1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @node Changing defaults
3 @chapter Changing defaults
6 The purpose of LilyPond's design is to provide the finest output
7 quality as a default. Nevertheless, it may happen that you need to
8 change this default layout. The layout is controlled through a large
9 number of proverbial ``knobs and switches.'' This chapter does not
10 list each and every knob. Rather, it outlines what groups of controls
11 are available and explains how to lookup which knob to use for a
15 @cindex Program reference
17 The controls available for tuning are described in a separate
23 @ref{Top,Program reference,,lilypond-internals}.
26 lists all different variables, functions and options available in
27 LilyPond. It is written as a HTML document, which is available
28 @uref{http://@/lilypond@/.org/@/doc/@/v2.7/@/Documentation/@/user/@/lilypond@/-internals/,on@/-line},
29 but is also included with the LilyPond documentation package.
31 There are three areas where the default settings may be changed:
35 Output: changing the appearance of individual
36 objects. For example, changing stem directions or the location of
40 Context: changing aspects of the translation from music events to
41 notation. For example, giving each staff a separate time signature.
44 Global layout: changing the appearance of the spacing, line
45 breaks, and page dimensions.
48 Then there are separate systems for typesetting text (like
49 @emph{ritardando}) and selecting different fonts. This chapter also
52 Internally, LilyPond uses Scheme (a LISP dialect) to provide
53 infrastructure. Overriding layout decisions in effect accesses the
54 program internals, which requires Scheme input. Scheme elements are
55 introduced in a @code{.ly} file with the hash mark
56 @code{#}.@footnote{@ref{Scheme tutorial} contains a short tutorial
57 on entering numbers, lists, strings, and symbols in Scheme.}
61 * Interpretation contexts::
62 * The \override command::
66 @node Interpretation contexts
67 @section Interpretation contexts
69 When music is printed, a lot of notational elements must be added to the
70 input, which is often bare bones. For example, compare the input and
71 output of the following example:
73 @lilypond[quote,verbatim,relative=2,fragment]
77 The input is rather sparse, but in the output, bar lines, accidentals,
78 clef, and time signature are added. LilyPond @emph{interprets} the
79 input. During this step, the musical information is inspected in time
80 order, similar to reading a score from left to right. While reading,
81 the input, the program remembers where measure boundaries are, and what
82 pitches need explicit accidentals. This information can be presented on
83 several levels. For example, the effect of an accidental is limited
84 to a single staff, while a bar line must be synchronized across the
87 Within LilyPond, these rules and bits of information are grouped in
88 so-called Contexts. Examples of context are @context{Voice},
89 @context{Staff}, and @context{Score}. They are hierarchical, for
90 example, a @context{Staff} can contain many @context{Voice}s, and a
91 @context{Score} can contain many @context{Staff} contexts.
93 Each context has the responsibility for enforcing some notation rules,
94 creating some notation objects and maintaining the associated
95 properties. So, the synchronization of bar lines is handled at
96 @context{Score} context. The @context{Voice} may introduce an
97 accidental and then the @context{Staff} context maintains the rule to
98 show or suppress the accidental for the remainder of the measure.
100 For simple scores, contexts are created implicitly, and you need not
101 be aware of them. For larger pieces, such as piano music, they must be
102 created explicitly to make sure that you get as many staves as you
103 need, and that they are in the correct order. For typesetting pieces
104 with specialized notation, it can be useful to modify existing or
105 to define new contexts.
108 A complete description of all available contexts is in the program
111 @internalsref{Contexts}.
114 Translation @arrow{} Context.
117 @c [TODO: describe propagation]
121 * Creating contexts::
122 * Changing context properties on the fly::
123 * Modifying context plug-ins::
124 * Layout tunings within contexts::
125 * Changing context default settings::
126 * Defining new contexts::
129 @node Creating contexts
130 @subsection Creating contexts
132 For scores with only one voice and one staff, correct contexts are
133 created automatically. For more complex scores, it is necessary to
134 create them by hand. There are three commands that do this.
136 The easiest command is @code{\new}, and it also the quickest to type.
137 It is prepended to a music expression, for example
141 @cindex Context, creating
144 \new @var{type} @var{music expression}
148 where @var{type} is a context name (like @code{Staff} or
149 @code{Voice}). This command creates a new context, and starts
150 interpreting the @var{music expression} with that.
152 A practical application of @code{\new} is a score with many
153 staves. Each part that should be on its own staff, is preceded with
156 @lilypond[quote,verbatim,relative=2,ragged-right,fragment]
157 << \new Staff { c4 c }
162 @cindex @code{\context}
164 Like @code{\new}, the @code{\context} command also directs a music
165 expression to a context object, but gives the context an extra name. The
169 \context @var{type} = @var{id} @var{music}
172 This form will search for an existing context of type @var{type}
173 called @var{id}. If that context does not exist yet, it is created.
174 This is useful if the context is referred to later on. For example, when
175 setting lyrics the melody is in a named context
178 \context Voice = "@b{tenor}" @var{music}
182 so the texts can be properly aligned to its notes,
185 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
190 Another possibility is funneling two different music expressions into
191 one context. In the following example, articulations and notes are
196 arts = @{ s4-. s4-> @}
199 They are combined by sending both to the same @context{Voice} context,
202 << \new Staff \context Voice = "A" \music
203 \context Voice = "A" \arts
206 @lilypond[quote,ragged-right]
210 \new Staff \context Voice = "A" \music
211 \context Voice = "A" \arts
215 With this mechanism, it is possible to define an Urtext (original
216 edition), with the option to put several distinct articulations on the
219 @cindex creating contexts
221 The third command for creating contexts is
223 \context @var{type} @var{music}
228 This is similar to @code{\context} with @code{= @var{id}}, but matches
229 any context of type @var{type}, regardless of its given name.
231 This variant is used with music expressions that can be interpreted at
232 several levels. For example, the @code{\applyOutput} command (see
233 @ref{Running a function on all layout objects}). Without an explicit
234 @code{\context}, it is usually applied to @context{Voice}
237 \applyOutput #@var{function} % apply to Voice
240 To have it interpreted at the @context{Score} or @context{Staff} level use
244 \context Score \applyOutput #@var{function}
245 \context Staff \applyOutput #@var{function}
249 @node Changing context properties on the fly
250 @subsection Changing context properties on the fly
254 @cindex changing properties
256 Each context can have different @emph{properties}, variables contained
257 in that context. They can be changed during the interpretation step.
258 This is achieved by inserting the @code{\set} command in the music,
261 \set @var{context}.@var{prop} = #@var{value}
265 @lilypond[quote,verbatim,relative=2,fragment]
267 \set Score.skipBars = ##t
271 This command skips measures that have no notes. The result is that
272 multi-rests are condensed. The value assigned is a Scheme object. In
273 this case, it is @code{#t}, the boolean True value.
275 If the @var{context} argument is left out, then the current bottom-most
276 context (typically @context{ChordNames}, @context{Voice}, or
277 @context{Lyrics}) is used. In this example,
279 @lilypond[quote,verbatim,relative=2,fragment]
281 \set autoBeaming = ##f
286 the @var{context} argument to @code{\set} is left out, so automatic
287 beaming is switched off in the current @internalsref{Voice}. Note that
288 the bottom-most context does not always contain the property that you
289 wish to change -- for example, attempting to set the @code{skipBars}
290 property (of the bottom-most context, in this case @code{Voice}) will
293 @lilypond[quote,verbatim,relative=2,fragment]
299 Contexts are hierarchical, so if a bigger context was specified, for
300 example @context{Staff}, then the change would also apply to all
301 @context{Voice}s in the current stave. The change is applied
302 `on-the-fly', during the music, so that the setting only affects the
303 second group of eighth notes.
305 @cindex @code{\unset}
307 There is also an @code{\unset} command,
309 \unset @var{context}.@var{prop}
313 which removes the definition of @var{prop}. This command removes
314 the definition only if it is set in @var{context}, so
317 \set Staff.autoBeaming = ##f
321 introduces a property setting at @code{Staff} level. The setting also
322 applies to the current @code{Voice}. However,
325 \unset Voice.autoBeaming
329 does not have any effect. To cancel this setting, the @code{\unset}
330 must be specified on the same level as the original @code{\set}. In
331 other words, undoing the effect of @code{Staff.autoBeaming = ##f}
334 \unset Staff.autoBeaming
337 Like @code{\set}, the @var{context} argument does not have to be
338 specified for a bottom context, so the two statements
341 \set Voice.autoBeaming = ##t
342 \set autoBeaming = ##t
350 Settings that should only apply to a single time-step can be entered
351 with @code{\once}, for example in
353 @lilypond[quote,verbatim,relative=2,fragment]
355 \once \set fontSize = #4.7
360 the property @code{fontSize} is unset automatically after the second
363 A full description of all available context properties is in the
364 program reference, see
366 @internalsref{Tunable context properties}.
369 Translation @arrow{} Tunable context properties.
373 @node Modifying context plug-ins
374 @subsection Modifying context plug-ins
376 Notation contexts (like Score and Staff) not only store properties,
377 they also contain plug-ins, called ``engravers'' that create notation
378 elements. For example, the Voice context contains a
379 @code{Note_head_engraver} and the Staff context contains a
380 @code{Key_signature_engraver}.
382 For a full a description of each plug-in, see
384 @internalsref{Engravers}.
387 Program reference @arrow Translation @arrow{} Engravers.
389 Every context described in
391 @internalsref{Contexts}
394 Program reference @arrow Translation @arrow{} Context.
396 lists the engravers used for that context.
399 It can be useful to shuffle around these plug-ins. This is done by
400 starting a new context, with @code{\new} or @code{\context}, and
401 modifying it like this,
406 \new @var{context} \with @{
417 where the @dots{} should be the name of an engraver. Here is a simple
418 example which removes @code{Time_signature_engraver} and
419 @code{Clef_engraver} from a @code{Staff} context,
421 @lilypond[quote,relative=1,verbatim,fragment]
426 \remove "Time_signature_engraver"
427 \remove "Clef_engraver"
434 In the second staff there are no time signature or clef symbols. This
435 is a rather crude method of making objects disappear since it will affect
436 the entire staff. The spacing is adversely influenced too. A more
437 sophisticated method of blanking objects is shown in @ref{Common tweaks}.
439 The next example shows a practical application. Bar lines and time
440 signatures are normally synchronized across the score. This is done
441 by the @code{Timing_translator} and @code{Default_bar_line_engraver}.
442 This plug-in keeps an administration of time signature, location
443 within the measure, etc. By moving thes engraver from @code{Score} to
444 @code{Staff} context, we can have a score where each staff has its own
447 @cindex polymetric scores
448 @cindex Time signatures, multiple
450 @lilypond[quote,relative=1,ragged-right,verbatim,fragment]
452 \remove "Timing_translator"
453 \remove "Default_bar_line_engraver"
456 \consists "Timing_translator"
457 \consists "Default_bar_line_engraver"
463 \consists "Timing_translator"
464 \consists "Default_bar_line_engraver"
473 @node Layout tunings within contexts
474 @subsection Layout tunings within contexts
476 Each context is responsible for creating certain types of graphical
477 objects. The settings used for printing these objects are also stored by
478 context. By changing these settings, the appearance of objects can be
481 The syntax for this is
484 \override @var{context}.@var{name} #'@var{property} = #@var{value}
487 Here @var{name} is the name of a graphical object, like @code{Stem} or
488 @code{NoteHead}, and @var{property} is an internal variable of the
489 formatting system (`grob property' or `layout property'). The latter is a
490 symbol, so it must be quoted. The subsection @ref{Constructing a
491 tweak} explains what to fill in for @var{name}, @var{property}, and
492 @var{value}. Here we only discuss the functionality of this command.
497 \override Staff.Stem #'thickness = #4.0
501 makes stems thicker (the default is 1.3, with staff line thickness as a
502 unit). Since the command specifies @context{Staff} as context, it only
503 applies to the current staff. Other staves will keep their normal
504 appearance. Here we see the command in action:
506 @lilypond[quote,verbatim,relative=2,fragment]
508 \override Staff.Stem #'thickness = #4.0
514 The @code{\override} command changes the definition of the @code{Stem}
515 within the current @context{Staff}. After the command is interpreted
516 all stems are thickened.
518 Analogous to @code{\set}, the @var{context} argument may be left out,
519 causing it to default to @context{Voice}, and adding @code{\once} applies
520 the change during one timestep only
522 @lilypond[quote,fragment,verbatim,relative=2]
524 \once \override Stem #'thickness = #4.0
529 The @code{\override} must be done before the object is
530 started. Therefore, when altering @emph{Spanner} objects, like slurs or
531 beams, the @code{\override} command must be executed at the moment when
532 the object is created. In this example,
535 @lilypond[quote,fragment,verbatim,relative=2]
536 \override Slur #'thickness = #3.0
538 \override Beam #'thickness = #0.6
543 the slur is fatter but the beam is not. This is because the command for
544 @code{Beam} comes after the Beam is started. Therefore it has no effect.
546 Analogous to @code{\unset}, the @code{\revert} command for a context
547 undoes an @code{\override} command; like with @code{\unset}, it only
548 affects settings that were made in the same context. In other words, the
549 @code{\revert} in the next example does not do anything.
552 \override Voice.Stem #'thickness = #4.0
553 \revert Staff.Stem #'thickness
561 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
562 @internalsref{PropertySet}, @internalsref{Backend}, and
563 @internalsref{All layout objects}.
568 The back-end is not very strict in type-checking object properties.
569 Cyclic references in Scheme values for properties can cause hangs
573 @node Changing context default settings
574 @subsection Changing context default settings
576 The adjustments of the previous subsections (@ref{Changing context
577 properties on the fly}, @ref{Modifying context plug-ins}, and
578 @ref{Layout tunings within contexts}) can also be entered separately
579 from the music, in the @code{\layout} block,
588 \override Stem #'thickness = #4.0
589 \remove "Time_signature_engraver"
600 takes the existing definition for context @context{Staff} from the
601 identifier @code{\Staff}.
606 \override Stem #'thickness = #4.0
607 \remove "Time_signature_engraver"
611 affect all staves in the score.
613 Other contexts can be modified analogously.
615 The @code{\set} keyword is optional within the @code{\layout} block, so
631 It is not possible to collect context changes in a variable, and apply
632 them to one @code{\context} definition by referring to that variable.
634 The @code{\RemoveEmptyStaffContext} will override your current
635 @code{\Staff} variable. If you wish to change the defaults for a
636 staff that uses @code{\RemoveEmptyStaffContext}, you must do so
637 after calling @code{\RemoveemptyStaffContext}, ie
642 \RemoveEmptyStaffContext
644 \override Stem #'thickness = #4.0
650 @node Defining new contexts
651 @subsection Defining new contexts
653 Specific contexts, like @context{Staff} and @code{Voice}, are made of
654 simple building blocks, and it is possible to compose engraver
655 plug-ins in different combinations, thereby creating new types of
658 The next example shows how to build a different type of
659 @context{Voice} context from scratch. It will be similar to
660 @code{Voice}, but prints centered slash noteheads only. It can be used
661 to indicate improvisation in Jazz pieces,
663 @lilypond[quote,ragged-right]
666 \type "Engraver_group"
667 \consists "Note_heads_engraver"
668 \consists "Text_engraver"
669 \consists Pitch_squash_engraver
670 squashedPosition = #0
671 \override NoteHead #'style = #'slash
672 \override Stem #'transparent = ##t
676 \accepts "ImproVoice"
680 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
681 c4 c^"undress" c_"while playing :)" c }
687 These settings are again done within a @code{\context} block inside a
688 @code{\layout} block,
698 In the following discussion, the example input shown should go on the
699 @dots{} in the previous fragment.
701 First, the context gets a name. Instead of @context{Voice} it
702 will be called @context{ImproVoice},
708 Since it is similar to the @context{Voice}, we want commands that work
709 on (existing) @context{Voice}s to remain working. This is achieved by
710 giving the new context an alias @context{Voice},
716 The context will print notes, and instructive texts
719 \consists Note_heads_engraver
720 \consists Text_engraver
723 but only on the center line,
726 \consists Pitch_squash_engraver
727 squashedPosition = #0
730 The @internalsref{Pitch_squash_engraver} modifies note heads (created
731 by @internalsref{Note_heads_engraver}) and sets their vertical
732 position to the value of @code{squashedPosition}, in this case@tie{}@code{0},
735 The notes look like a slash, without a stem,
738 \override NoteHead #'style = #'slash
739 \override Stem #'transparent = ##t
743 All these plug-ins have to cooperate, and this is achieved with a
744 special plug-in, which must be marked with the keyword @code{\type}.
745 This should always be @internalsref{Engraver_group},
748 \type "Engraver_group"
756 \type "Engraver_group"
757 \consists "Note_heads_engraver"
758 \consists "Text_engraver"
759 \consists Pitch_squash_engraver
760 squashedPosition = #0
761 \override NoteHead #'style = #'slash
762 \override Stem #'transparent = ##t
767 Contexts form hierarchies. We want to hang the @context{ImproVoice}
768 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
769 modify the @code{Staff} definition with the @code{\accepts}
770 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
771 which is sometimes needed when reusing existing context definitions.}
782 Putting both into a @code{\layout} block, like
792 \accepts "ImproVoice"
797 Then the output at the start of this subsection can be entered as
805 c c_"while playing :)"
814 @node The \override command
815 @section The \override command
817 In the previous section, we have already touched on a command that
818 changes layout details: the @code{\override} command. In this section,
819 we will look in more detail at how to use the command in practice.
820 First, we will give a few versatile commands that are sufficient
821 for many situations. The next section will discuss the general use of
827 * Constructing a tweak::
828 * Navigating the program reference::
829 * Layout interfaces::
830 * Determining the grob property::
831 * Objects connected to the input::
838 @subsection Common tweaks
840 @c Should we point at ly/property-init.ly ? -gp
841 Some overrides are so common that predefined commands are provided as
842 short-cuts, for example, @code{\slurUp} and @code{\stemDown}. These
843 commands are described in
847 @c @ref{Notation manual},
850 under the sections for slurs and stems
853 The exact tuning possibilities for each type of layout object are
854 documented in the program reference of the respective
855 object. However, many layout objects share properties, which can be
856 used to apply generic tweaks. We mention a few of these:
859 @item The @code{extra-offset} property, which
860 @cindex @code{extra-offset}
861 has a pair of numbers as value, moves objects around in the printout.
862 The first number controls left-right movement; a positive number will
863 move the object to the right. The second number controls up-down
864 movement; a positive number will move it higher. The units of these
865 offsets are staff-spaces. The @code{extra-offset} property is a
866 low-level feature: the formatting engine is completely oblivious to
869 In the following example, the second fingering is moved a little to
870 the left, and 1.8 staff space downwards:
872 @cindex setting object properties
874 @lilypond[quote,fragment,relative=1,verbatim]
877 \once \override Fingering
878 #'extra-offset = #'(-0.3 . -1.8)
883 Setting the @code{transparent} property will cause an object to be printed
884 in `invisible ink': the object is not printed, but all its other
885 behavior is retained. The object still takes up space, it takes part in
886 collisions, and slurs, ties, and beams can be attached to it.
888 @cindex transparent objects
889 @cindex removing objects
890 @cindex hiding objects
891 @cindex invisible objects
892 The following example demonstrates how to connect different voices
893 using ties. Normally, ties only connect two notes in the same
894 voice. By introducing a tie in a different voice,
896 @lilypond[quote,fragment,relative=2]
905 and blanking the first up-stem in that voice, the tie appears to cross
908 @lilypond[quote,fragment,relative=2,verbatim]
910 \once \override Stem #'transparent = ##t
918 The @code{padding} property for objects with
919 @cindex @code{padding}
920 @code{side-position-interface} can be set to increase the distance between
921 symbols that are printed above or below notes. We provide two
922 examples; a more elaborate explanation is in @ref{Constructing a
925 @lilypond[quote,fragment,relative=1,verbatim]
927 \override Script #'padding = #3
931 @lilypond[quote,fragment,relative=1,verbatim]
932 % This will not work, see below:
933 \override MetronomeMark #'padding = #3
937 \override Score.MetronomeMark #'padding = #3
942 Note in the second example how important it is to figure out what
943 context handles a certain object. Since the @code{MetronomeMark} object
944 is handled in the Score context, property changes in the @code{Voice}
945 context will not be noticed.
949 More specific overrides are also possible. The next section
950 discusses in depth how to figure out these statements for yourself.
953 @node Constructing a tweak
954 @subsection Constructing a tweak
956 The general procedure of changing output, that is, entering
960 \override Voice.Stem #'thickness = #3.0
964 means that we have to determine these bits of information:
967 @item the context: here @context{Voice}.
968 @item the layout object: here @code{Stem}.
969 @item the layout property: here @code{thickness}
970 @item a sensible value: here @code{3.0}
974 @cindex internal documentation
975 @cindex finding graphical objects
976 @cindex graphical object descriptions
978 @cindex @code{\override}
979 @cindex internal documentation
981 We demonstrate how to glean this information from the notation manual
982 and the program reference.
984 @node Navigating the program reference
985 @subsection Navigating the program reference
987 Suppose we want to move the fingering indication in the fragment
990 @lilypond[quote,fragment,relative=2,verbatim]
996 If you visit the documentation on fingering instructions (in
997 @ref{Fingering instructions}), you will notice that there is written:
1002 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
1008 This fragment points to two parts of the program reference: a page
1009 on @code{FingerEvent} and one on @code{Fingering}.
1011 The page on @code{FingerEvent} describes the properties of the music
1012 expression for the input @code{-2}. The page contains many links
1013 forward. For example, it says
1016 Accepted by: @internalsref{Fingering_engraver},
1020 That link brings us to the documentation for the Engraver, the
1024 This engraver creates the following layout objects: @internalsref{Fingering}.
1027 In other words, once the @code{FingerEvent}s are interpreted, the
1028 @code{Fingering_engraver} plug-in will process them.
1029 The @code{Fingering_engraver} is also listed to create
1030 @internalsref{Fingering} objects,
1033 Lo and behold, that is also the
1034 second bit of information listed under @b{See also} in the Notation
1035 manual. By clicking around in the program reference, we can follow the
1036 flow of information within the program, either forward (like we did
1037 here), or backwards, following links like this:
1041 @item @internalsref{Fingering}:
1042 @internalsref{Fingering} objects are created by:
1043 @b{@internalsref{Fingering_engraver}}
1045 @item @internalsref{Fingering_engraver}:
1046 Music types accepted: @b{@internalsref{fingering-event}}
1048 @item @internalsref{fingering-event}:
1049 Music event type @code{fingering-event} is in Music expressions named
1050 @b{@internalsref{FingerEvent}}
1053 This path goes against the flow of information in the program: it
1054 starts from the output, and ends at the input event.
1056 The program reference can also be browsed like a normal document. It
1057 contains a chapter on
1059 @internalsref{Music definitions},
1062 @code{Music definitions}
1064 on @internalsref{Translation}, and the @internalsref{Backend}. Every
1065 chapter lists all the definitions used, and all properties that may be
1069 @node Layout interfaces
1070 @subsection Layout interfaces
1072 @cindex interface, layout
1073 @cindex layout interface
1076 The HTML page that we found in the previous section, describes the
1077 layout object called @internalsref{Fingering}. Such an object is a
1078 symbol within the score. It has properties that store numbers (like
1079 thicknesses and directions), but also pointers to related objects. A
1080 layout object is also called a @emph{Grob}, which is short for Graphical
1081 Object. For more details about Grobs, see @internalsref{grob-interface}.
1083 The page for @code{Fingering} lists the definitions for the
1084 @code{Fingering} object. For example, the page says
1087 @code{padding} (dimension, in staff space):
1093 which means that the number will be kept at a distance of at least 0.6
1097 Each layout object may have several functions as a notational or
1098 typographical element. For example, the Fingering object
1099 has the following aspects
1103 Its size is independent of the horizontal spacing, unlike slurs or beams.
1106 It is a piece of text. Granted, it is usually a very short text.
1109 That piece of text is typeset with a font, unlike slurs or beams.
1112 Horizontally, the center of the symbol should be aligned to the
1113 center of the notehead.
1116 Vertically, the symbol is placed next to the note and the staff.
1119 The vertical position is also coordinated with other super- and subscript
1123 Each of these aspects is captured in so-called @emph{interface}s,
1124 which are listed on the @internalsref{Fingering} page at the bottom
1127 This object supports the following interfaces:
1128 @internalsref{item-interface},
1129 @internalsref{self-alignment-interface},
1130 @internalsref{side-position-interface}, @internalsref{text-interface},
1131 @internalsref{text-script-interface}, @internalsref{font-interface},
1132 @internalsref{finger-interface}, and @internalsref{grob-interface}.
1135 Clicking any of the links will take you to the page of the respective
1136 object interface. Each interface has a number of properties. Some of
1137 them are not user-serviceable (``Internal properties''), but others
1140 We have been talking of @emph{the} @code{Fingering} object, but actually it
1141 does not amount to much. The initialization file
1142 @file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
1147 (avoid-slur . around)
1148 (slur-padding . 0.2)
1149 (staff-padding . 0.5)
1150 (self-alignment-X . 0)
1151 (self-alignment-Y . 0)
1152 (script-priority . 100)
1153 (stencil . ,ly:text-interface::print)
1154 (direction . ,ly:script-interface::calc-direction)
1155 (font-encoding . fetaNumber)
1156 (font-size . -5) ; don't overlap when next to heads.
1157 (meta . ((class . Item)
1158 (interfaces . (finger-interface
1160 text-script-interface
1162 side-position-interface
1163 self-alignment-interface
1164 item-interface))))))
1168 As you can see, the @code{Fingering} object is nothing more than a
1169 bunch of variable settings, and the webpage in the Program Reference
1170 is directly generated from this definition.
1172 @node Determining the grob property
1173 @subsection Determining the grob property
1176 Recall that we wanted to change the position of the @b{2} in
1178 @lilypond[quote,fragment,relative=2,verbatim]
1184 Since the @b{2} is vertically positioned next to its note, we have to
1185 meddle with the interface associated with this positioning. This is
1186 done using @code{side-position-interface}. The page for this interface
1190 @code{side-position-interface}
1192 Position a victim object (this one) next to other objects (the
1193 support). The property @code{direction} signifies where to put the
1194 victim object relative to the support (left or right, up or down?)
1199 below this description, the variable @code{padding} is described as
1204 (dimension, in staff space)
1206 Add this much extra space between objects that are next to each other.
1210 By increasing the value of @code{padding}, we can move away the
1211 fingering. The following command inserts 3 staff spaces of white
1212 between the note and the fingering:
1214 \once \override Voice.Fingering #'padding = #3
1217 Inserting this command before the Fingering object is created,
1218 i.e., before @code{c2}, yields the following result:
1220 @lilypond[quote,relative=2,fragment,verbatim]
1221 \once \override Voice.Fingering #'padding = #3
1228 In this case, the context for this tweak is @context{Voice}. This
1229 fact can also be deduced from the program reference, for the page for
1230 the @internalsref{Fingering_engraver} plug-in says
1233 Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
1236 @node Objects connected to the input
1237 @subsection Objects connected to the input
1239 In some cases, it is possible to take a short-cut for tuning graphical
1240 objects. For objects that result directly from a piece of the input,
1241 you can use the @code{\tweak} function, for example
1243 @lilypond[relative=2,fragment,verbatim,ragged-right]
1246 \tweak #'color #red d
1248 \tweak #'duration-log #1 a
1249 >4-\tweak #'padding #10 -.
1252 As you can see, properties are set directly in the objects directly,
1253 without mentioning the grob name or context where this should be
1256 This technique only works for objects that are directly connected to
1257 an @internalsref{event} from the input, for example
1260 @item note heads, caused by chord-pitch.
1261 @item articulation signs, caused by articulation instructions
1264 It notably does not work for stems and accidentals (these are caused
1265 by note heads, not by music events), clefs (these are not caused by
1266 music inputs, but rather by the change of a property value).
1268 In a similar vein, objects may be parenthesized by prefixing
1269 @code{\parenthesize} to the music event,
1271 @lilypond[relative=2,fragment,verbatim,ragged-right]
1282 @node Difficult tweaks
1283 @subsection Difficult tweaks
1285 There are a few classes of difficult adjustments.
1291 Another difficult adjustment is the appearance of spanner objects,
1292 such as slur and tie. Initially, only one of these objects is created,
1293 and they can be adjusted with the normal mechanism. However, in some
1294 cases the spanners cross line breaks. If this happens, these objects
1295 are cloned. A separate object is created for every system that it is
1296 in. These are clones of the original object and inherit all
1297 properties, including @code{\override}s.
1300 In other words, an @code{\override} always affects all pieces of a
1301 broken spanner. To change only one part of a spanner at a line break,
1302 it is necessary to hook into the formatting process. The
1303 @code{after-line-breaking} callback contains the Scheme procedure that
1304 is called after the line breaks have been determined, and layout
1305 objects have been split over different systems.
1307 In the following example, we define a procedure
1308 @code{my-callback}. This procedure
1312 determines if we have been split across line breaks
1314 if yes, retrieves all the split objects
1316 checks if we are the last of the split objects
1318 if yes, it sets @code{extra-offset}.
1321 This procedure is installed into @internalsref{Tie}, so the last part
1322 of the broken tie is translated up.
1324 @lilypond[quote,verbatim,ragged-right]
1325 #(define (my-callback grob)
1327 ; have we been split?
1328 (orig (ly:grob-original grob))
1330 ; if yes, get the split pieces (our siblings)
1331 (siblings (if (ly:grob? orig)
1332 (ly:spanner-broken-into orig) '() )))
1334 (if (and (>= (length siblings) 2)
1335 (eq? (car (last-pair siblings)) grob))
1336 (ly:grob-set-property! grob 'extra-offset '(-2 . 5)))))
1339 \override Tie #'after-line-breaking =
1346 When applying this trick, the new @code{after-line-breaking} callback
1347 should also call the old one @code{after-line-breaking}, if there is
1348 one. For example, if using this with @code{Hairpin},
1349 @code{ly:hairpin::after-line-breaking} should also be called.
1352 @item Some objects cannot be changed with @code{\override} for
1353 technical reasons. Examples of those are @code{NonMusicalPaperColumn}
1354 and @code{PaperColumn}. They can be changed with the
1355 @code{\outputProperty} function, which works similar to @code{\once
1356 \override}, but uses a different syntax,
1360 #"Score.NonMusicalPaperColumn" % Grob name
1361 #'line-break-system-details % Property name
1362 #'((next-padding . 20)) % Value