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2 @c This file is part of lilypond-learning.tely
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11 @chapter Tweaking output
13 This chapter discusses how to modify output. LilyPond is extremely
14 configurable; virtually every fragment of output may be changed.
16 TODO: This chapter is still under development and this version is
17 not yet complete. Don't translate yet!
23 * The Internals Reference manual::
24 * Appearance of objects::
25 * Placement of objects::
26 * Collisions of objects::
31 @section Tweaking basics
34 * Introduction to tweaks::
35 * Objects and interfaces::
36 * Naming conventions of objects and properties::
40 @node Introduction to tweaks
41 @subsection Introduction to tweaks
43 @q{Tweaking} is a LilyPond term for the various methods available
44 to the user for modifying the actions taken during interpretation
45 of the input file and modifying the appearance of the printed
46 output. Some tweaks are very easy to use; others are more
47 complex. But taken together the methods available for tweaking
48 permit almost any desired appearance of the printed music to be
51 In this section we cover the basic concepts required to understand
52 tweaking. Later we give a variety of potted commands which can
53 simply be copied to obtain the same effect in your own scores, and
54 at the same time we show how these commands may be constructed so
55 that you may learn how to develop your own tweaks.
57 Before starting on this Chapter you may wish to review the section
58 @ref{Contexts and engravers}, as Contexts, Engravers, and the
59 Properties contained within them are fundamental to understanding
60 and constructing Tweaks.
62 @node Objects and interfaces
63 @subsection Objects and interfaces
70 Tweaking involves modifying the internal operation and structures
71 of the LilyPond program, so we must first introduce some terms
72 which are used to describe those internal operations and
75 The term @q{Object} is a generic term used to refer to the
76 multitude of internal structures built by LilyPond during the
77 processing of an input file. So when a command like @code{\new
78 Staff} is encountered a new object of type @code{Staff} is
79 constructed. That @code{Staff} object then holds all the
80 properties associated with that particular staff, for example, its
81 name and its key signature, together with details of the engravers
82 which have been assigned to operate within that staff's context.
83 Similarly, there are @code{Voice} objects, @code{Score} objects,
84 @code{Lyric} objects, and objects to represent bar lines,
85 note heads, ties, dynamics, etc, each with their own set of
88 Some types of object are given special names. Objects which
89 represent items of notation on the printed output such as
90 note heads, stems, slurs, ties, fingering, clefs, etc are called
91 @q{Layout objects}, often known as @q{Graphical Objects}, or
92 @q{Grobs} for short. These are still objects in the generic sense
93 above, and so they too all have properties associated with them,
94 such as their position, size, color, etc.
96 Some layout objects are still more specialised. Phrasing slurs,
97 crescendo hairpins, ottavo marks, and many other grobs are not
98 localised in a single place -- they have a starting point, an
99 ending point, and maybe other properties concerned with their
100 shape. Objects with an extended shape like these are called
103 It remains to explain what @q{Interfaces} are. Many objects,
104 even though they are quite different, share common features
105 which need to be processed in the same way.
106 For example, all grobs have a color, a size, a position, etc,
107 and all these properties are processed in the same way during
109 interpretation of the input file. To simplify these internal
110 operations these common actions and properties are grouped
111 together in an object called a @code{grob-interface}. There
112 are many other groupings of common properties like this, each
113 one given a name ending in @code{-interface}. In total there
114 are over 100 such interfaces. We shall see later why this is
115 of interest and use to the user.
117 These, then, are the main terms relating to objects which we
118 shall use in this chapter.
120 @node Naming conventions of objects and properties
121 @subsection Naming conventions of objects and properties
123 We met some object naming conventions previously, in
124 @ref{Contexts and engravers}. Here for reference is a list
125 of the most common object and property types together with
126 the conventions for naming them and a couple of examples of
127 some real names. We have used A to stand for any capitalised
128 alphabetic character and aaa to stand for any number of
129 lower-case alphabetic characters. Other characters are used
132 @multitable @columnfractions .33 .33 .33
133 @headitem Object/property type
134 @tab Naming convention
136 @item Contexts, Layout Objects
137 @tab Aaaa or AaaaAaaaAaaa
138 @tab Staff, GrandStaff,
140 @tab Aaaa_aaa_engraver
141 @tab Clef_engraver, Note_heads_engraver
143 @tab aaa-aaa-interface
144 @tab grob-interface, break-aligned-interface
145 @item Context Properties
146 @tab aaa or aaaAaaaAaaa
147 @tab alignAboveContext, skipBars
148 @item Layout Object Properties
149 @tab aaa or aaa-aaa-aaa
150 @tab direction, beam-thickness
153 As we shall see shortly, the properties of different types of
154 object are modified by different commands, so it is useful to
155 be able to recognise the type of object from the names of its
159 @node Tweaking methods
160 @subsection Tweaking methods
162 We have already met the commands @code{\set} and @code{\with},
163 used to change the properties of @strong{contexts} and to remove
164 and add @strong{engravers}, in
165 @ref{Modifying context properties} and @ref{Adding
166 and removing engravers}. We now must meet one more command.
168 The command to change the properties of @strong{layout objects} is
169 @code{\override}. Because this command has to modify
170 internal properties deep within LilyPond its syntax is not
171 as simple as the commands you have met so far. It needs to
172 know precisely which property of which object in which context
173 has to be modified, and what its new value is to be. Let's see
176 The general syntax of this command is:
179 \override @emph{context}.@emph{layout_object} #'@emph{layout_property} = #@emph{value}
183 This will set the property with the name @emph{layout_property}
184 of the layout object with the name
185 @emph{layout_object}, which is a member of the @emph{context}
186 context, to the value @emph{value}.
188 The @emph{context} can be omitted (and usually is) when the
189 required context is unambiguously implied and is one of lowest
190 level contexts, i.e., @code{Voice}, @code{ChordNames} or
191 @code{Lyrics}, and we shall omit it in many of the following
192 examples. We shall see later when it must be specified.
194 For now, don't worry about the @code{#'}, which must precede the
195 layout property, and the @code{#}, which must precede the value.
196 These must always be present in exactly this form. This is the
197 most common command used in tweaking, and most of the rest of
198 this chapter will be directed to presenting examples of how it is
201 Once overridden, the property retains its new value until it is
202 overridden again or a @code{\revert} command is encountered.
203 The @code{\revert} command has the following syntax and causes
204 the value of the property to revert to its original default
205 value; note, not its previous value if several @code{\override}
206 commands have been issued.
209 \revert @emph{context}.@emph{layout_object} #'@emph{layout_property}
212 Again, just like @emph{context} in the @code{\override} command,
213 @emph{context} is often not needed. It will be omitted
214 in many of the following examples.
216 There is another form of the override command,
217 @code{\overrideProperty}, which is occasionally required.
218 We mention it here for completeness, but for details see
219 @ruser{Difficult tweaks}.
220 @c Maybe explain in a later iteration -td
222 The final tweaking command which is available is @code{\tweak}.
223 It is not really a new command but a shorthand for an
224 @code{\override} command which must be used in a few special
225 circumstances. Again, we shall not discuss or use it here.
226 You may find the details in
227 @ruser{Objects connected to the input}.
228 @c Maybe explain in a later iteration -td
230 @node The Internals Reference manual
231 @section The Internals Reference manual
233 @cindex Internals Reference
236 * Properties of layout objects::
237 * Properties found in interfaces::
238 * Types of properties::
241 @node Properties of layout objects
242 @subsection Properties of layout objects
244 @cindex properties of layout objects
245 @cindex properties of grobs
246 @cindex grobs, properties of
247 @cindex layout objects, properties of
249 Suppose you have a slur in a score which, to your mind,
250 appears too thin and you'd like to draw it a little heavier.
251 How do you go about doing this? You know from the statements
252 earlier about the flexibility of LilyPond that such a thing
253 should be possible, and you would probably guess that an
254 @code{\override} command would be needed. But is there a
255 heaviness property for a slur, and if there is, how might it
256 be modified? This is where the Internals Reference manual
257 comes in. It contains all the information you might need to
258 construct this and all other @code{\override} commands.
260 Before we look at the Internals Reference a word of warning.
261 This is a @strong{reference} document, which means there is
262 little or no explanation contained within it: its purpose is
263 to present information precisely and concisely. This
264 means it might look daunting at first sight. Don't worry!
265 The guidance and explanation presented here will enable you
266 to extract the information from the Internals Reference for
267 yourself with just a little practice.
269 @cindex override example
270 @cindex Internals Reference, example of using
272 Let's use a concrete example with a simple fragment of real
275 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
280 g[( e]) e d[( f]) a |
284 The man who feels love's sweet e -- mo -- tion
289 Suppose now that we decide we would like the slurs to be a
290 little heavier. Is this possible? The slur is certainly a
291 layout object, so the question is, @q{Is there a property
292 belonging to a slur which controls the heaviness?} To answer
293 this we must look in the Internals Reference, or IR for short.
295 The IR for the version of LilyPond you are using may be found
296 on the LilyPond website at @uref{http://lilypond.org}. Go to the
297 documentation page and click on the Internals Reference link.
298 For learning purposes you should use the standard html version,
299 not the @q{one big page} or the PDF. For the next few
300 paragraphs to make sense you will need to actually do this
303 Under the heading @strong{Top} you will see five links. Select
304 the link to the @emph{Backend}, which is where information about
305 layout objects is to be found. There, under the heading
306 @strong{Backend}, select the link to @emph{All layout objects}.
307 The page that appears lists all the layout objects used in your
308 version of LilyPond, in alphabetic order. Select the link to
309 Slur, and the properties of Slurs are listed.
311 (An alternative way of finding this page is from the Notation
312 Reference. On one of the pages that deals with slurs you may
313 find a link to the Internals Reference. This link will
314 take you directly to this page, but often it is easier to go
315 straight to the IR and search there.)
317 This Slur page in the IR tells us first that Slur objects are
319 Slur_engraver. Then it lists the standard settings. Note
320 these are @strong{not} in alphabetic order. Browse down
321 them looking for a property that might control the heaviness
322 of slurs, and you should find
325 @code{thickness} (number)
327 Line thickness, generally measured in @code{line-thickness}
330 This looks a good bet to change the heaviness. It tells us that
331 the value of @code{thickness} is a simple @emph{number},
332 that the default value is 1.2, and that the units are
333 in another property called @code{line-thickness}.
335 As we said earlier, there are few to no explanations in the IR,
336 but we already have enough information to try changing the
337 slur thickness. We see that the name of the layout object
338 is @code{Slur}, that the name of the property to change is
339 @code{thickness} and that the new value should be a number
340 somewhat larger than 1.2 if we are to make slurs thicker.
342 We can now construct the @code{\override} command by simply
343 substituting the values we have found for the names, omitting
344 the context. Let's use a very large value for the thickness
345 at first, so we can be sure the command is working. We get:
348 \override Slur #'thickness = #5.0
351 Don't forget the @code{#'} preceding the
352 property name and and @code{#} preceding the new value!
354 The final question is, @q{Where should this command be
355 placed?} While you are unsure and learning, the best
356 answer is, @q{Within the music, before the first slur and
357 close to it.} Let's do that:
359 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
363 % Increase thickness of all following slurs from 1.2 to 5.0
364 \override Slur #'thickness = #5.0
366 g[( e]) e d[( f]) a |
370 The man who feels love's sweet e -- mo -- tion
376 and we see that the slur is indeed heavier.
378 So this is the basic way of constructing @code{\override}
379 commands. There are a few more complications that we
380 shall meet in later sections, but you now know all the
381 essentials required to make up your own -- but you will
382 still need some practice. This is provided in the examples
385 @subheading Finding the context
386 @cindex context, finding
388 But first, what if we had needed to specify the Context?
389 What should it be? We could guess that slurs are in
390 the Voice context, as they are clearly closely associated
391 with individual lines of music, but can we be sure? To
392 find out, go back to the top of the IR page describing the
393 Slur, where it says @q{Slur objects are created by: Slur
394 engraver}. So slurs will be created in whichever context
395 the @code{Slur_engraver} is in. Follow the link to the
396 @code{Slur_engraver} page. At the very bottom it tells
397 us that @code{Slur_engraver} is part of five Voice contexts,
398 including the standard voice context, @code{Voice}, so our
399 guess was correct. And because @code{Voice} is one of the
400 lowest level contexts which is implied unambiguously by
401 the fact that we are entering notes, we can omit it in this
404 @subheading Overriding once only
406 @cindex overriding once only
407 @cindex once override
410 As you can see, @emph{all} the slurs are thicker in the
411 final example above. But what if we
412 wanted just the first slur to be thicker? This is achieved
413 with the @code{\once} command. Placed immediately before
414 the @code{\override} command it causes it to change only the
415 slur which begins on the @strong{immediately following} note.
417 immediately following note does not begin a slur the command
418 has no effect at all -- it is not remembered until a slur
419 is encountered, it is simply discarded. So the command with
421 repositioned as follows:
423 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
428 % Increase thickness of immediately following slur only
429 \once \override Slur #'thickness = #5.0
431 g[( e]) e d[( f]) a |
435 The man who feels love's sweet e -- mo -- tion
441 Now only the first slur is made heavier.
443 The @code{\once} command can also be used before @code{\set}
444 and @code{\unset}, and before the command to be introduced
445 in the following section -- @code{revert}.
447 @subheading Reverting
450 @cindex default properties, reverting
453 Finally, what if we wanted just the first two slurs to be
454 heavier? Well, we could use two commands, each preceded by
455 @code{\once} placed immediately before each of the notes where
458 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
463 % Increase thickness of immediately following slur only
464 \once \override Slur #'thickness = #5.0
466 % Increase thickness of immediately following slur only
467 \once \override Slur #'thickness = #5.0
468 g[( e]) e d[( f]) a |
472 The man who feels love's sweet e -- mo -- tion
478 or we could omit the @code{\once} command and use the
479 @code{\revert} command
480 to return the @code{thickness} property to its default value
481 after the second slur:
483 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
488 % Increase thickness of all following slurs from 1.2 to 5.0
489 \override Slur #'thickness = #5.0
492 % Revert thickness of all following slurs to default of 1.2
493 \revert Slur #'thickness
498 The man who feels love's sweet e -- mo -- tion
504 The @code{\revert} command can be used to return any property
505 changed with @code{\override} back to its default value.
506 You may use whichever method best suits what you want to do.
508 That concludes our introduction to the IR, and the basic
509 method of tweaking. Several examples follow in the later
510 sections of this Chapter, partly to introduce you to some of the
511 additional features of the IR, and partly to give you more
512 practice in extracting information from it. These examples will
513 contain progressively fewer words of guidance and explanation.
515 @node Properties found in interfaces
516 @subsection Properties found in interfaces
518 @cindex interface properties
519 @cindex properties in interfaces
521 Suppose now that we wish to print the lyrics in italics. What
522 form of @code{\override} command do we need to do this?
523 We first look in the IR page listing @q{All layout objects}, as
524 before, and look for an object that might control lyrics. We
525 find @code{LyricText}, which looks right. Clicking on this shows
526 the settable properties for lyric text. These include the
527 @code{font-series} and @code{font-size}, but nothing that might
528 give an italic shape.
529 This is because the shape property is one that is common to all
530 font objects, so, rather than including it in every layout
531 object, it is grouped together with other similar common
532 properties and placed in an @strong{Interface}, the
533 @code{font-interface}.
535 So now we need to learn how to find the properties of interfaces,
536 and to discover what objects use these interface properties.
538 Look again at the IR page which describes LyricText. At the
539 bottom of the page is a list of clickable (in the html versions
540 of the IR) interfaces which LyricText supports. The list has
541 seven items, including @code{font-interface}.
542 Clicking on this brings up the properties associated
543 with this interface, which are also properties of all the objects
544 which support it, including LyricText.
546 Now we see all the user-settable properties which control fonts,
547 including @code{font-shape(symbol)}, where @code{symbol} can be
548 set to @code{upright}, @code{italics} or @code{caps}.
550 You will notice that that @code{font-series} and @code{font-size}
551 are also listed there.
552 This immediately raises the question: Why are the common font
553 properties @code{font-series} and @code{font-size} listed under
554 @code{LyricText} as well as under the interface
555 @code{font-interface} but @code{font-shape} is not? The answer
556 is that @code{font-series} and @code{font-size} are changed
557 from their global default values when a @code{LyricText} object
558 is created, but @code{font-shape} is not. The entries in
559 @code{LyricText} then tell you the values for those two
560 properties which apply to @code{LyricText}. Other objects
561 which support @code{font-interface} will set these
562 properties diferently when they are created.
564 Let's see if we can now construct the @code{\override} command
565 to change the lyrics to italics. The object is @code{LyricText},
566 the property is @code{font-shape} and the value is
567 @code{italic}. As before, we'll omit the context.
569 As an aside, although it is an important one, note that because
571 @code{font-shape} are symbols they must be introduced with a
572 single apostrophe, @code{'}. That is why apostrophes
573 are needed before @code{thickness} in the earlier example
574 and @code{font-shape}. These are both symbols too.
575 Symbols are special names which are known internally to
576 LilyPond. Some of them are the names of properties,
577 like @code{thickness} or @code{font-shape}, others are in
578 effect special values that can be given to properties, like
579 @code{italic}. Note the distinction from arbitary
580 text strings, which would appear as @code{"a text string"}.
582 Ok, so the @code{\override} command we need to print the lyrics
586 \override LyricText #'font-shape = #'italic
590 and this should be placed just in front of and close to the
591 lyrics which it should affect, like this:
593 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
598 g[( e]) e d[( f]) a |
602 \override LyricText #'font-shape = #'italic
603 The man who feels love's sweet e -- mo -- tion
609 and the lyrics are all printed in italics.
611 @subheading Specifying context in lyric mode
612 @cindex context, specifying in lyric mode
614 In the case of lyrics, if you try specifying the context in the
615 format given earlier the command will fail. A syllable
616 entered in lyricmode is terminated by either a space,
617 a newline or a digit. All other characters are included
618 as part of the syllable. For this reason a space or newline
619 must appear before the terminating @code{@}} to prevent it being
620 included as part of the final syllable. Similarly,
621 spaces must be inserted before and after the
622 period or dot, @q{.}, separating the context name from the
623 object name, as otherwise the two names are run together and
624 the interpreter cannot recognise them. So the command should be:
627 \override Lyrics . LyricText #'font-shape = #'italic
630 @warning{In lyrics always leave whitespace between the final
631 syllable and the terminating brace.}
633 @warning{In overrides in lyrics always place spaces around
634 the dot between the context name and the object name.}
636 @node Types of properties
637 @subsection Types of properties
639 @cindex Property types
641 So far we have seen two types of property: @code{number} and
642 @code{symbol}. To be valid, the value given to a property
643 must be of the correct type and obey the rules for that type.
644 The type of property is always shown in brackets after the
645 property name in the IR. Here is a list of the types you may
646 need, together with the rules for that type, and some examples.
647 You must always add a hash symbol, @code{#}, of course,
648 to the front of these values when they are entered in the
649 @code{\override} command.
651 @multitable @columnfractions .2 .45 .35
652 @headitem Property type
656 @tab Either True or False, represented by #t or #f
657 @tab @code{#t}, @code{#f}
658 @item Dimension (in staff space)
659 @tab A positive decimal number (in units of staff space)
660 @tab @code{2.5}, @code{0.34}
662 @tab A valid direction constant or its numerical equivalent
663 @tab @code{#LEFT}, @code{#CENTER}, @code{#UP},
666 @tab A positive whole number
667 @tab @code{3}, @code{1}
669 @tab A bracketed set of items separated by spaces,
670 preceded by an apostrophe
671 @tab @code{'(left-edge staff-bar)}, @code{'(1)},
672 @code{'(1.0 0.25 0.5)}
674 @tab Any valid markup
675 @tab @code{\markup @{ \italic "cresc." @}}
677 @tab A fraction of a whole note constructed with the
679 @tab @code{(ly:make-moment 1 4)},
680 @code{(ly:make-moment 3 8)}
682 @tab Any positive or negative decimal value
683 @tab @code{3.5}, @code{-2.45}
684 @item Pair (of numbers)
685 @tab Two numbers separated by a @q{space . space} and enclosed
686 in brackets preceded by an apostrophe
687 @tab @code{'(2 . 3.5)}, @code{'(0.1 . -3.2)}
689 @tab Any of the set of permitted symbols for that property,
690 preceded by an apostrophe
691 @tab @code{'italic}, @code{'inside}
693 @tab A procedure or @code{#f} (to cause no action)
694 @tab @code{bend::print}, @code{ly:text-interface::print},
697 @tab A list of three items enclosed in brackets and preceded
698 by a hash sign, @code{#}.
699 @tab @code{#(#t #t #f)}
702 @node Appearance of objects
703 @section Appearance of objects
705 Let us now put what we have learnt into practice with a few
706 examples which show how tweaks may be used to change the
707 appearance of the printed music.
710 * Visibility and color of objects::
712 * Length and thickness of objects::
715 @node Visibility and color of objects
716 @subsection Visibility and color of objects
718 In the educational use of music we might wish to print a score
719 with certain elements omitted as an exercise for the student,
720 who is required to supply them. As a simple example,
721 let us suppose the exercise is to supply the missing bar lines
722 in a piece of music. But the bar lines are normally inserted
723 automatically. How do we prevent them printing?
725 Before we tackle this, let us remember that object properties
726 are grouped in what are called @emph{interfaces} -- see
727 @ref{Properties found in interfaces}. This is simply to
728 group together those properties that are commonly required
729 together -- if one of them is required for an object, so are
730 the others. Some objects then need the properties in some
731 interfaces, others need them from other interfaces. The
732 interfaces which contain the properties required by a
733 particular grob are listed in the IR at the bottom of the
734 page describing that grob, and those properties may be
735 viewed by looking at those interfaces.
737 We explained how to find information about grobs in
738 @ref{Properties of layout objects}. Using the same approach,
739 we go to the IR to find the layout object which prints
740 bar lines. Going via @emph{Backend} and @emph{All layout objects}
742 is a layout object called @code{BarLine}. Its properties include
743 two that control its visibility: @code{break-visibility} and
744 @code{stencil}. Barline also supports a number of interfaces,
745 including the @code{grob-interface}, where we find the
746 @code{transparent} and the @code{color} properties. All
747 of these can affect the visibility of bar lines (and, of course,
748 by extension, many other layout objects too.) Let's consider
749 each of these in turn.
751 @c FIXME: is this what you meant?
752 @c TODO Change all other headings like this
754 @cindex stencil property
756 This property controls the appearance of the bar lines by specifying
757 the symbol (glyph) which should be printed. In common
758 with many other properties, it can be set to print nothing by
759 setting its value to @code{#f}. Let's try it, as before, omitting
760 the implied Context, @code{Voice}:
762 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
765 \override BarLine #'stencil = ##f
772 The bar lines are still printed. What is wrong? Go back to the
773 IR and look again at the page giving the properties of BarLine.
774 At the top of the page it says @qq{Barline objects are created
775 by: Bar_engraver}. Go to the @code{Bar_engraver} page.
777 it gives a list of Contexts in which the bar engraver operates.
778 All of them are of the type @code{Staff}, so the reason the
779 @code{\override} command failed to work as expected is because
780 @code{Barline} is not in the default @code{Voice} context.
782 is specified wrongly, the command simply does not work. No
783 error message is produced, and nothing is logged in the log
784 file. Let's try correcting it by adding the correct context:
786 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
789 \override Staff.BarLine #'stencil = ##f
796 Now the bar lines have vanished.
798 @subheading break-visibility
800 @cindex break-visibility property
802 We see from the @code{BarLine} properties in the IR that the
803 @code{break-visibility} property requires a vector of three
805 These control respectively whether bar lines are printed at
806 the end of a line, in the middle of lines, and at the beginning
807 of lines. For our example we want all bar lines to be suppressed,
808 so the value we need is @code{#(#f #f #f)}.
809 Let's try that, remembering
810 to include the @code{Staff} context. Note also that in writing
811 this value we have two hash signs before the opening bracket.
812 One is required as part of the value to introduce a vector,
813 and one is required, as always, to precede the value itself in
814 the @code{\override} command.
816 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
819 \override Staff.BarLine #'break-visibility = ##(#f #f #f)
826 And we see this too removes all the bar lines.
828 @subheading transparent
829 @cindex transparent property
831 We see from the properties specified in the @code{grob-interface}
832 page in the IR that the @code{transparent} property is a boolean.
834 should be set to @code{#t} to make the grob transparent.
835 In this next example let us make the time signature invisible
836 rather than the bar lines.
837 To do this we need to find the grob name for the time signature.
839 the @q{All layout objects} page in the IR to find the properties
840 of the @code{TimeSignature} layout object. This is produced by
841 the @code{Time_signature_engraver} which you can check also lives
842 in the @code{Staff} context and also supports the
843 @code{grob-interface}. So the command to make the time signature
846 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
849 \override Staff.TimeSignature #'transparent = ##t
857 The time signature is gone, but this command leaves a gap where
858 the time signature should be. Maybe this is what is wanted for
859 an exercise for the student to fill it in, but in other
860 circumstances a gap might be undesirable. To remove it, the
861 stencil for the time signature should be set to @code{#f}
864 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
867 \override Staff.TimeSignature #'stencil = ##f
875 and the difference is obvious: setting the stencil to @code{#f}
876 removes the object entirely; making the object @code{transparent}
877 leaves it where it is, but makes it invisible.
880 @cindex color property
882 Finally we could make the bar lines invisible by coloring
883 them white. The @code{grob-interface} specifies that the
884 color property value is a list, but there is no
885 explanation of what that list should be. The list it
886 requires is actually a list of values in internal units,
887 but, to avoid having to know what these are, several ways
888 are provided to specify colors. The first way is to use one
889 of the @q{normal} colours listed in the first table in
890 @ruser{List of colors}. To set the bar lines to white
893 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
896 \override Staff.BarLine #'color = #white
904 and again, we see the bar lines are not visible. Note that
905 @emph{white} is not preceded by an apostrophe -- it is not
906 a symbol, but a @emph{function}. When called, it provides
907 the list of internal values required to set the color to
908 white. The other colors in the normal list are functions
909 too. To convince yourself this is working you might like
910 to change the color to one of the other functions in the
916 The second way of changing the color is to use the list of
917 X11 color names in the second list in @ruser{List of colors}.
918 However, these must be preceded by another function, which
919 converts X11 color names into the list of internal values,
920 @code{x11-color}, like this:
922 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
925 \override Staff.BarLine #'color = #(x11-color 'white)
933 Note that in this case the function @code{x11-color} takes
934 a symbol as an argument, so the symbol must be preceded by
935 an apostrophe and the two enclosed in brackets.
940 There is yet a third function, one which converts RGB values into
941 internal colors -- the @code{rgb-color} function. This takes
942 three arguments giving the intensities of the red, green and
943 blue colors. These take values in the range 0 to 1. So to
944 set the color to red the value should be @code{(rgb-color 1 0 0)}
945 and to white it should be @code{(rgb-color 1 1 1)}:
947 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
950 \override Staff.BarLine #'color = #(rgb-color 1 1 1)
957 Finally, there is also a grey scale available as part of the
958 X11 set of colors. These range from black, @code{'grey0'},
959 to white, @code{'grey100}, in steps of 1. Let's illustrate
960 this by setting all the layout objects in our example to
961 various shades of grey:
963 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
966 \override Staff.StaffSymbol #'color = #(x11-color 'grey30)
967 \override Staff.TimeSignature #'color = #(x11-color 'grey60)
968 \override Staff.Clef #'color = #(x11-color 'grey60)
969 \override Voice.NoteHead #'color = #(x11-color 'grey85)
970 \override Voice.Stem #'color = #(x11-color 'grey85)
971 \override Staff.BarLine #'color = #(x11-color 'grey10)
979 Note the contexts associated with each of the layout objects.
980 It is important to get these right, or the commands will not
981 work! Remember, the context is the one in which the appropriate
982 engraver is placed. The default context for engravers can be
983 found by starting from the layout object, going from there to
984 the engraver which produces it, and on the engraver page in the
985 IR it tells you in which context the engraver will normally be
989 @node Size of objects
990 @subsection Size of objects
992 Let us begin by looking again at the earlier example
993 see @ref{Nesting music expressions}) which showed
994 how to introduce a new temporary staff, as in an @rglos{ossia}.
996 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1004 alignAboveContext = "main" }
1012 Ossia are normally written without clef and time signature, and
1013 are usually printed slightly smaller than the main staff. We
1014 already know now how to remove the clef and time signature --
1015 we simply set the stencil of each to @code{#f}, as follows:
1017 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1018 \new Staff ="main" {
1025 alignAboveContext = "main"
1028 \override Staff.Clef #'stencil = ##f
1029 \override Staff.TimeSignature #'stencil = ##f
1039 where the extra pair of braces after the @code{\with} clause are
1040 required to ensure the enclosed overrrides and music are applied
1043 But what is the difference between modifying the staff context by
1044 using @code{\with} and modifying the stencils of the clef and the
1045 time signature with \override? The main difference is that
1046 changes made in a @code{\with} clause are made at the time the
1047 context is created, and remain in force as the @strong{default}
1048 values for the duration of that context, whereas
1049 @code{\set} or @code{\override} commands embedded in the
1050 music are dynamic -- they make changes synchronised with
1051 a particular point in the music. If changes are unset or
1052 reverted using @code{\unset} or @code{\revert} they return to
1053 their default values, which will be the ones set in the
1054 @code{\with} clause, or if none have been set there, the normal
1057 Some context properties
1058 can be modified only in @code{\with} clauses. These are those
1059 properties which cannot sensibly be changed after the context
1060 has been created. @code{alignAboveContext} and its partner,
1061 @code{alignBelowContext}, are two such properties -- once the
1062 staff has been created its alignment is decided and it would
1063 make no sense to try to change it later.
1065 The default values of layout object properties can also be set
1066 in @code{\with} clauses. Simply use the normal @code{\override}
1067 command leaving out the context name, since this is unambiguously
1068 defined as the context which the @code{\with} clause is modifying.
1069 If fact, an error will be generated if a context is specified
1072 So we could replace the example above with
1074 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1075 \new Staff ="main" {
1082 alignAboveContext = "main"
1083 % Don't print clefs in this staff
1084 \override Clef #'stencil = ##f
1085 % Don't print time signatures in this staff
1086 \override TimeSignature #'stencil = ##f
1095 Finally we come to changing the size of layout objects.
1097 Some layout objects are created as glyphs selected from
1098 a typeface font. These include note heads, accidentals, markup,
1099 clefs, time signatures, dynamics and lyrics.
1100 Their size is changed by modifying the
1101 @code{font-size} property, as we shall shortly see. Other
1102 layout objects such as slurs and ties -- in general, spanner
1103 objects -- are drawn individually, so there is no
1105 associated with them. These objects generally derive their
1106 size from the objects to which they are attached, so usually
1107 there is no need to change their size manually. Still other
1108 properties such as the length of stems and bar lines, thickness
1109 of beams and other lines, and the separation of staff lines all
1110 need to be modified in special ways.
1112 Returning to the ossia example, let us first change the font-size.
1113 We can do this in two ways. We can either change the size of the
1114 fonts of each object type, like @code{NoteHead}s with commands
1118 \override NoteHead #'font-size = #-2
1121 or we can change the size of all fonts by setting a special
1122 property, @code{fontSize}, using @code{\set}, or by including
1123 it in a @code{\with} clause (but without the @code{\set}).
1129 Both of these statements would cause the font size to be reduced
1130 by 2 steps from its previous value, where each
1131 step reduces or increases the size by approximately 12%.
1133 Let's try it in our ossia example:
1135 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1136 \new Staff ="main" {
1143 alignAboveContext = "main"
1144 \override Clef #'stencil = ##f
1145 \override TimeSignature #'stencil = ##f
1146 % Reduce all font sizes by ~24%
1156 This is still not quite right. The note heads and flags are
1157 smaller, but the stems are too long in proportion and the
1158 staff lines are spaced too widely apart. These need to be
1159 scaled down in proportion to the font reduction. The next
1160 sub-section discusses how this is done.
1162 @node Length and thickness of objects
1163 @subsection Length and thickness of objects
1169 @cindex size, changing
1170 @cindex stem length, changing
1171 @cindex staff line spacing, changing
1173 Distances and lengths in LilyPond are generally measured in
1174 staff-spaces, the distance between adjacent lines in the staff,
1175 (or occasionally half staff spaces) while most @code{thickness}
1176 properties are measured in units of an internal property called
1177 @code{line-thickness.} For example, by default, the lines of
1178 hairpins are given a thickness of 1 unit of @code{line-thickness},
1179 while the @code{thickness} of a note stem is 1.3. Note, though,
1180 that some thickness properties are different; for example, the
1181 thickness of beams is measured in staff-spaces.
1183 So how are lengths to be scaled in proportion to the font size?
1184 This can be done with the help of a special function called
1185 @code{magstep} provided for exactly this purpose. It takes
1186 one argument, the change in font size (#-2 in the example above)
1187 and returns a scaling factor suitable for reducing other
1188 objects in proportion. It is used like this:
1190 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1191 \new Staff ="main" {
1198 alignAboveContext = "main"
1199 \override Clef #'stencil = ##f
1200 \override TimeSignature #'stencil = ##f
1202 % Reduce stem length and line spacing to match
1203 \override StaffSymbol #'staff-space = #(magstep -2)
1213 Since the length of stems and many other length-related properties
1214 are always calculated relative to the
1215 value of the @code{staff-space} property these are automatically
1216 scaled down in length too. Note that this affects only the
1217 vertical scale of the ossia -- the horizontal scale is determined
1218 by the layout of the main music in order to remain synchronised
1219 with it, so it is not affected by any of these changes in size.
1220 Of course, if the scale of all the main music were changed in this
1221 way then the horizontal spacing would be affected. This is
1222 discussed later in the layout section.
1224 This, then, completes the creation of an ossia. The sizes and
1225 lengths of all other objects may be modified in analogous ways.
1227 For small changes in scale, as in the example above, the
1228 thickness of the various drawn lines such as bar lines,
1229 beams, hairpins, slurs, etc does not usually require global
1230 adjustment. If the thickness of any particular layout object
1231 needs to be adjusted this can be best achieved by overriding its
1232 @code{thickness} property. An example of changing the thickness
1233 of slurs was shown above in @ref{Properties of layout objects}.
1234 The thickness of all drawn objects (i.e., those not produced
1235 from a font) may be changed in the same way.
1238 @node Placement of objects
1239 @section Placement of objects
1242 * Automatic behaviour::
1243 * Within-staff objects::
1244 * Outside staff objects::
1248 @node Automatic behaviour
1249 @subsection Automatic behaviour
1251 There are some objects in musical notation that belong to
1252 the staff and there are other objects that should be
1253 placed outside the staff. These are called within-staff
1254 objects and outside-staff objects respectively.
1256 Within-staff objects are those that are located on the staff
1257 -- note heads, stems, accidentals, etc. The positions of
1258 these are usually fixed by the music itself -- they are
1259 vertically positioned on specific lines of the staff or are
1260 tied to other objects that are so positioned. Collisions of
1261 note heads, stems and accidentals in closely set chords are
1262 normally avoided automatically. There are commands and
1263 overrides which can modify this automatic behaviour, as we
1266 Objects belonging outside the staff include things such as
1267 rehearsal marks, text and dynamic markings. LilyPond's rule for
1268 the vertical placement of outside-staff objects is to place them
1269 as close to the staff as possible but not so close that they
1270 collide with any other object. LilyPond uses the
1271 @code{outside-staff-priority} property to determine the order in
1272 which the objects should be placed, as follows.
1274 First, LilyPond places all the within-staff objects.
1275 Then it sorts the outside-staff objects according to their
1276 @code{outside-staff-priority}. The outside-staff objects are
1277 taken one by one, beginning with the object with the lowest
1278 @code{outside-staff-priority}, and placed so that they do not
1279 collide with any objects that have already been placed. That is,
1280 if two outside-staff grobs are competing for the same space, the
1281 one with the lower @code{outside-staff-priority} will be placed
1282 closer to the staff. If two objects have the same
1283 @code{outside-staff-priority} the one encountered first will be
1284 placed closer to the staff.
1286 In the following example all the markup texts have the same
1287 priority (since it is not explicity set). Note that @q{Text3}
1288 is automatically positioned close to the staff again, nestling
1291 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1298 Staves are also positioned, by default, as closely together as
1299 possible (subject to a minimum separation). If notes project
1300 a long way towards an adjacent staff they will force the
1301 staves further apart only if an overlap of the notation
1302 would otherwise occur. The following example demonstrates
1303 this @q{nestling} of the notes on adjacent staves:
1305 @lilypond[quote,ragged-right,verbatim]
1308 \relative c' { c a, }
1311 \relative c'''' { c a, }
1317 @node Within-staff objects
1318 @subsection Within-staff objects
1320 We have already seen how the commands @code{\voiceXXX} affect
1321 the direction of slurs, ties, fingering and
1322 everything else which depends on the direction of the stems.
1323 These commands are essential when writing polyphonic music to
1324 permit interweaving melodic lines to be distinguished.
1325 But occasionally it may be necessary to override this automatic
1326 behaviour. This can be done for whole sections of music or even
1327 for an individual note. The property which controls this
1328 behaviour is the @code{direction} property of each layout object.
1329 We first explain what this does, and then introduce a number of
1330 ready-made commands which avoid your having to code explicit
1331 overrides for the more common modifications.
1333 Some layout objects like slurs and ties curve, bend or point
1334 either up or down; others like stems and flags also move to
1335 right or left when they point up or down. This is controlled
1336 automatically when @code{direction} is set.
1338 The following example shows in bar 1 the default behaviour of
1340 with those on high notes pointing down and those on low notes
1341 pointing up, followed by four notes with all stems forced down,
1342 four notes with all stems forced up, and finally four notes
1343 reverted back to the default behaviour.
1345 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1347 \override Stem #'direction = #DOWN
1349 \override Stem #'direction = #UP
1351 \revert Stem #'direction
1355 Here we use the constants @code{DOWN} and @code{UP}.
1356 These have the values @code{-1} and @code{+1} respectively, and
1357 these numerical values may be used instead. The value @code{0}
1358 may also be used in some cases. It is simply treated as meaning
1359 @code{UP} for stems, but for some objects it means @q{center}.
1360 There is a constant, @code{CENTER} which has the value @code{0}.
1362 However, these explicit overrides are not usually used, as there
1363 are simpler equivalent predefined commands available.
1364 Here is a table of the commonest. The meaning of each is stated
1365 where it is not obvious.
1367 @multitable @columnfractions .2 .2 .2 .4
1372 @item @code{\arpeggioDown}
1373 @tab @code{\arpeggioUp}
1374 @tab @code{\arpeggioNeutral}
1375 @tab Arrow is at bottom, at top, or no arrow
1376 @item @code{\dotsDown}
1378 @tab @code{\dotsNeutral}
1379 @tab Direction of movement to avoid staff lines
1380 @item @code{\dynamicDown}
1381 @tab @code{\dynamicUp}
1382 @tab @code{\dynamicNeutral}
1384 @item @code{\phrasingSlurDown}
1385 @tab @code{\phrasingSlurUp}
1386 @tab @code{\phrasingSlurNeutral}
1387 @tab Note: distinct from slur commands
1388 @item @code{\slurDown}
1390 @tab @code{\slurNeutral}
1392 @item @code{\stemDown}
1394 @tab @code{\stemNeutral}
1396 @item @code{\textSpannerDown}
1397 @tab @code{\textSpannerUp}
1398 @tab @code{\textSpannerNeutral}
1399 @tab Text entered as spanner is below/above staff
1400 @item @code{\tieDown}
1402 @tab @code{\tieNeutral}
1404 @item @code{\tupletDown}
1405 @tab @code{\tupletUp}
1406 @tab @code{\tupletNeutral}
1407 @tab Tuplets are below/above notes
1410 Note that these predefined commands may @strong{not} be
1411 preceded by @code{\once}. If you wish to limit the
1412 effect to a single note you must either use the equivalent
1413 @code{\once \override} command or use the predefined command
1414 followed after the affected note by the corresponding
1415 @code{\xxxNeutral} command.
1417 @subheading Fingering
1418 @cindex fingering, placement
1420 The placement of fingering is also affected by the value
1421 of its @code{direction} property, but there are special
1422 commands which allow the fingering of individual notes
1423 of chords to be controlled, with the fingering being placed
1424 above, below, to the left or to the right of each note.
1426 First, here's the effect of @code{direction} on fingering,
1427 the first bar shows the default, then the effect of specifying
1428 @code{DOWN} and @code{UP}:
1430 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1432 \override Fingering #'direction = #DOWN
1434 \override Fingering #'direction = #UP
1438 This is how to control fingering on single notes, but the
1440 property is ignored for chords. Instead, by default, the
1441 fingering is automatically placed both above and below the
1442 notes of a chord, as shown:
1444 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1450 Greater control over the placement of fingering of the
1451 individual notes in a chord is possible by using
1452 the @code{\set fingeringOrientations} command. The format of
1456 @code{\set fingeringOrientations = #'([up] [left/right] [down])}
1460 @code{\set} is used because @code{fingeringOrientations} is a
1461 property of the @code{Voice} context, created and used by the
1462 @code{New_fingering_engraver}.
1464 The property may be set to a list of one to three values.
1465 It controls whether fingerings may be placed above (if
1466 @code{up} appears in the list), below (if @code{down} appears),
1467 to the left (if @code{left} appears, or to the right
1468 (if @code{right} appears). Conversely, if a location is not
1469 listed, no fingering is placed there. LilyPond takes these
1470 contraints and works out the best placement for the fingering
1471 of the notes of the following chords. Note that @code{left} and
1472 @code{right} are mutually exclusive -- fingering may be placed
1473 only on one side or the other, not both.
1475 To control the placement of the fingering of a single note
1476 using this command it is necessary to write it as a single
1477 note chord by placing angle brackets round it.
1479 Here are a few examples:
1481 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1482 \set fingeringOrientations = #'(left)
1484 < c-1 e-2 g-3 b-5 > 4
1485 \set fingeringOrientations = #'(left)
1487 < c-1 e-2 g-3 b-5 > 4
1488 \set fingeringOrientations = #'(up left down)
1490 < c-1 e-2 g-3 b-5 > 4
1491 \set fingeringOrientations = #'(up left)
1493 < c-1 e-2 g-3 b-5 > 4
1494 \set fingeringOrientations = #'(right)
1496 < c-1 e-2 g-3 b-5 > 4
1500 If the fingering seems a little crowded the @code{font-size}
1501 could be reduced. The default value can be seen from the
1502 @code{Fingering} object in the IR to be @code{-5}, so let's
1505 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1506 \override Fingering #'font-size = #-7
1507 \set fingeringOrientations = #'(left)
1509 < c-1 e-2 g-3 b-5 > 4
1510 \set fingeringOrientations = #'(left)
1512 < c-1 e-2 g-3 b-5 > 4
1513 \set fingeringOrientations = #'(up left down)
1515 < c-1 e-2 g-3 b-5 > 4
1516 \set fingeringOrientations = #'(up left)
1518 < c-1 e-2 g-3 b-5 > 4
1519 \set fingeringOrientations = #'(right)
1521 < c-1 e-2 g-3 b-5 > 4
1524 @node Outside staff objects
1525 @subsection Outside staff objects
1527 Outside-staff objects are automatically placed to avoid collisions.
1528 Objects with the lower value of the @code{outside-staff-priority}
1529 property are placed nearer to the staff, and other outside-staff
1530 objects are then raised as far as necessary to avoid collisions.
1531 The @code{outside-staff-priority} is defined in the
1532 @code{grob-interface} and so is a property of all layout objects.
1533 By default it is set to @code{#f} for all within-staff objects,
1534 and to a numerical value appropriate to each outside-staff object
1535 when the object is created. The following table shows
1536 the default numerical values for some of the commonest
1537 outside-staff objects which are, by default, placed in the
1538 @code{Staff} Context.
1540 @multitable @columnfractions .3 .3 .3
1541 @headitem Layout Object
1543 @tab Controls position of:
1544 @item @code{DynamicLineSpanner}
1546 @tab All dynamic markings
1547 @item @code{OttavaBracket}
1549 @tab Ottava brackets
1550 @item @code{TextScript}
1553 @item @code{TextSpanner}
1558 Here is an example showing the default placement of these.
1560 @cindex text spanner
1561 @funindex \startTextSpan
1562 @funindex \stopTextSpan
1563 @cindex ottava bracket
1565 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1566 % Set details for later Text Spanner
1567 \override TextSpanner #'bound-details #'left #'text
1568 = \markup { \small \bold Slower }
1569 % Place dynamics above staff
1571 % Start Ottava Bracket
1576 % Add Dynamic Line Spanner
1582 c\ff c \stopTextSpan
1583 % Stop Ottava Bracket
1588 This example also shows how to create Text Spanners --
1589 text with extender lines above a section of music. The
1590 spanner extends from the @code{\startTextSpan} command to
1591 the @code{\stopTextSpan} command, and the format of the
1592 text is defined by the @code{\override TextSpanner} command.
1593 For more details see @ruser{Text spanners}.
1595 It also shows how ottava brackets are created.
1597 Note that bar numbers, metronome marks and rehearsal marks
1598 are not shown. By default these are created in the
1599 @code{Score} context and their @code{outside-staff-priority}
1600 is ignored relative to the layout objects which are created
1601 in the @code{Staff} context.
1602 If you wish to place bar numbers, metronome marks or rehearsal
1603 marks in accordance with the value of their
1604 @code{outside-staff-priority} the @code{Bar_number_engraver},
1605 @code{Metronome_mark_engraver} or @code{Mark_engraver} respectively
1606 should be removed from the @code{Score} context and placed in the
1607 top @code{Staff} context. If this is done, these marks will be
1608 given the following default @code{outside-staff-priority} values:
1610 @multitable @columnfractions .3 .3
1611 @headitem Layout Object @tab Priority
1612 @item @code{BarNumber} @tab @code{ 100}
1613 @item @code{MetronomeMark} @tab @code{1000}
1614 @item @code{RehearsalMark} @tab @code{1500}
1617 If the default values of @code{outside-staff-priority} does not
1618 give you the placing you want, the priority of any of the objects
1619 may be overridden. Suppose we would
1620 like the ottava bracket to be placed below the text spanner in the
1621 example above. All we need to do is to look up the priority of
1622 @code{OttavaBracket} in the IR or in the tables above, and reduce
1623 it to a value lower than that of a @code{TextSpanner}:
1625 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1626 % Set details for later Text Spanner
1627 \override TextSpanner #'bound-details #'left #'text
1628 = \markup { \small \bold Slower }
1629 % Place dynamics above staff
1631 %Place following Ottava Bracket below Text Spanners
1632 \once \override OttavaBracket #'outside-staff-priority = #340
1633 % Start Ottava Bracket
1638 % Add Dynamic Line Spanner
1644 c\ff c \stopTextSpan
1645 % Stop Ottava Bracket
1650 Changing the @code{outside-staff-priority} can also be used to
1651 control the vertical placement of individual objects, although
1652 the results may not always be desirable. Suppose we would
1653 like @qq{Text3} to be placed above @qq{Text4} in the example
1654 under Automatic behaviour, above (see @ref{Automatic behaviour}).
1655 All we need to do is to look up the priority of @code{TextScript}
1656 in the IR or in the tables above, and increase the priority of
1657 @qq{Text3} to a higher value:
1659 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1662 \once \override TextScript #'outside-staff-priority = #500
1667 This certainly lifts @qq{Text3} above @qq{Text4} but it also
1668 lifts it above @qq{Text2}, and @qq{Text4} now drops down.
1669 Perhaps this is not so good. What we would really like to do
1670 is to position all the annotation at the same distance above
1671 the staff? To do this, we clearly
1672 will need to space the notes out horizontally to make more
1673 room for the text. This is done using the @code{textLengthOn}
1676 @subheading \textLengthOn
1678 @funindex \textLengthOn
1679 @cindex notes, spreading out with text
1681 By default, text produced by markup takes up no horizontal space
1682 as far as laying out the music is concerned. The @code{\textLengthOn}
1683 command reverses this behaviour, causing the notes to be spaced
1684 out as far as is necessary to accommodate the text:
1686 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1687 \textLengthOn % Cause notes to space out to accommodate text
1694 The command to revert to the default behaviour is
1695 @code{\textLengthOff}. Remember @code{\once} only works with
1696 @code{\override}, @code{\set}, @code{\revert} or @code{unset},
1697 so cannot be used with @code{\textLengthOn}.
1699 Markup text will also avoid notes which project above the staff.
1700 If this is not desired, the automatic displacement upwards may
1701 be turned off by setting the priority to @code{#f}. Here's an
1702 example to show how markup text interacts with such notes.
1704 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1705 % This markup is short enough to fit without collision
1709 % This is too long to fit, so it is displaced upwards
1713 % Turn off collision avoidance
1714 \once \override TextScript #'outside-staff-priority = ##f
1718 % Turn off collision avoidance
1719 \once \override TextScript #'outside-staff-priority = ##f
1720 \textLengthOn % and turn on textLengthOn
1721 c,,2^"Long Text " % Spaces at end are honoured
1726 @subheading Dynamics
1728 Dynamic markings will normally be positioned beneath the
1729 staff, but may be positioned above with the @code{dynamicUp}
1730 command. They will be positioned vertically relative to the
1731 note to which they are attached, and will float below (or above)
1732 all within-staff objects such as phrasing slurs and bar numbers.
1733 This can give quite acceptable results, as this example
1736 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1741 bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
1742 ees,2.~\)\mf ees4 r8 |
1745 However, if the notes and attached dynamics are close
1746 together the automatic placement will avoid collisions
1747 by displacing later dynamic markings further away, but this may
1748 not be the optimum placement, as this rather artificial example
1751 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1757 Should a similar situation arise in @q{real} music, it may
1758 be preferable to space out the notes
1759 a little further, so the dynamic markings can all fit at the
1760 same vertical distance from the staff. We were able to do this
1761 for markup text by using the @code{\textLengthOn} command, but there
1762 is no equivalent command for dynamic marks. So we shall have to
1763 work out how to do this using @code{\override} commands.
1765 @subheading Grob sizing
1768 @cindex sizing grobs
1769 @cindex @code{X-offset}
1770 @cindex @code{Y-offset}
1771 @cindex @code{X-extent}
1772 @cindex @code{Y-extent}
1774 First we must learn how grobs are sized. All grobs have a
1775 reference point defined within them which is used to position
1776 them relative to their parent object. This point in the grob
1777 is then positioned at a horizontal distance, @code{X-offset},
1778 and at a vertical distance, @code{Y-offset}, from its parent.
1779 The horizontal extent of the object is given by a pair of
1780 numbers, @code{X-extent}, which say where the left and right
1781 edges are relative to the reference point. The vertical extent
1782 is similarly defined by a pair of numbers, @code{Y-extent}.
1783 These are properties of all grobs which support the
1784 @code{grob-interface}.
1786 @cindex @code{extra-spacing-width}
1788 By default, outside-staff objects are given a width of zero so
1789 that they may overlap in the horizontal direction. This is done
1790 by the trick of adding infinity to the leftmost extent and
1791 minus infinity to the rightmost extent by setting the
1792 @code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So
1793 to ensure they do not overlap in the horizontal direction we
1794 must override this value of @code{extra-spacing-width} to
1795 @code{'(0 . 0)} so the true width shines through. This is
1796 the command to do this for dynamic text:
1799 \override DynamicText #'extra-spacing-width = #'(0 . 0)
1803 Let's see if this works in our previous example:
1805 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1807 \override DynamicText #'extra-spacing-width = #'(0 . 0)
1812 Well, it has certainly stopped the dynamic marks being
1813 displaced, but two problems remain. The marks should be
1814 spaced a little further apart and it would be better
1815 if they were all the same distance from the staff.
1816 We can solve the first problem easily. Instead of making
1817 the @code{extra-spacing-width} zero we could add a little
1818 more to it. The units are the space between two staff
1819 lines, so moving the left edge half a unit to the left and the
1820 right edge half a unit to the right should do it:
1822 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1824 % Extend width by 1 staff space
1825 \override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
1830 This looks better, but maybe we would prefer the dynamic marks
1831 to be aligned along the same baseline rather than going up and
1832 down with the notes. The property to do this is
1833 @code{staff-padding} which is covered in the following section.
1836 @node Collisions of objects
1837 @section Collisions of objects
1841 * Fixing overlapping notation::
1842 * Real music example::
1845 @node Moving objects
1846 @subsection Moving objects
1848 This may come as a surprise, but LilyPond is not perfect. Some
1849 notation elements can overlap. This is unfortunate, but in fact
1850 rather rare. Usually the need to move objects is for clarity or
1851 aesthetic reasons -- they would look better with a little more
1852 or a little less space around them.
1854 There are three main main approaches to resolving overlapping
1855 notation. They should be considered in the following order:
1859 The @strong{direction} of one of the overlapping objects may
1860 be changed using the predefined commands listed above for
1861 within-staff objects (see @ref{Within-staff objects}).
1862 Stems, slurs, beams, ties, dynamics, text and tuplets may be
1863 repositioned easily in this way. The limitation is that you
1864 have a choice of only two positions, and neither may be
1868 The @strong{object properties}, which LilyPond uses
1869 when positioning layout objects, may be modified using
1870 @code{\override}. The advantages
1871 of making changes to this type of property are (a) that some
1872 other objects will be moved automatically if necessary to make
1873 room and (b) the single override can apply to all instances of
1874 the same type of object. Such properties include:
1880 This has already been covered in some detail -- see
1881 @ref{Within-staff objects}.
1884 @code{padding}, @code{left-padding},
1885 @code{right-padding}, @code{staff-padding}
1887 @cindex left-padding property
1888 @cindex padding property
1889 @cindex right-padding property
1890 @cindex staff-padding property
1891 As an object is being positioned the value of its @code{padding}
1892 property specifies the gap that must be left between itself and
1893 the nearest edge of the object against which it is being
1894 positioned. Note that it is the @code{padding} value of the object
1895 @strong{being placed} that is used;
1896 the @code{padding} value of the object which is already placed is
1897 ignored. Gaps specified by @code{padding} can be applied
1898 to all objects which support the @code{side-position-interface}.
1900 Instead of @code{padding}, the placement of groups of accidentals
1901 is controlled by @code{left-padding} and @code{right-padding}.
1902 These properties are to be found in the @code{AccidentalPlacement}
1903 object which, note, lives in the @strong{staff} context. Because
1904 accidentals are always positioned after and to the left of
1905 note heads only the @code{right-padding} property has any effect.
1907 The @code{staff-padding} property is closely related to the
1908 @code{padding} property: @code{padding}
1909 controls the minimum amount of space between any object which
1910 supports the @code{side-position-interface} and the nearest
1911 other object (generally the note or the staff lines);
1912 @code{staff-padding} applies only to those objects which are always
1913 set outside the staff -- it controls the minimum amount of space
1914 that should be inserted between that object and the staff. Note
1915 that @code{staff-padding} has no effect on objects which are
1916 positioned relative to the note rather than the staff, even though
1917 it may be overridden without error for such objects -- it is simply
1920 To discover which padding property is required for the object
1921 you wish to reposition, you
1922 need to return to the IR and look up the object's properties.
1923 Be aware that the padding properties might not be located in the
1924 obvious object, so look in objects that appear to be related.
1926 All padding values are measured in staff spaces. For most
1927 objects, this value is set by default to be around 1.0 or less
1928 (it varies with each object). It may be overridden if a larger
1929 (or smaller) gap is required.
1932 @code{self-alignment-X}
1934 @cindex self-alignment-X property
1935 This property aligns the object to the left, to the right, or
1936 centers it with respect to the parent object's reference point.
1937 It may be used with all objects which support the
1938 @code{self-alignment-interface}. In general these are objects
1939 that contain text. The values are @code{LEFT}, @code{RIGHT}
1940 or @code{CENTER}. The movement is limited by the length of the
1941 object. Any numerical value between @code{-1} and @code{+1} may
1942 also be specified, where @code{-1} is left-aligned, @code{+1}
1943 is right-aligned, and numbers in between move the text
1944 progressively from left-aligned to right-aligned.
1947 @code{extra-spacing-width}
1949 @cindex extra-spacing-width property
1950 This property is available for all objects which support the
1951 @code{item-interface}. It takes two numbers, the first is added
1952 to the leftmost extent and the second is added to the rightmost
1953 extent. Negative numbers move the edge to the left, positive to
1954 the right, so to widen an object the first number must be negative,
1955 the second positive. Note that not all objects honour both
1956 numbers. For example, the @code{Accidental} object only takes
1957 notice of the first (left edge) number.
1960 @code{staff-position}
1962 @cindex staff-position property
1963 @code{staff-position} is a property of the
1964 @code{staff-symbol-referencer-interface}, which is supported by
1965 objects which are positioned relative to the staff. It specifies
1966 the vertical position of the object relative to the center line
1967 of the staff in half staff-spaces. It is useful in resolving
1968 collisions between layout objects like multi-measure rests, ties
1969 and notes in different voices.
1974 @cindex force-hshift property
1976 Closely spaced notes in a chord, or notes occuring at the same
1977 time in different voices, are arranged in two, occasionally more,
1978 columns to prevent the note heads overlapping. These are called
1979 note columns, and an object called @code{NoteColumn} is created
1980 to lay out the notes in that column.
1982 The @code{force-hshift}
1983 property is a property of a @code{NoteColumn} (actually of the
1984 @code{note-column-interface}). Changing it permits a note column
1985 to be moved in units appropriate to a note column, viz. the note
1986 head width of the first voice note. It should be used in
1987 complex situations where the normal @code{\shiftOn} commands (see
1988 @ref{Explicitly instantiating voices}) do
1989 not resolve the note conflict. It is preferable to the
1990 @code{extra-offset} property for this purpose as there is no need
1991 to work out the distance in staff-spaces, and moving the notes
1992 into or out of a @code{NoteColumn} affects other actions such as
1997 Objects do not all have all of these properties in general.
1998 It is necessary to go to the IR to look up which properties
1999 are available for the object in question.
2002 Finally, when all else fails, objects may be manually repositioned
2003 relative to the staff center line verically, or by
2004 displacing them by any distance to a new position. The
2005 disadvantages are that the correct values for the repositioning
2006 have to be worked out, often by trial and error, for every object
2007 individually, and, because the movement is done after LilyPond has
2008 placed all other objects, the user is responsible for avoiding any
2009 collisions that might ensue. But the main difficulty with this
2010 approach is that the repositioning values may need to be reworked
2011 if the music is later modified. The properties that can be used
2012 for this type of manual repositioning are:
2016 @cindex extra-offset property
2017 This property applies to any layout object
2018 supporting the @code{grob-interface}. It takes a pair of
2019 numbers which specify the extra displacement in the horizontal and
2020 vertical directions. Negative numbers move the object to
2021 the left or down. The units are staff-spaces. The extra
2022 displacement is made after the typesetting of objects is
2023 finished, so an object may be repositioned anywhere without
2024 affecting anything else.
2027 @cindex positions property
2028 This is most useful for manually adjusting the slope and height
2029 of beams, slurs, and tuplets. It takes a pair of numbers
2030 giving the position of the left and right ends of the beam, slur,
2031 etc. relative to the center line of the staff. Units are
2035 Objects do not all have all of these properties in general.
2036 It is necessary to go to the IR to look up which properties
2037 are available for the object in question.
2041 Here is a list of the objects which are most likely to be
2042 involved in collisions, together with the name of the object which
2043 should be looked up in the IR in order to discover which properties
2044 should be used to move them.
2046 @multitable @columnfractions .5 .5
2047 @headitem Object type @tab Object name
2048 @item Articulations @tab @code{Script}
2049 @item Beams @tab @code{Beam}
2050 @item Dynamics (vertically) @tab @code{DynamicLineSpanner}
2051 @item Dynamics (horizontally) @tab @code{DynamicText}
2052 @item Fingerings @tab @code{Fingering}
2053 @item Rehearsal / Text marks @tab @code{RehearsalMark}
2054 @item Slurs @tab @code{Slur}
2055 @item Text e.g. @code{^"text"} @tab @code{TextScript}
2056 @item Ties @tab @code{Tie}
2057 @item Tuplets @tab @code{TupletBracket}
2061 @node Fixing overlapping notation
2062 @subsection Fixing overlapping notation
2064 Let's now see how the properties in the previous section can
2065 help to resolve overlapping notation.
2067 @subheading padding property
2068 @cindex padding property
2070 The @code{padding} property can be set to increase
2071 (or decrease) the distance between symbols that are printed
2072 above or below notes.
2074 @lilypond[quote,fragment,relative=1,verbatim]
2076 \override Script #'padding = #3
2080 @lilypond[quote,fragment,relative=1,verbatim]
2081 % This will not work, see below:
2082 \override MetronomeMark #'padding = #3
2086 \override Score.MetronomeMark #'padding = #3
2091 Note in the second example how important it is to figure out what
2092 context handles a certain object. Since the @code{MetronomeMark} object
2093 is handled in the @code{Score} context, property changes in the
2094 @code{Voice} context will not be noticed. For more details, see
2095 @ruser{Constructing a tweak}.
2097 @subheading left-padding and right-padding properties
2098 @cindex left-padding property
2099 @cindex right-padding property
2101 TODO Example showing the utility of these properties -td
2103 @subheading staff-padding property
2104 @cindex staff-padding property
2106 @code{staff-padding} can be used to align objects such as dynamics
2107 along a baseline at a fixed height above the staff, rather than
2108 at a height dependent on the position of the note to which they
2109 are attached. It is not a property of
2110 @code{DynamicText} but of @code{DynamicLineSpanner}.
2111 This is because the baseline should apply equally to @strong{all}
2112 dynamics, including those created as extended spanners.
2113 So this is the way to align the dynamic marks in the example
2114 taken from the previous section:
2116 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2118 % Extend width by 1 unit
2119 \override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
2120 % Align dynamics to a base line 2 units above staff
2121 \override DynamicLineSpanner #'staff-padding = #2
2126 @subheading self-alignment-X property
2127 @cindex self-alignment-X property
2129 The following example shows how this can resolve the collision
2130 of a string fingering object with a note's stem by aligning the
2131 right edge with the reference point of the parent note:
2133 @lilypond[quote,fragment,ragged-right,verbatim,relative=3]
2136 \once \override StringNumber #'self-alignment-X = #RIGHT
2140 @subheading staff-position property
2141 @cindex staff-position property
2143 Multimeasure rests in one voice can collide with notes in another.
2144 Since these rests are typeset centered between the bar lines, it
2145 would require significant effort for LilyPond to figure out which
2146 other notes might collide with it, since all the current collision
2147 handling between notes and between notes and rests is done only
2148 for notes and rests that occur at the same time. Here's an
2149 example of a collision of this type:
2151 @lilypond[quote,verbatim,fragment,ragged-right, relative=1]
2152 << {c c c c} \\ {R1} >>
2155 The best solution here is to move the multimeasure rest down,
2156 since the rest is in voice two.
2157 The default in @code{\voiceTwo} (i.e. in the second voice of a
2158 @code{<<@{...@} \\ @{...@}>>} construct)
2159 is that @code{staff-position} is set to -4 for MultiMeasureRest,
2160 so we need to move it, say, four half-staff spaces down to
2163 @lilypond[quote,verbatim,fragment,ragged-right, relative=1]
2167 \override MultiMeasureRest #'staff-position = #-8
2172 This is better than using, for example, @code{extra-offset},
2173 because the ledger line above the rest is inserted automatically.
2175 @subheading extra-offset property
2176 @cindex extra-offset property
2178 The @code{extra-offset} property provides complete control over the
2179 positioning of an object both horizontally and vertically.
2181 In the following example, the second fingering is moved a little to
2182 the left, and 1.8 staff space downwards:
2184 @lilypond[quote,fragment,relative=1,verbatim]
2187 \once \override Fingering
2188 #'extra-offset = #'(-0.3 . -1.8)
2193 @subheading force-hshift property
2194 @cindex force-hshift property
2195 @c FIXME: formatting stuff (ie not important right now IMO)
2196 @c @a nchor Chopin finally corrected TODOgp
2198 We can now see how to apply the final corrections to the Chopin
2199 example introduced at the end of @ref{I'm hearing Voices}, which
2200 was left looking like this:
2202 @lilypond[quote,verbatim,fragment,ragged-right]
2203 \new Staff \relative c'' {
2206 { c2 aes4. bes8 } \\
2218 The lower two notes of the first chord (i.e,
2219 those in the third voice) should not be shifted away from the
2220 note column of the higher two notes. To correct this we set
2221 @code{force-hshift}, which is a property of
2222 @code{NoteColumn}, of these notes to zero.
2223 The lower note of the second chord is best placed just to the
2224 right of the higher notes. We achieve this by setting
2225 @code{force-hshift} of this note to 0.5, ie half a note head's
2226 width to the right of the note column of the higher notes.
2228 Here's the final result:
2230 @lilypond[quote,verbatim,fragment,ragged-right]
2231 \new Staff \relative c'' {
2234 { c2 aes4. bes8 } \\
2237 \once \override NoteColumn #'force-hshift = #0 <ees c>2
2238 \once \override NoteColumn #'force-hshift = #0.5 des2
2246 @subheading positions property
2247 @cindex positions property
2249 The @code{positions} property allows the position and slope of
2250 tuplets, slurs, phrasing slurs and beams to be controlled
2251 manually. Here's an example which has an ugly phrasing slur
2252 due to its trying to avoid the slur on the acciaccatura.
2254 @lilypond[quote,verbatim,fragment,ragged-right,relative=1]
2255 r4 \acciaccatura e8\( d8 c ~c d c d\)
2259 We could simply move the phrasing slur above the notes, and this
2260 would be the preferred solution:
2262 @lilypond[quote,verbatim,fragment,ragged-right,relative=1]
2265 \acciaccatura e8\( d8 c ~c d c d\)
2269 but if there were some reason why this could not be done the
2270 other alternative would be to move the left end of the phrasing
2271 slur down a little using the @code{positions} property. This
2272 also resolves the rather nasty shape.
2274 @lilypond[quote,verbatim,fragment,ragged-right,relative=1]
2276 \once \override PhrasingSlur #'positions = #'(-4 . -3)
2278 e8\( d8 c ~c d c d\)
2281 Here's a further example taken from the opening of the left-hand
2282 staff of Chopin's Prelude Op 28 No. 2. We see that the beam
2283 collides with the upper notes:
2285 @lilypond[quote,verbatim,fragment,ragged-right]
2288 << {b,8 ais, b, g,} \\ {e, g e, g} >>
2289 << {b,8 ais, b, g,} \\ {e, g e, g} >>
2294 This can only be resolved by manually moving both ends of the beam
2295 up from their position at 2 staff-spaces above the center line to,
2298 @lilypond[quote,verbatim,fragment,ragged-right]
2302 \override Beam #'positions = #'(3 . 3)
2307 << {b,8 ais, b, g,} \\ {e, g e, g} >>
2312 Note that the override continues to apply in the first voice of
2313 the second block of quavers, but not to any of the beams in the
2316 @node Real music example
2317 @subsection Real music example
2319 We end this section on Tweaks by showing the steps to be taken to
2320 deal with a tricky example which needs several tweaks to produce
2321 the desired output. The example has been deliberately chosen to
2322 illustrate the use of the Notation Reference to resolve unusual
2323 problems with notation. It is not representative of more usual
2324 engraving process, so please do not let these difficulties put
2325 you off! Fortunately, difficulties like these are not very common!
2327 The example is from Chopin's Première Ballade, Op. 23, bars 6 to
2328 9, the transition from the opening Lento to Moderato.
2329 Here, first, is what we want the output to look like, but to avoid
2330 over-complicating the example too much we have left out the
2331 dynamics, fingering and pedalling.
2333 @c The following should appear as music without code
2334 @lilypond[quote,ragged-right]
2335 rhMusic = \relative c'' {
2338 \once \override Tie #'staff-position = #3.5
2342 \override Staff.NoteCollision #'merge-differently-headed = ##t
2343 \override Staff.NoteCollision #'merge-differently-dotted = ##t
2344 bes2.^\markup {\bold "Moderato"} r8
2346 {c,8[ d fis bes a] | }
2348 % Reposition the c2 to the right of the merged note
2349 {c,8~ \once \override NoteColumn #'force-hshift = #1.0
2350 % Move the c2 out of the main note column so the merge will work
2353 % Stem on the d2 must be down to permit merging
2354 {s8 \stemDown \once \override Stem #'transparent = ##t d2}
2358 \revert Staff.NoteCollision #'merge-differently-headed
2359 \revert Staff.NoteCollision #'merge-differently-dotted
2363 lhMusic = \relative c' {
2365 <d g, d>1)\arpeggio |
2372 \new Staff = "RH" <<
2376 \new Staff = "LH" <<
2385 We note first that the right hand part in the third bar
2386 requires four voices. These are the five beamed eighth notes,
2387 the tied C, the half-note D which is merged with the eighth note
2388 D, and the dotted quarter note F-sharp, which is also merged with
2389 the eighth note at the same pitch. Everything else is in a single
2390 voice, so the easiest way is to introduce these four voices
2391 temporarily at the time they are needed. If you have forgotten
2392 how to do this, look at @ref{I'm hearing Voices}. Let us begin
2393 by entering the notes as two variables and setting up the staff
2394 structure in a score block, and see what LilyPond produces by
2397 @lilypond[quote,verbatim,ragged-right]
2398 rhMusic = \relative c'' {
2403 % Start polyphonic section of four voices
2405 {c,8 d fis bes a | }
2416 lhMusic = \relative c' {
2425 \new Staff = "RH" <<
2429 \new Staff = "LH" <<
2438 All the notes are right, but the appearance is far from
2439 satisfactory. The tie clashes with the change in time signature,
2440 the beaming in the third bar is wrong, the notes are not
2441 merged together, and several notation elements are missing.
2442 Let's first deal with the easier things.
2443 We can correct the beaming by inserting a beam
2444 manually, and we can easily add the left hand slur and the right
2445 hand phrasing slur, since these were all covered in the Tutorial.
2448 @lilypond[quote,verbatim,ragged-right]
2449 rhMusic = \relative c'' {
2454 % Start polyphonic section of four voices
2456 {c,8[ d fis bes a] | }
2467 lhMusic = \relative c' {
2476 \new Staff = "RH" <<
2480 \new Staff = "LH" <<
2489 The first bar is now correct. The second bar contains an arpeggio
2490 and is terminated by a double bar line. How do we do these, as they
2491 have not been mentioned in this Learning Manual? This is where
2492 we need to turn to the Notation Reference. Looking up @q{arpeggio}
2493 and @q{bar line} in the
2494 index quickly shows us that an arpeggio is produced by appending
2495 @code{\arpeggio} to a chord, and a double bar line is produced by
2496 the @code{\bar "||"} command. That's easily done. We next need
2497 to correct the collision of the tie with the time signature. This
2498 is best done by moving the tie upwards. Moving objects was covered
2499 earlier in @ref{Moving objects}, which says that objects positioned
2500 relative to the staff can be moved by overriding their
2501 @code{staff-position} property, which is specified in half staff
2502 spaces relative to the center line of the staff. So the following
2503 override placed just before the first tied note would move the tie
2504 up to 3.5 half staff spaces above the center line:
2506 @code{\once \override Tie #'staff-position = #3.5}
2508 This completes bar two, giving:
2510 @lilypond[quote,verbatim,ragged-right]
2511 rhMusic = \relative c'' {
2513 \once \override Tie #'staff-position = #3.5
2518 % Start polyphonic section of four voices
2520 {c,8[ d fis bes a] | }
2531 lhMusic = \relative c' {
2533 <d g, d>1)\arpeggio |
2540 \new Staff = "RH" <<
2544 \new Staff = "LH" <<
2553 On to bar three and the start of the Moderato section. The
2554 tutorial showed how to add embolded text with the
2555 @code{\markup} command, so adding @q{Moderato} in bold is easy.
2556 But how do we merge notes in different voices together? The
2557 index in the Notation Reference does not mention merging,
2558 but a search of the text for @q{merge} quickly leads us to
2559 the overrides for merging differently headed and differently
2560 dotted notes in @ruser{Collision Resolution}. In our
2561 example we need to merge both types of note for the duration
2562 of the polyphonic section in bar 3, so using the information
2563 in the Notation Reference we add
2566 \override Staff.NoteCollision #'merge-differently-headed = ##t
2567 \override Staff.NoteCollision #'merge-differently-dotted = ##t
2571 to the start of that section and
2574 \revert Staff.NoteCollision #'merge-differently-headed
2575 \revert Staff.NoteCollision #'merge-differently-dotted
2581 @lilypond[quote,verbatim,ragged-right]
2582 rhMusic = \relative c'' {
2584 \once \override Tie #'staff-position = #3.5
2588 bes2.^\markup {\bold "Moderato"} r8
2589 \override Staff.NoteCollision #'merge-differently-headed = ##t
2590 \override Staff.NoteCollision #'merge-differently-dotted = ##t
2591 % Start polyphonic section of four voices
2593 {c,8[ d fis bes a] | }
2601 \revert Staff.NoteCollision #'merge-differently-headed
2602 \revert Staff.NoteCollision #'merge-differently-dotted
2606 lhMusic = \relative c' {
2608 <d g, d>1)\arpeggio |
2615 \new Staff = "RH" <<
2619 \new Staff = "LH" <<
2628 These overrides have merged the two F-sharp notes, but not the two
2629 on D. Why not? The answer is there in the same section in the
2630 Notation Reference -- notes being merged must have stems in
2631 opposite directions and two notes cannot be merged successfully if
2632 there is a third note in the same note column. Here the two D's
2633 both have upward stems and there is a third note -- the C. We know
2634 how to change the stem direction using @code{\stemDown}, and
2635 the Notation Reference also says how to move the C -- apply a shift
2636 using one of the @code{\shift} commands. But which one?
2637 The C is in voice two which has shift off, and the two D's are in
2638 voices one and three, which have shift off and shift on,
2639 respectively. So we have to shift the C a further level still
2640 using @code{\shiftOnn} to avoid it interferring with the two D's.
2641 Applying these changes gives:
2643 @lilypond[quote,verbatim,ragged-right]
2644 rhMusic = \relative c'' {
2646 \once \override Tie #'staff-position = #3.5
2650 bes2.^\markup {\bold "Moderato"} r8
2651 \override Staff.NoteCollision #'merge-differently-headed = ##t
2652 \override Staff.NoteCollision #'merge-differently-dotted = ##t
2653 % Start polyphonic section of four voices
2655 {c,8[ d fis bes a] | }
2657 % Move the c2 out of the main note column so the merge will work
2658 {c,8~ \shiftOnn c2 | }
2660 % Stem on the d2 must be down to permit merging
2661 {s8 \stemDown d2 | }
2665 \revert Staff.NoteCollision #'merge-differently-headed
2666 \revert Staff.NoteCollision #'merge-differently-dotted
2670 lhMusic = \relative c' {
2672 <d g, d>1)\arpeggio |
2679 \new Staff = "RH" <<
2683 \new Staff = "LH" <<
2692 Nearly there. Only two problems remain: The downward stem on the
2693 merged D should not be there, and the C would be better positioned
2694 to the right of the D's. We know how to do both of these from the
2695 earlier tweaks: we make the stem transparent, and move the C with
2696 the @code{force-hshift} property. Here's the final result:
2698 @lilypond[quote,verbatim,ragged-right]
2699 rhMusic = \relative c'' {
2702 \once \override Tie #'staff-position = #3.5
2706 bes2.^\markup {\bold "Moderato"} r8
2707 \override Staff.NoteCollision #'merge-differently-headed = ##t
2708 \override Staff.NoteCollision #'merge-differently-dotted = ##t
2710 {c,8[ d fis bes a] | }
2712 % Reposition the c2 to the right of the merged note
2713 {c,8~ \once \override NoteColumn #'force-hshift = #1.0
2714 % Move the c2 out of the main note column so the merge will work
2717 % Stem on the d2 must be down to permit merging
2718 {s8 \stemDown \once \override Stem #'transparent = ##t d2}
2722 \revert Staff.NoteCollision #'merge-differently-headed
2723 \revert Staff.NoteCollision #'merge-differently-dotted
2727 lhMusic = \relative c' {
2729 <d g, d>1)\arpeggio |
2736 \new Staff = "RH" <<
2740 \new Staff = "LH" <<
2750 @node Further tweaking
2751 @section Further tweaking
2754 * Other uses for tweaks::
2755 * Using variables for tweaks::
2756 * Other sources of information::
2757 * Advanced tweaks with Scheme::
2758 * Avoiding tweaks with slower processing::
2761 @node Other uses for tweaks
2762 @subsection Other uses for tweaks
2766 @cindex transparent property
2767 @cindex objects, making invisible
2768 @cindex removing objects
2769 @cindex objects, removing
2770 @cindex hiding objects
2771 @cindex invisible objects
2774 Setting the @code{transparent} property will cause an object
2775 to be printed in @q{invisible ink}: the object is not printed,
2776 but all its other behavior is retained. The object still takes
2777 up space, it takes part in collisions, and slurs, ties, and beams
2778 can be attached to it.
2780 The following example demonstrates how to connect different voices
2781 using ties. Normally, ties only connect two notes in the same
2782 voice. By introducing a tie in a different voice,
2784 @lilypond[quote,fragment,relative=2]
2793 and blanking the first up-stem in that voice, the tie appears to cross
2796 @lilypond[quote,fragment,relative=2,verbatim]
2798 \once \override Stem #'transparent = ##t
2805 To make sure that the just-blanked stem doesn't squeeze the tie too much,
2806 we also lengthen the stem, by setting the @code{length} to
2809 @lilypond[quote,fragment,relative=2,verbatim]
2811 \once \override Stem #'transparent = ##t
2812 \once \override Stem #'length = #8
2819 @cindex stencil property
2822 For outside-staff objects it is usually better to override the
2823 object's @code{stencil} property rather than its @code{transparent}
2824 property when you wish to remove it from the printed output.
2825 Setting the @code{stencil} property of an object to @code{#f} will
2826 remove that object entirely from the printed output. This means it
2827 has no effect on the placement of other objects placed relative to
2830 For example, if we wished to change the metronome setting in order
2831 to simulate a fermata in the MIDI output we would not want the
2832 metronome marking to appear in the printed output, and we would
2833 not want it to influence the spacing between the two systems or
2834 the spacing of the notes on the staff. So setting its
2835 @code{stencil} property to @code{#f} would be the best way.
2836 We show here the effect of the two methods:
2838 @lilypond[quote,verbatim]
2841 % Visible tempo marking
2844 \once \override Score.MetronomeMark #'transparent = ##t
2845 % Invisible tempo marking to lengthen fermata note in MIDI
2848 \once \override Score.MetronomeMark #'stencil = ##f
2849 % Invisible tempo marking to restore tempo in MIDI
2858 Both methods remove the metronome mark from the printed output,
2859 and both affect the MIDI timing as required, but the first
2860 (transparent) metronome mark still influences the note spacing
2861 while the second (with no stencil) does not.
2865 @node Using variables for tweaks
2866 @subsection Using variables for tweaks
2870 @node Other sources of information
2871 @subsection Other sources of information
2873 The Internals Reference documentation contains a lot of information
2874 about LilyPond, but even more information can be gathered from
2875 looking at the internal LilyPond files.
2877 TODO Show example, then explain where to find ly/propert-ly.
2879 Some default settings (such as the definitions for
2880 @code{\header@{@}}s) are stored as @code{.ly} files. Other
2881 settings (such as the definitions of markup commands) are
2882 stored as @code{.scm} (Scheme) files. Further explanation is
2883 outside the scope of this manual; users should be warned that
2884 a substantial amount of technical knowledge or time is required
2885 to understand these files.
2889 @item Linux: @file{@var{installdir}/lilypond/usr/share/lilypond/current/}
2892 @file{@var{installdir}/LilyPond.app/Contents/Resources/share/lilypond/current/}.
2893 To access this, either @code{cd} into this directory from the
2894 Terminal, or control-click on the LilyPond application and select
2895 @q{Show Package Contents}.
2897 @item Windows: @file{@var{installdir}/LilyPond/usr/share/lilypond/current/}
2901 The @file{ly/} and @file{scm/} directories will be of
2902 particular interest. Files such as @file{ly/property-init.ly} and
2903 @file{ly/declarations-init.ly} define all the common tweaks.
2906 @node Advanced tweaks with Scheme
2907 @subsection Advanced tweaks with Scheme
2909 We have seen how LilyPond output can be heavily modified using
2911 @code{\override TextScript #'extra-offset = ( 1 . -1)}. But
2912 we have even more power if we use Scheme. For a full explantion
2913 of this, see the @ref{Scheme tutorial}, and
2914 @ruser{Interfaces for programmers}.
2916 We can use Scheme to simply @code{\override} commands,
2918 TODO Check this is a valid example with skylining
2920 @lilypond[quote,verbatim,ragged-right]
2921 padText = #(define-music-function (parser location padding) (number?)
2923 \once \override TextScript #'padding = #$padding
2927 c4^"piu mosso" b a b
2929 c4^"piu mosso" d e f
2931 c4^"piu mosso" fis a g
2935 We can use it to create new commands,
2937 TODO Check this is a valid example with skylining
2939 @lilypond[quote,verbatim,ragged-right]
2940 tempoMark = #(define-music-function (parser location padding marktext)
2943 \once \override Score . RehearsalMark #'padding = $padding
2944 \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
2945 \mark \markup { \bold $marktext }
2950 \tempoMark #3.0 #"Allegro"
2955 Even music expressions can be passed in.
2957 @lilypond[quote,verbatim,ragged-right]
2958 pattern = #(define-music-function (parser location x y) (ly:music? ly:music?)
2965 \pattern {d16 dis} { ais16-> b\p }
2970 @node Avoiding tweaks with slower processing
2971 @subsection Avoiding tweaks with slower processing
2973 LilyPond can perform extra checks while it processes files. These
2974 commands will take extra time, but the result may require fewer
2978 %% makes sure text scripts and lyrics are within the paper margins
2979 \override Score.PaperColumn #'keep-inside-line = ##t
2980 \override Score.NonMusicalPaperColumn #'keep-inside-line = ##t
2983 In some cases (see issue 246), this must be done before
2984 @code{\override} commands can be processed.
2988 \override PaperColumn #'keep-inside-line = ##t
2989 \override NonMusicalPaperColumn #'keep-inside-line = ##t