layer} layout properties of objects
that should cause a gap in ties.
@lilypond[verbatim,quote,ragged-right]
\relative {
\override Tie.layer = #-2
\override Staff.TimeSignature.layer = #-1
\override Staff.KeySignature.layer = #-1
\override Staff.TimeSignature.whiteout = ##t
\override Staff.KeySignature.whiteout = ##t
b'2 b~
\time 3/4
\key a \major
b r4
}
@end lilypond
@predefined
@code{\tieUp},
@code{\tieDown},
@code{\tieNeutral},
@code{\tieDotted},
@code{\tieDashed},
@code{\tieDashPattern},
@code{\tieHalfDashed},
@code{\tieHalfSolid},
@code{\tieSolid}.
@endpredefined
@snippets
@cindex tie, with arpeggios
@cindex arpeggio and ties
@funindex tieWaitForNote
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{using-ties-with-arpeggios.ly}
@cindex tie, manual engraving
@cindex manual engraving of ties
@funindex TieColumn
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{engraving-ties-manually.ly}
@seealso
Music Glossary:
@rglos{tie},
@rglos{laissez vibrer}.
Notation Reference:
@ref{Slurs},
@ref{Automatic note splitting}.
Snippets:
@rlsr{Expressive marks},
@rlsr{Rhythms}.
Internals Reference:
@rinternals{LaissezVibrerTie},
@rinternals{LaissezVibrerTieColumn},
@rinternals{TieColumn},
@rinternals{Tie}.
@knownissues
Switching staves when a tie is active will not produce a slanted tie.
Changing clefs or ottavations during a tie is not really well-defined.
In these cases, a slur may be preferable.
@node Writing rests
@subsection Writing rests
Rests are entered as part of the music in music expressions.
@menu
* Rests::
* Invisible rests::
* Full measure rests::
@end menu
@node Rests
@unnumberedsubsubsec Rests
@cindex rest
@cindex rest, entering durations
@cindex maxima rest
@cindex longa rest
@cindex breve rest
@funindex \rest
@funindex r
@funindex \maxima
@funindex \longa
@funindex \breve
Rests are entered like notes with the note name @code{r}.
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[quote,verbatim]
\new Staff {
% These two lines are just to prettify this example
\time 16/1
\omit Staff.TimeSignature
% Print a maxima rest, equal to four breves
r\maxima
% Print a longa rest, equal to two breves
r\longa
% Print a breve rest
r\breve
r1 r2 r4 r8 r16 r32 r64 r128
}
@end lilypond
@cindex rest, multi-measure
@cindex rest, whole-measure
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}.
@cindex rest, specifying vertical position
To explicitly specify a rest's vertical position, write a note
followed by @code{\rest}. A rest of the duration of the note will
be placed at the staff position where the note would appear. This
allows for precise manual formatting of polyphonic music, since the
automatic rest collision formatter will not move these rests.
@lilypond[quote,verbatim]
\relative { a'4\rest d4\rest }
@end lilypond
@snippets
@cindex style, rests
@cindex rest, style
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{rest-styles.ly}
@seealso
Music Glossary:
@rglos{breve},
@rglos{longa},
@rglos{maxima}.
Notation Reference:
@ref{Full measure rests}.
Snippets:
@rlsr{Rhythms}.
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
are rests from 1024th to maxima (8× whole).
@node Invisible rests
@unnumberedsubsubsec Invisible rests
@cindex skip
@cindex invisible rest
@cindex rest, invisible
@cindex spacer note
@cindex spacer rest
@funindex s
@funindex \skip
An invisible rest (also called a @q{spacer rest}) can be entered
like a note with the note name@tie{}@code{s}:
@lilypond[verbatim,quote]
\relative c'' {
c4 c s c |
s2 c |
}
@end lilypond
@cindex lyrics, skip
Spacer rests are available only in note mode and chord mode. In
other situations, for example, when entering lyrics, the
command @code{\skip} is used to skip a musical moment.
@code{\skip} requires an explicit duration, but this is ignored if
the lyrics derive their durations from the notes in an associated
melody through @code{\addlyrics} or @code{\lyricsto}.
@lilypond[quote,verbatim]
<<
{
a'2 \skip2 a'2 a'2
}
\new Lyrics {
\lyricmode {
foo2 \skip 1 bla2
}
}
>>
@end lilypond
Because @code{\skip} is a command, it does not affect the default
durations of following notes, unlike@tie{}@code{s}.
@lilypond[quote,verbatim]
<<
{
\repeat unfold 8 { a'4 }
}
{
a'4 \skip 2 a' |
s2 a'
}
>>
@end lilypond
A spacer rest implicitly causes @code{Staff} and @code{Voice}
contexts to be created if none exist, just like notes and rests
do:
@lilypond[quote,verbatim]
{ s1 s s }
@end lilypond
@code{\skip} simply skips musical time; it creates no output of
any kind.
@lilypond[quote,verbatim]
% This is valid input, but does nothing
{ \skip 1 \skip1 \skip 1 }
@end lilypond
@seealso
Learning Manual:
@rlearning{Visibility and color of objects}.
Notation Reference:
@ref{Hidden notes},
@ref{Visibility of objects}.
Snippets:
@rlsr{Rhythms}.
Internals Reference:
@rinternals{SkipMusic}.
@node Full measure rests
@unnumberedsubsubsec Full measure rests
@cindex multi-measure rest
@cindex full-measure rest
@cindex rest, multi-measure
@cindex rest, full-measure
@cindex whole rest, for a full measure
@cindex rest, whole, for a full measure
@funindex \compressMMRests
@funindex R
Rests for one or more full measures are entered like notes with
the note name uppercase @samp{R}. Their duration is entered
identically to the duration notation used for notes, including
the ability to use duration multipliers, as explained in
@ref{Scaling durations}:
@lilypond[quote,verbatim]
% Rest measures contracted to single measure
\compressMMRests {
R1*4
R1*24
R1*4
b'2^"Tutti" b'4 a'4
}
@end lilypond
The example above also demonstrates how to compress
multiple empty measures, as explained in
@ref{Compressing empty measures}.
The duration of a multi-measure rest must always be equal to the
length of one or several measures. Therefore, some time signatures
require the use of augmentation dots or fractions:
@lilypond[quote,verbatim]
\compressMMRests {
\time 2/4
R1 | R2 |
\time 3/4
R2. | R2.*2 |
\time 13/8
R1*13/8 | R1*13/8*12 |
\time 10/8
R4*5*4 |
}
@end lilypond
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]
\time 4/4
R1 |
\time 6/4
R1*3/2 |
\time 8/4
R1*2 |
@end lilypond
@cindex text, on multi-measure rest
@cindex multi-measure rest, attaching text
@cindex script, on multi-measure rest
@cindex multi-measure rest, script
@cindex fermata, on multi-measure rest
@cindex multi-measure rest, attaching fermata
@cindex markup, on multi-measure rest
@cindex multi-measure rest, with markup
@funindex MultiMeasureRestText
@funindex MultiMeasureRestScript
Markups can be added to multi-measure rests.
@lilypond[quote,verbatim]
\compressMMRests {
\time 3/4
R2.*10^\markup { \italic "ad lib." }
}
@end lilypond
@warning{Markups and articulations attached to a multi-measure rest
are objects of types @code{MultiMeasureRestText} and
@code{MultiMeasureRestScript}, not @code{TextScript} and
@code{Script}. Overrides must
be directed to the correct object, or they will be ignored. See the
following example:}
@lilypond[quote,verbatim,fragment]
% This fails, as the wrong object name is specified
\override TextScript.padding = #5
\override Script.color = #blue
R1^"wrong"
R1\fermata
% This is the correct object name to be specified
\override MultiMeasureRestText.padding = #5
\override MultiMeasureRestScript.color = #blue
R1^"right"
R1\fermata
@end lilypond
When a multi-measure rest immediately follows a @code{\partial}
setting, resulting bar-check warnings may not be displayed.
@funindex \textLengthOn
@funindex \textLengthOff
@funindex \compressMMRests
@predefined
@code{\textLengthOn},
@code{\textLengthOff},
@code{\compressMMRests}.
@endpredefined
@snippets
@cindex multi-measure rest, length
@cindex length of multi-measure rest
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{multi-measure-rest-length-control.ly}
@cindex multi-measure rest, positioning
@cindex position, multi-measure rest
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{positioning-multi-measure-rests.ly}
@cindex multi-measure rest, markup
@cindex markup, multi-measure rest
@funindex \textLengthOn
@funindex \textLengthOff
@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{multi-measure-rest-markup.ly}
@seealso
Music Glossary:
@rglos{multi-measure rest}.
Notation Reference:
@ref{Durations},
@ref{Scaling durations},
@ref{Compressing empty measures},
@ref{Text},