LilyPond snippets: Rhythms

# Rhythms

Rhythms

## Adding beams slurs ties etc. when using tuplet and non-tuplet 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\( a b d' e' } a'4.\)
    }

## Adding drum parts

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-extent = #'(-1 . 1)
        } <<
          \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)
        }
      }
    }

## Adjusting grace note spacing

The space given to grace notes can be adjusted using the `spacing-increment` property of `Score.GraceSpacing`.

    graceNotes = {
      \grace { c4 c8 c16 c32 }
      c8
    }

    \relative c'' {
      c8
      \graceNotes
      \override Score.GraceSpacing #'spacing-increment = #2.0
      \graceNotes
      \revert Score.GraceSpacing #'spacing-increment
      \graceNotes
    }

## Aligning bar numbers

Bar numbers by default are right-aligned to their parent object. This is usually the left edge of a line or, if numbers are printed within a line, the left hand side of a bar line. The numbers may also be positioned directly over the bar line or left-aligned to the bar line.

    \relative c' {
      \set Score.currentBarNumber = #111
      \override Score.BarNumber #'break-visibility = #all-visible
      % Increase the size of the bar number by 2
      \override Score.BarNumber #'font-size = #2
      % Print a bar number every second measure
      \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
      c1 | c1
      % Center-align bar numbers
      \override Score.BarNumber #'self-alignment-X = #CENTER
      c1 | c1
      % Left-align bar numbers
      \override Score.BarNumber #'self-alignment-X = #LEFT
      c1 | c1
    }

## Automatic beam subdivisions

Beams can be subdivided automatically. By setting the property `subdivideBeams`, beams are subdivided at beat positions (as specified in `baseMoment`).

    \new Staff {
      \relative c'' {
        <<
          {
            \voiceOne
            \set subdivideBeams = ##t
            b32[ a g f c' b a g
            b32^"subdivide beams" a g f c' b a g]
          }
          \new Voice {
            \voiceTwo
            b32_"default"[ a g f c' b a g
            b32 a g f c' b a g]
          }
        >>
        \oneVoice
        \set baseMoment = #(ly:make-moment 1 8)
        \set beatStructure = #'(2 2 2 2)
        b32^"baseMoment 1 8"[ a g f c' b a g]
        \set baseMoment = #(ly:make-moment 1 16)
        \set beatStructure = #'(4 4 4 4)
        b32^"baseMoment 1 16"[ a g f c' b a g]
      }
    }

## Avoiding collisions with chord fingerings

Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.

    \relative c' {
      \set fingeringOrientations = #'(up)
      \set stringNumberOrientations = #'(up)
      \set strokeFingerOrientations = #'(up)

      % Default behavior
      r8
      <f c'-5>8
      <f c'\5>8
      <f c'-\rightHandFinger #2 >8

      % Corrected to avoid collisions
      r8
      \override Fingering #'add-stem-support = ##t
      <f c'-5>8
      \override StringNumber #'add-stem-support = ##t
      <f c'\5>8
      \override StrokeFinger #'add-stem-support = ##t
      <f c'-\rightHandFinger #2 >8
    }

## Beam endings in Score context

Beat structure rules specified in the `Score` context apply to all staves, but can be modified at both `Staff` and `Voice` levels:

    \relative c'' {
      \time 5/4
      % Set default beaming for all staves
      \set Score.baseMoment = #(ly:make-moment 1 8)
      \set Score.beatStructure = #'(3 4 3)
      <<
        \new Staff {
          c8 c c c c c c c c c
        }
        \new Staff {
          % Modify beaming for just this staff
          \set Staff.beatStructure = #'(6 4)
          c8 c c c c c c c c c
        }
        \new Staff {
          % Inherit beaming from Score context
          <<
            {
              \voiceOne
              c8 c c c c c c c c c
            }
            % Modify beaming for this voice only
            \new Voice {
              \voiceTwo
              \set Voice.beatStructure = #'(6 4)
              a8 a a a a a a a a a
            }
          >>
        }
      >>
    }

## Beam grouping in 7/8 time

There is no default beat structure specified for 7/8 time, so if automatic beams are required the structure must be specified. For example, to group all beams 2-3-2 in 7/8 time, specify the beat structure to be (2 3 2):

    \relative c'' {
      \time 7/8
      % rhythm 2-3-2
      a8 a a a a a a
      \set Score.beatStructure = #'(2 3 2)
      a8 a a a a a a
    }

## Beams across line breaks

Line breaks are normally forbidden when beams cross bar lines. This behavior can be changed as shown:

    \relative c'' {
      \override Beam #'breakable = ##t
      c8 c[ c] c[ c] c[ c] c[ \break
      c8] c[ c] c[ c] c[ c] c
    }

## Changing beam knee gap

Kneed beams are inserted automatically when a large gap is detected between the note heads. This behavior can be tuned through the `auto-knee-gap` property. A kneed beam is drawn if the gap is larger than the value of `auto-knee-gap` plus the width of the beam object (which depends on the duration of the notes and the slope of the beam). By default `auto-knee-gap` is set to 5.5 staff spaces.

    {
      f8 f''8 f8 f''8
      \override Beam #'auto-knee-gap = #6
      f8 f''8 f8 f''8
    }

## Changing form of multi-measure rests

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
    }

## Changing the number of augmentation dots per note

This code demonstrates how to change the number of augmentation dots on a single note.

    \relative c' {
      c4.. a16 r2 |
      \override Dots #'dot-count = #4
      c4.. a16 r2 |
      \override Dots #'dot-count = #0
      c4.. a16 r2 |
      \revert Dots #'dot-count
      c4.. a16 r2 |
    }

## Changing the tempo without a metronome mark

To change the tempo in MIDI output without printing anything, make the metronome mark invisible.

    \score {
      \new Staff \relative c' {
        \tempo 4 = 160
        c4 e g b
        c4 b d c
        \set Score.tempoHideNote = ##t
        \tempo 4 = 96
        d,4 fis a cis
        d4 cis e d
      }
      \layout { }
      \midi { }
    }

## Changing the time signature without affecting the beaming

The `\time` command sets the properties `timeSignatureFraction`, `beatLength`, `beatGrouping` and `measureLength` in the `Timing` context, which is normally aliased to `Score`. Changing the value of `timeSignatureFraction` causes the new time signature symbol to be printed without changing any of the other properties:

    \markup {
      This snippet is deprecated as of 2.13.5 and will be removed in 2.14
    }

## Changing the tuplet number

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 }
    }

## Changing time signatures inside a polymetric section using \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 6 5)
          b8 b b b b b
          \time 2/4
          \set Timing.measureLength = #(ly:make-moment 4 5)
          b4 b
        }
      }
      \new Staff {
        \clef bass
        \time 2/4
        c2 d e f
      }
    >>

## Chant or psalms notation

This form of notation is used for the chant of the Psalms, where verses aren’t always the same length.

    stemOn = { \revert Staff.Stem #'transparent }
    stemOff = { \override Staff.Stem #'transparent = ##t }

    \score {
      \new Staff \with { \remove "Time_signature_engraver" }
      {
        \key g \minor
        \cadenzaOn
        \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 "||"
      }
    }

## Compound time signatures

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) grob)
       (grob-interpret-markup grob
                              (markup #:override '(baseline-skip . 0) #:number
                                      (#:line ((#:column (one num))
                                               #:vcenter "+"
                                               (#:column (two num)))))))

    \relative c' {
      \override Staff.TimeSignature #'stencil = #(compound-time "2" "3" "8")
      \time 5/8
      \set Staff.beatStructure = #'(2 3)
      c8 d e fis gis
      c8 fis, gis e d
      c8 d e4 gis8
    }

## Conducting signs measure grouping signs

Beat grouping within a measure is controlled by the context property `beatStructure`. Values of `beatStructure` are established for many time signatures in ‘`scm/time-signature-settings.scm`’. Values of `beatStructure` can be changed or set with `\set`. Alternatively, the Scheme function `set-time-signature` can be used to both set the time signature and establish the beat structure. `set-time-signature`, takes three arguments: the number of beats, the beat length, and the internal grouping of beats in the measure. `\time` and `set-time-signature` both apply to the `Timing` context, so they will not reset values of `beatStructure` or `baseMoment` that are set in other lower-level contexts, such as `Voice`.

If the `Measure_grouping_engraver` is included in one of the display contexts, measure grouping signs will be created. Such signs ease reading rhythmically complex modern music. In the example, the 9/8 measure is grouped in two different patterns using the two different methods, while the 5/8 measure is grouped according to the default setting in ‘`scm/time-signature-settings.scm`’:

    \score {
      \new Voice \relative c'' {
        \time 9/8
        g8 g d d g g a( bes g) |
        \set Timing.beatStructure = #'(2 2 2 3)
        g8 g d d g g a( bes g) |
        #(set-time-signature 9 8 '(4 5))
        g8 g d d g g a( bes g) |
        \time 5/8
        a4. g4 |
      }
      \layout {
        \context {
          \Staff
          \consists "Measure_grouping_engraver"
        }
      }
    }

## Controlling tuplet bracket visibility

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 `'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).

    music = \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' {
        << \music s4^"default" >>
        \override TupletBracket #'bracket-visibility = #'if-no-beam
        << \music s4^"'if-no-beam" >>
        \override TupletBracket #'bracket-visibility = ##t
        << \music s4^"#t" >>
        \override TupletBracket #'bracket-visibility = ##f
        << \music s4^"#f" >>
      }
    }

## Creating metronome marks in markup mode

New metronome marks can be created in markup mode, but they will not change the tempo in MIDI output.

    \relative c' {
      \tempo \markup {
        \concat {
          (
          \smaller \general-align #Y #DOWN \note #"16." #1
          " = "
          \smaller \general-align #Y #DOWN \note #"8" #1
          )
        }
      }
      c1
      c4 c' c,2
    }

## Engraving ties manually

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>2 ~ <c e g>
    }

## Engraving tremolos with floating beams

If a tremolo’s total duration is less than a quarter-note, or exactly a half-note, or between a half-note and a whole-note, it is normally typeset with all beams touching the stems. Certain engraving styles typeset some of these beams as centered floating beams that do not touch the stems. The number of floating beams in this type of tremolo is controlled with the `'gap-count` property of the `Beam` object, and the size of the gaps between beams and stems is set with the `'gap` property.

    \relative c'' {
      \repeat tremolo 8 { a32 f }
      \override Beam #'gap-count = #1
      \repeat tremolo 8 { a32 f }
      \override Beam #'gap-count = #2
      \repeat tremolo 8 { a32 f }
      \override Beam #'gap-count = #3
      \repeat tremolo 8 { a32 f }

      \override Beam #'gap-count = #3
      \override Beam #'gap = #1.33
      \repeat tremolo 8 { a32 f }
      \override Beam #'gap = #1
      \repeat tremolo 8 { a32 f }
      \override Beam #'gap = #0.67
      \repeat tremolo 8 { a32 f }
      \override Beam #'gap = #0.33
      \repeat tremolo 8 { a32 f }
    }

## Entering several tuplets using only one \times command

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.

Read the relevant sections of the Notation Reference for more information about `ly:make-moment`.

    \relative c' {
      \time 2/4
      \set tupletSpannerDuration = #(ly:make-moment 1 4)
      \times 2/3 { c8 c c c c c }
    }

## Flat flags and beam nibs

Flat flags on lone notes and beam nibs at the ends of beamed figures are both possible with a combination of `stemLeftBeamCount`, `stemRightBeamCount` and paired `[]` beam indicators.

For right-pointing flat flags on lone notes, use paired `[]` beam indicators and set `stemLeftBeamCount` to zero (see Example 1).

For left-pointing flat flags, set `stemRightBeamCount` instead (Example 2).

For right-pointing nibs at the end of a run of beamed notes, set `stemRightBeamCount` to a positive value. And for left-pointing nibs at the start of a run of beamed notes, set `stemLeftBeamCount` instead (Example 3).

Sometimes it may make sense for a lone note surrounded by rests to carry both a left- and right-pointing flat flag. Do this with paired `[]` beam indicators alone (Example 4).

(Note that `\set stemLeftBeamCount` is always equivalent to `\once \set`. In other words, the beam count settings are not “sticky”, so the pair of flat flags attached to the lone `c'16[]` in the last example have nothing to do with the `\set` two notes prior.)

    \score {
      <<
        % Example 1
        \new RhythmicStaff {
          \set stemLeftBeamCount = #0
          c16[]
          r8.
        }
        % Example 2
        \new RhythmicStaff {
          r8.
          \set stemRightBeamCount = #0
          c16[]
        }
        % Example 3
        \new RhythmicStaff {
          c16 c
          \set stemRightBeamCount = #2
          c16 r r
          \set stemLeftBeamCount = #2
          c16 c c
        }
        % Example 4
        \new RhythmicStaff {
          c16 c
          \set stemRightBeamCount = #2
          c16 r
          c16[]
          r16
          \set stemLeftBeamCount = #2
          c16 c
        }
      >>
    }

## Forcing rehearsal marks to start from a given letter or number

This snippet demonstrates how to obtain automatic ordered rehearsal marks, but from the letter or number desired.

    \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
    }

## Generating custom flags

The `flag` property of the Stem grob can be set to a custom scheme function to generate the glyph for the flag.

    #(define-public (weight-flag stem-grob)
       (let* ((log (- (ly:grob-property stem-grob 'duration-log) 2))
              (is-up? (eqv? (ly:grob-property stem-grob 'direction) UP))
              (yext (if is-up? (cons (* log -0.8) 0) (cons 0 (* log 0.8))))
              (flag-stencil (make-filled-box-stencil '(-0.4 . 0.4) yext))
              (stroke-style (ly:grob-property stem-grob 'stroke-style))
              (stroke-stencil (if (equal? stroke-style "grace")
                                  (make-line-stencil 0.2 -0.9 -0.4 0.9 -0.4)
                                  empty-stencil)))
         (ly:stencil-add flag-stencil stroke-stencil)))

    % Create a flag stencil by looking up the glyph from the font
    #(define (inverted-flag stem-grob)
       (let* ((dir (if (eqv? (ly:grob-property stem-grob 'direction) UP) "d" "u"))
              (flag (retrieve-glyph-flag "" dir "" stem-grob))
              (line-thickness (ly:staff-symbol-line-thickness stem-grob))
              (stem-thickness (ly:grob-property stem-grob 'thickness))
              (stem-width (* line-thickness stem-thickness))
              (stroke-style (ly:grob-property stem-grob 'stroke-style))
              (stencil (if (null? stroke-style)
                           flag
                           (add-stroke-glyph flag stem-grob dir stroke-style "")))
              (rotated-flag (ly:stencil-rotate-absolute stencil 180 0 0)))
         (ly:stencil-translate rotated-flag (cons (- (/ stem-width 2)) 0))))

    snippetexamplenotes = { \autoBeamOff c'8 d'16 c'32 d'64 \acciaccatura {c'8} d'64 }

    {
      \override Score.RehearsalMark #'self-alignment-X = #LEFT
      \time 1/4
      \mark "Normal flags"
      \snippetexamplenotes

      \mark "Custom flag: inverted"
      \override Stem #'flag = #inverted-flag
      \snippetexamplenotes

      \mark "Custom flag: weight"
      \override Stem #'flag = #weight-flag
      \snippetexamplenotes

      \mark "Revert to normal"
      \revert Stem #'flag
      \snippetexamplenotes
    }

## Grouping beats

Beaming patterns may be altered with the `beatGrouping` property:

    \markup {
      This snippet is deprecated as of version 2.13.5 and will be removed
      in version 2.14.
    }

## Guitar strum rhythms

For guitar music, it is possible to show strum rhythms, along with melody notes, chord names and fret diagrams.

    \include "predefined-guitar-fretboards.ly"
    <<
      \new ChordNames {
        \chordmode {
          c1 | f | g | c
        }
      }
      \new FretBoards {
        \chordmode {
          c1 | f | g | c
        }
      }
      \new Voice \with {
        \consists "Pitch_squash_engraver"
      } {
        \relative c'' {
          \improvisationOn
          c4 c8 c c4 c8 c
          f4 f8 f f4 f8 f
          g4 g8 g g4 g8 g
          c4 c8 c c4 c8 c
        }
      }
      \new Voice = "melody" {
        \relative c'' {
          c2 e4 e4
          f2. r4
          g2. a4
          e4 c2.
        }
      }
      \new Lyrics {
        \lyricsto "melody" {
          This is my song.
          I like to sing.
        }
      }
    >>

## Heavily customized polymetric time signatures

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 plus (markup #:vcenter "+"))
    #(define ((custom-time-signature one two three four five six
                                     seven eight nine ten eleven num) grob)
       (grob-interpret-markup grob
                              (markup #:override '(baseline-skip . 0) #:number
                                      (#:line ((#:column (one num)) plus
                                               (#:column (two num)) plus
                                               (#:column (three num)) plus
                                               (#:column (four num)) plus
                                               (#:column (five num)) plus
                                               (#:column (six num)) plus
                                               (#:column (seven num)) plus
                                               (#:column (eight num)) plus
                                               (#:column (nine num)) plus
                                               (#:column (ten num)) plus
                                               (#:column (eleven num)))))))
    melody = \relative c'' {
      \set Staff.instrumentName = #"Bb Sop."
      \key g \major
      #(set-time-signature 25 8 '(3 2 2 3 2 2 2 2 3 2 2))
      \override Staff.TimeSignature #'stencil =
        #(custom-time-signature "3" "2" "2" "3" "2" "2"
          "2" "2" "3" "2" "2" "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
    }

## Making an object invisible with the ’transparent property

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.

    \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
        }
      >>
    }

## Making slurs with complex dash structure

Slurs can be made with complex dash patterns by defining the `dash-definition` property. `dash-definition` is a list of `dash-elements`. A `dash-element` is a list of parameters defining the dash behavior for a segment of the slur.

The slur is defined in terms of the bezier parameter t which ranges from 0 at the left end of the slur to 1 at the right end of the slur. `dash-element` is a list `(start-t stop-t dash-fraction dash-period)`. The region of the slur from `start-t` to `stop-t` will have a fraction `dash-fraction` of each `dash-period` black. `dash-period` is defined in terms of staff spaces. `dash-fraction` is set to 1 for a solid slur.

    \relative c' {
      \once \override
        Slur #'dash-definition = #'((0 0.3 0.1 0.75)
                                    (0.3 0.6 1 1)
                                    (0.65 1.0 0.4 0.75))
      c4( d e f)
      \once \override
        Slur #'dash-definition = #'((0 0.25 1 1)
                                    (0.3 0.7 0.4 0.75)
                                    (0.75 1.0 1 1))
      c4( d e f)
    }

## Manually controlling beam positions

Beam positions may be controlled manually, by overriding the `positions` setting of the `Beam` grob.

    \relative c' {
      \time 2/4
      % from upper staff-line (position 2) to center (position 0)
      \override Beam #'positions = #'(2 . 0)
      c8 c
      % from center to one above center (position 1)
      \override Beam #'positions = #'(0 . 1)
      c8 c
    }

## Merging multi-measure rests in a polyphonic part

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
        }
      >>
    }

## Modifying tuplet bracket length

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.
    }

## Moving dotted notes in polyphony

When a dotted note in the upper voice is moved to avoid a collision with a note in another voice, the default is to move the upper note to the right. This behaviour can be over-ridden by using the `prefer-dotted-right` property of `NoteCollision`.

    \new Staff \relative c' <<
      { f2. f4
        \override Staff.NoteCollision #'prefer-dotted-right = ##f
        f2. f4
        \override Staff.NoteCollision #'prefer-dotted-right = ##t
        f2. f4
      }
      \\
      { e4 e e e e e e e e e e e}
    >>

## Multi-measure rest markup

Markups attached to a multi-measure rest will be centered above or below it. Long markups attached to multi-measure rests do not cause the measure to expand. To expand a multi-measure rest to fit the markup, use a spacer rest with an attached markup before the multi-measure rest.

Note that the spacer rest causes a bar line to be inserted. Text attached to a spacer rest in this way is left-aligned to the position where the note would be placed in the measure, but if the measure length is determined by the length of the text, the text will appear to be centered.

    \relative c' {
      \compressFullBarRests
      \textLengthOn
      s1*0^\markup { [MAJOR GENERAL] }
      R1*19
      s1*0_\markup { \italic { Cue: ... it is yours } }
      s1*0^\markup { A }
      R1*30^\markup { [MABEL] }
      \textLengthOff
      c4^\markup { CHORUS } d f c
    }

## Non-default tuplet numbers

LilyPond also provides formatting functions to print tuplet numbers different than the actual fraction, as well as to append a note value to the tuplet number or tuplet fraction.

    \relative c'' {
      \once \override TupletNumber #'text =
        #(tuplet-number::non-default-tuplet-denominator-text 7)
      \times 2/3  { c4. c4. c4. c4. }
      \once \override TupletNumber #'text =
        #(tuplet-number::non-default-tuplet-fraction-text 12 7)
      \times 2/3  { c4. c4. c4. c4. }
      \once \override TupletNumber #'text =
        #(tuplet-number::append-note-wrapper
          (tuplet-number::non-default-tuplet-fraction-text 12 7) "8")
      \times 2/3  { c4. c4. c4. c4. }

      \once \override TupletNumber #'text =
        #(tuplet-number::append-note-wrapper
          tuplet-number::calc-denominator-text "4")
      \times 2/3  { c8 c8 c8 c8 c8 c8 }
      \once \override TupletNumber #'text =
        #(tuplet-number::append-note-wrapper
          tuplet-number::calc-fraction-text "4")
      \times 2/3  { c8 c8 c8 c8 c8 c8 }

      \once \override TupletNumber #'text =
        #(tuplet-number::fraction-with-notes "4." "8")
      \times 2/3  { c4. c4. c4. c4. }
      \once \override TupletNumber #'text =
        #(tuplet-number::non-default-fraction-with-notes 12 "8" 4 "4")
      \times 2/3  { c4. c4. c4. c4. }
    }

## Partcombine and autoBeamOff

The function of `\autoBeamOff` when used with `\partcombine` can be difficult to understand.

It may be preferable to use

`\set Staff.autoBeaming = ##f`

instead, to ensure that autobeaming will be turned off for the entire staff.

`\partcombine` apparently works with 3 voices – stem up single, stem down single, stem up combined.

An `\autoBeamOff` call in the first argument to partcombine will apply to the voice that is active at the time the call is processed, either stem up single or stem up combined. An `\autoBeamOff` call in the second argument will apply to the voice that is stem down single.

In order to use `\autoBeamOff` to stop all autobeaming when used with `\partcombine`, it will be necessary to use three calls to `\autoBeamOff`.

    {
      %\set Staff.autoBeaming = ##f % turns off all autobeaming
      \partcombine
      {
        \autoBeamOff % applies to split up stems
        \repeat unfold 4 a'16
        %\autoBeamOff % applies to combined up stems
        \repeat unfold 4 a'8
        \repeat unfold 4 a'16
      }
      {
        \autoBeamOff % applies to down stems
        \repeat unfold 4 f'8
        \repeat unfold 8 f'16 |
      }
    }

## Permitting line breaks within beamed tuplets

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 5 { \times 2/3 { c[ b a] } }
      % Insert a manual line break within a tuplet
      \times 2/3 { c[ b \bar "" \break a] }
      \repeat unfold 5 { \times 2/3 { c[ b a] } }
      c8
    }

## Positioning grace note beams at the height of normal note beams

When notes are placed on ledger lines, their beams are usually centred on the stave. Grace notes beams are shorter and grace notes on ledger lines may well have beams outside the stave. You can override this beaming for grace notes.

    \relative c {
      f8[ e]
      \grace {
        f8[ e]
        \override Stem  #'no-stem-extend = ##f
        f8[ e]
        \revert Stem #'no-stem-extend
      }
      f8[ e]
    }

## Positioning grace notes with floating space

Setting the property `'strict-grace-spacing` makes the musical columns for grace notes ’floating’, i.e., decoupled from the non-grace notes: first the normal notes are spaced, then the (musical columns of the) graces are put left of the musical columns for the main notes.

    \relative c'' {
      <<
        \override Score.SpacingSpanner #'strict-grace-spacing = ##t
        \new Staff \new Voice {
          \afterGrace c4 { c16[ c8 c16] }
          c8[ \grace { b16[ d] } c8]
          c4 r
        }
        \new Staff {
          c16 c c c c c c c c4 r
        }
      >>
    }

## Positioning multi-measure rests

Unlike ordinary rests, there is no predefined command to change the staff position 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'' {
      % MMR - Multi-Measure Rest
      % MMRs by default are set under the fourth 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
      % MMRs in odd-numbered voices are under the top line
      << { R1 } \\ { a1 } >>
      % MMRs 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 }
      >>
    }

## Preventing final mark from removing final tuplet

The addition of a final `mark` can result in the loss of a final tuplet marking. This can be overcome by setting `TupletBracket #'full-length-to-extent` to `false`.

    \new Staff {
       \set tupletFullLength = ##t
       \time 1/8
       \times 2/3 { c'16 c'16 c'16 }
       \times 2/3 { c'16 c'16 c'16 }
       \times 2/3 { c'16 c'16 c'16 }
       \override Score.RehearsalMark #'break-visibility = #'#(#t #t #t)
       \override Score.RehearsalMark #'direction = #DOWN
       \override Score.RehearsalMark #'self-alignment-X = #RIGHT
       \mark "Composed Feb 2007 - Feb 2008"
    }

    \new Staff {
      \set tupletFullLength = ##t

      \override TupletBracket #'full-length-to-extent = ##f

      \time 1/8
      \times 2/3 { c'16 c'16 c'16 }
      \times 2/3 { c'16 c'16 c'16 }
      \times 2/3 { c'16 c'16 c'16 }
      \override Score.RehearsalMark #'break-visibility = #'#(#t #t #t)
      \override Score.RehearsalMark #'direction = #DOWN
      \override Score.RehearsalMark #'self-alignment-X = #RIGHT
      \mark "Composed Feb 2007 - Feb 2008"
    }

## Printing bar numbers at regular intervals

Bar numbers can be printed at regular intervals by setting the property `barNumberVisibility`. Here the bar numbers are printed every two measures except at the end of the line.

    \relative c' {
      \override Score.BarNumber #'break-visibility = #end-of-line-invisible
      \set Score.currentBarNumber = #11
      % Permit first bar number to be printed
      \bar ""
      % Print a bar number every second measure
      \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
      c1 | c | c | c | c
      \break
      c1 | c | c | c | c
    }

## Printing bar numbers inside boxes or circles

Bar numbers can also be printed inside boxes or circles.

    \relative c' {
      % Prevent bar numbers at the end of a line and permit them elsewhere
      \override Score.BarNumber #'break-visibility = #end-of-line-invisible
      \set Score.barNumberVisibility = #(every-nth-bar-number-visible 4)

      % Increase the size of the bar number by 2
      \override Score.BarNumber #'font-size = #2

      % Draw a box round the following bar number(s)
      \override Score.BarNumber #'stencil
        = #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
      \repeat unfold 5 { c1 }

      % Draw a circle round the following bar number(s)
      \override Score.BarNumber #'stencil
        = #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
      \repeat unfold 4 { c1 } \bar "|."
    }

## Printing metronome and rehearsal marks below the staff

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
    }

## Printing music with different time signatures

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 `Default_barline_engraver` and `Timing_translator` are moved from the `Score` context to the `Staff` context.

If bar numbers are required, the `Bar_number_engraver` should also be moved, since it relies on properties set by the `Timing_translator`; a `\with` block can be used to add bar numbers to the relevant staff.

    \paper {
      indent = #0
      ragged-right = ##t
    }

    global = { \time 3/4 { s2.*3 } \bar "" \break { s2.*3 } }

    \layout {
      \context {
        \Score
        \remove "Timing_translator"
        \remove "Default_bar_line_engraver"
        \remove "Bar_number_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"
      }
      \context {
        \Voice
        \remove "Forbid_line_break_engraver"
        tupletFullLength = ##t
      }
    }

    Bassklarinette = \new Staff \with {
      \consists "Bar_number_engraver"
      barNumberVisibility = #(every-nth-bar-number-visible 2)
      \override BarNumber #'break-visibility = #end-of-line-invisible
    } <<
      \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
      >>
    }

## Printing the bar number for the first measure

By default, the first bar number in a score is suppressed if it is less than or equal to ‘1’. By setting `barNumberVisibility` to `all-bar-numbers-visible`, any bar number can be printed for the first measure and all subsequent measures. Note that an empty bar line must be inserted before the first note for this to work.

    \relative c' {
      \set Score.barNumberVisibility = #all-bar-numbers-visible
      \bar ""
      c1 | d | e | f \break
      g1 | e | d | c
    }

## Redefining grace note global defaults

The global defaults for grace notes are stored in the identifiers `startGraceMusic`, `stopGraceMusic`, `startAcciaccaturaMusic`, `stopAcciaccaturaMusic`, `startAppoggiaturaMusic` and `stopAppoggiaturaMusic`, which are defined in the file `ly/grace-init.ly`. By redefining them other effects may be obtained.

    startAcciaccaturaMusic = {
      s1*0(
      \override Stem #'stroke-style = #"grace"
      \slurDashed
    }

    stopAcciaccaturaMusic = {
      \revert Stem #'stroke-style
      \slurSolid
      s1*0)
    }

    \relative c'' {
      \acciaccatura d8 c1
    }

## Removing bar numbers from a score

Bar numbers can be removed entirely by removing the `Bar_number_engraver` from the `Score` context.

    \layout {
      \context {
        \Score
        \remove "Bar_number_engraver"
      }
    }

    \relative c'' {
      c4 c c c \break
      c4 c c c
    }

## Removing connecting bar lines on StaffGroup PianoStaff or GrandStaff

By default, bar lines in StaffGroup, PianoStaff, or GrandStaff groups are connected between the staves. This behaviour can be overridden on a staff-by-staff basis.

    \relative c' {
      \new StaffGroup <<
        \new Staff {
          e1 | e
          \once \override Staff.BarLine #'allow-span-bar = ##f
          e1 | e | e
        }
        \new Staff {
          c1 | c | c
          \once \override Staff.BarLine #'allow-span-bar = ##f
          c1 | c
        }
        \new Staff {
          a1 | a | a | a | a
        }
      >>
    }

## Rest styles

Rests may be used in various styles.

    \layout {
      indent = 0
      \context {
        \Staff
        \remove "Time_signature_engraver"
      }
    }

    \new Staff \relative c {
      \cadenzaOn
      \override Staff.Rest #'style = #'mensural
      r\maxima^\markup \typewriter { mensural }
      r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
      \bar ""

      \override Staff.Rest #'style = #'neomensural
      r\maxima^\markup \typewriter { neomensural }
      r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
      \bar ""

      \override Staff.Rest #'style = #'classical
      r\maxima^\markup \typewriter { classical }
      r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
      \bar ""

      \override Staff.Rest  #'style = #'default
      r\maxima^\markup \typewriter { default }
      r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
    }

## Reverting default beam endings

To typeset beams grouped `3-4-3-2` one need only change the beat structure:

    \relative c'' {
      \time 12/8

      % Default beaming
      a8 a a a a a a a a a a a

      % Set new values for beam endings
      \set Score.beatStructure = #'(3 4 3 2)
      a8 a a a a a a a a a a a
    }

## Rhythmic slashes

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' {
        c4 d e f |
        \rs \rs \rs \rs |
        \comp #4 |
      }
    }

## Skips in lyric mode (2)

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 }
    >>

## Skips in lyric mode

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 c'' { a1 | a }
      \new Lyrics \lyricmode { \skip 1 bla1 }
    >>

## Stemlets

In some notational conventions beams are allowed to extend over rests. Depending on preference, these beams may drop ’stemlets’ to help the eye appreciate the rhythm better, and in some modern music the rest itself is omitted and only the stemlet remains.

This snippet shows a progression from traditional notation, to beams over the rest, to stemlets over the rest, to stemlets alone. Stemlets are generated by overriding the `'stemlet-length` property of `Stem`, while rests are hidden by setting `'transparent = ##t`.

Some `\markup` elements are included in the source to highlight the different notations.

    \paper { ragged-right = ##f }

    {
      c'16^\markup { traditional } d' r f'
      g'16[^\markup { beams over rests } f' r d']

      % N.B. use Score.Stem to set for the whole score.
      \override Staff.Stem #'stemlet-length = #0.75

      c'16[^\markup { stemlets over rests } d' r f']
      g'16[^\markup { stemlets and no rests } f'
      \once \override Rest #'transparent = ##t
      r16 d']
    }

## Subdividing beams

The beams of consecutive 16th (or shorter) notes are, by default, not subdivided. That is, the three (or more) beams stretch unbroken over entire groups of notes. This behavior can be modified to subdivide the beams into sub-groups by setting the property `subdivideBeams`. When set, multiple beams will be subdivided at intervals defined by the current value of `baseMoment` by reducing the multiple beams to just one beam between the sub-groups. Note that `baseMoment` defaults to one over the denominator of the current time signature if not set explicitly. It must be set to a fraction giving the duration of the beam sub-group using the `ly:make-moment` function, as shown in this snippet. Also, when `baseMoment` is changed, `beatStructure` should also be changed to match the new `baseMoment`:

    \relative c'' {
      c32[ c c c c c c c]
      \set subdivideBeams = ##t
      c32[ c c c c c c c]

      % Set beam sub-group length to an eighth note
      \set baseMoment = #(ly:make-moment 1 8)
      \set beatStructure = #'(2 2 2 2)
      c32[ c c c c c c c]

      % Set beam sub-group length to a sixteenth note
      \set baseMoment = #(ly:make-moment 1 16)
      \set beatStructure = #'(4 4 4 4)
      c32[ c c c c c c c]
    }

## Three-sided box

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 ";;" is used 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 X) padding))
              (y-ext (interval-widen (ly:stencil-extent stencil Y) 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 LEFT y-rule padding))
         (set! stencil (ly:stencil-combine-at-edge stencil Y UP x-rule 0.0))
         (set! stencil (ly:stencil-combine-at-edge stencil Y DOWN 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:

    \relative c' {
      c1^\markup { \NWS-box ABCD }
      c1^\markup { \NWS-box \note #"4" #1.0 }
    }

## Time signature printing only the numerator as a number (instead of the fraction)

Sometimes, a time signature should not print the whole fraction (e.g. 7/4), but only the numerator (7 in this case). This can be easily done by using `\override Staff.TimeSignature #'style = #'single-digit` to change the style permanently. By using `\revert Staff.TimeSignature #'style`, this setting can be reversed. To apply the single-digit style to only one time signature, use the `\override` command and prefix it with a `\once`.

    \relative c'' {
      \time 3/4
      c4 c c
      % Change the style permanently
      \override Staff.TimeSignature #'style = #'single-digit
      \time 2/4
      c4 c
      \time 3/4
      c4 c c
      % Revert to default style:
      \revert Staff.TimeSignature #'style
      \time 2/4
      c4 c
      % single-digit style only for the next time signature
      \once \override Staff.TimeSignature #'style = #'single-digit
      \time 5/4
      c4 c c c c
      \time 2/4
      c4 c
    }

## Tweaking grace layout within music

The layout of grace expressions can be changed throughout the music using the functions `add-grace-property` and `remove-grace-property`. The following example undefines the `Stem` direction for this grace, so that stems do not always point up, and changes the default note heads to crosses.

    \relative c'' {
      \new Staff {
        #(remove-grace-property 'Voice 'Stem 'direction)
        #(add-grace-property 'Voice 'NoteHead 'style 'cross)
        \new Voice {
           \acciaccatura { f16 } g4
           \grace { d16[ e] } f4
           \appoggiatura { f,32[ g a] } e2
        }
      }
    }

## Using alternative flag styles

Alternative styles of flag on eighth and shorter notes can be displayed by overriding the `flag` property of `Stem`. Valid values are `modern-straight-flag` and `old-straight-flag`.

    testnotes = {
      \autoBeamOff
      c8 d16 c32 d64 \acciaccatura { c8 } d64 r4
    }

    \relative c' {
      \time 2/4
      \testnotes

      \override Stem #'flag = #modern-straight-flag
      \testnotes

      \override Stem #'flag = #old-straight-flag
      \testnotes

      \revert Stem #'flag
      \testnotes
    }

## Using grace note slashes with normal heads

The slash through the stem found in acciaccaturas can be applied in other situations.

    \relative c'' {
      \override Stem #'stroke-style = #"grace"
      c8( d2) e8( f4)
    }

## Using ties with arpeggios

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 `#t`. 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.

    \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
      g8 ~ c g2
    }

#### LilyPond — Snippets