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13 @chapter Tweaking output
15 This chapter discusses how to modify output. LilyPond is extremely
16 configurable; virtually every fragment of output may be changed.
21 * The Internals Reference manual::
22 * Appearance of objects::
23 * Placement of objects::
24 * Collisions of objects::
29 @section Tweaking basics
32 * Introduction to tweaks::
33 * Objects and interfaces::
34 * Naming conventions of objects and properties::
38 @node Introduction to tweaks
39 @subsection Introduction to tweaks
41 @q{Tweaking} is a LilyPond term for the various methods available
42 to the user for modifying the actions taken during interpretation
43 of the input file and modifying the appearance of the printed
44 output. Some tweaks are very easy to use; others are more
45 complex. But taken together the methods available for tweaking
46 permit almost any desired appearance of the printed music to be
49 In this section we cover the basic concepts required to understand
50 tweaking. Later we give a variety of ready-made commands which can
51 simply be copied to obtain the same effect in your own scores, and
52 at the same time we show how these commands may be constructed so
53 that you may learn how to develop your own tweaks.
55 Before starting on this Chapter you may wish to review the section
56 @ref{Contexts and engravers}, as Contexts, Engravers, and the
57 Properties contained within them are fundamental to understanding
58 and constructing Tweaks.
60 @node Objects and interfaces
61 @subsection Objects and interfaces
68 Tweaking involves modifying the internal operation and structures
69 of the LilyPond program, so we must first introduce some terms
70 which are used to describe those internal operations and
73 The term @q{Object} is a generic term used to refer to the
74 multitude of internal structures built by LilyPond during the
75 processing of an input file. So when a command like @code{\new
76 Staff} is encountered a new object of type @code{Staff} is
77 constructed. That @code{Staff} object then holds all the
78 properties associated with that particular staff, for example, its
79 name and its key signature, together with details of the engravers
80 which have been assigned to operate within that staff's context.
81 Similarly, there are objects to hold the properties of all other
82 contexts, such as @code{Voice} objects, @code{Score} objects,
83 @code{Lyrics} objects, as well as objects to represent all
84 notational elements such as bar lines,
85 note heads, ties, dynamics, etc. Every object has its 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 specialized. Phrasing slurs,
97 crescendo hairpins, ottava marks, and many other grobs are not
98 localized 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 capitalized
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
137 @tab Aaaa or AaaaAaaaAaaa
138 @tab Staff, GrandStaff
140 @tab Aaaa or AaaaAaaaAaaa
143 @tab Aaaa_aaa_engraver
144 @tab Clef_engraver, Note_heads_engraver
146 @tab aaa-aaa-interface
147 @tab grob-interface, break-aligned-interface
148 @item Context Properties
149 @tab aaa or aaaAaaaAaaa
150 @tab alignAboveContext, skipBars
151 @item Layout Object Properties
152 @tab aaa or aaa-aaa-aaa
153 @tab direction, beam-thickness
156 As we shall see shortly, the properties of different types of
157 object are modified by different commands, so it is useful to
158 be able to recognize the type of object from the names of its
162 @node Tweaking methods
163 @subsection Tweaking methods
165 @strong{\override command}
167 @cindex override command
170 We have already met the commands @code{\set} and @code{\with},
171 used to change the properties of @strong{contexts} and to remove
172 and add @strong{engravers}, in
173 @ref{Modifying context properties} and @ref{Adding
174 and removing engravers}. We now must meet some more important
177 The command to change the properties of @strong{layout objects} is
178 @code{\override}. Because this command has to modify
179 internal properties deep within LilyPond its syntax is not
180 as simple as the commands you have met so far. It needs to
181 know precisely which property of which object in which context
182 has to be modified, and what its new value is to be. Let's see
185 The general syntax of this command is:
188 \override @emph{context}.@emph{layout_object}
189 #'@emph{layout_property} = #@emph{value}
193 This will set the property with the name @emph{layout_property}
194 of the layout object with the name
195 @emph{layout_object}, which is a member of the @emph{context}
196 context, to the value @emph{value}.
198 The @emph{context} can be omitted (and usually is) when the
199 required context is unambiguously implied and is one of lowest
200 level contexts, i.e., @code{Voice}, @code{ChordNames} or
201 @code{Lyrics}, and we shall omit it in many of the following
202 examples. We shall see later when it must be specified.
204 Later sections deal comprehensively with properties and their
205 values, but to illustrate the format and use of these commands
206 we shall use just a few simple properties and values which are
209 For now, don't worry about the @code{#'}, which must precede the
210 layout property, and the @code{#}, which must precede the value.
211 These must always be present in exactly this form. This is the
212 most common command used in tweaking, and most of the rest of
213 this chapter will be directed to presenting examples of how it is
214 used. Here is a simple example to change the color of the
217 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
219 \override NoteHead #'color = #red
221 \override NoteHead #'color = #green
225 @strong{\revert command}
227 @cindex revert command
230 Once overridden, the property retains its new value until it is
231 overridden again or a @code{\revert} command is encountered.
232 The @code{\revert} command has the following syntax and causes
233 the value of the property to revert to its original default
234 value; note, not its previous value if several @code{\override}
235 commands have been issued.
238 \revert @emph{context}.@emph{layout_object} #'@emph{layout_property}
241 Again, just like @emph{context} in the @code{\override} command,
242 @emph{context} is often not needed. It will be omitted
243 in many of the following examples. Here we revert the color
244 of the note head to the default value for the final two notes:
246 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
248 \override NoteHead #'color = #red
250 \override NoteHead #'color = #green
252 \revert NoteHead #'color
256 @strong{\once prefix}
258 Both the @code{\override} and the @code{\set} commands may be
259 prefixed by @code{\once}. This causes the following
260 @code{\override} or @code{\set} command to be effective only
261 during the current musical moment before the property reverts
262 back to its default value. Using the same example, we can
263 change the color of a single note like this:
265 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
267 \once \override NoteHead #'color = #red
269 \once \override NoteHead #'color = #green
273 @strong{\overrideProperty command}
275 @cindex overrideProperty command
276 @funindex \overrideProperty
278 There is another form of the override command,
279 @code{\overrideProperty}, which is occasionally required.
280 We mention it here for completeness, but for details see
281 @ruser{Difficult tweaks}.
282 @c Maybe explain in a later iteration -td
284 @strong{\tweak command}
286 @cindex tweak command
289 The final tweaking command which is available is @code{\tweak}.
290 This should be used to change the properties of objects which
291 occur at the same musical moment, such as the notes within a
292 chord. Using @code{\override} would affect all the notes
293 within a chord, whereas @code{\tweak} affects just the following
294 item in the input stream.
296 Here's an example. Suppose we wish to change the size of the
297 middle note (the E) in a C major chord. Let's first see what
298 @code{\once \override} would do:
300 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
302 \once \override NoteHead #'font-size = #-3
307 We see the override affects @emph{all} the notes in the chord.
308 This is because all the notes of a chord occur at the same
309 @emph{musical moment}, and the action of @code{\once} is to
310 apply the override to all layout objects of the type specified
311 which occur at the same musical moment as the @code{\override}
314 The @code{\tweak} command operates in a different way. It acts
315 on the immediately following item in the input stream. However,
316 it is effective only on objects which are created directly from
317 the input stream, essentially note heads and articulations.
318 (Objects such as stems and accidentals are created later and
319 cannot be tweaked in this way). Furthermore, when it is applied
320 to note heads these @emph{must} be within a chord, i.e., within
321 single angle brackets, so to tweak a single note the @code{\tweak}
322 command must be placed inside single angle brackets with the
325 So to return to our example, the size of the middle note of
326 a chord would be changed in this way:
328 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
330 <c \tweak #'font-size #-3 e g>4
333 Note that the syntax of @code{\tweak} is different from that
334 of the @code{\override} command. Neither the context nor the
335 layout object should be specified; in fact, it would generate
336 an error to do so. These are both implied by the following
337 item in the input stream. So the general syntax of the
338 @code{\tweak} command is simply:
341 \tweak #'@emph{layout_property} = #@emph{value}
344 A @code{\tweak} command can also be used to modify just one in
345 a series of articulations, as shown here:
347 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
349 -\tweak #'color #red ^Red
350 -\tweak #'color #green _Green
353 Note that the @code{\tweak} command must be preceded by an
354 articulation mark as if it were an articulation itself.
356 @cindex tuplets, nested
357 @cindex triplets, nested
358 @cindex bracket, tuplet
359 @cindex tuplet bracket
360 @cindex triplet bracket
361 @funindex TupletBracket
363 The @code{\tweak} command must also be used to change the
364 appearance of one of a set of nested tuplets which begin at the
365 same musical moment. In the following example, the long tuplet
366 bracket and the first of the three short brackets begin at the
367 same musical moment, so any @code{\override} command would apply
368 to both of them. In the example, @code{\tweak} is used to
369 distinguish between them. The first @code{\tweak} command
370 specifies that the long tuplet bracket is to be placed above the
371 notes and the second one specifies that the tuplet number is to be
372 printed in red on the first short tuplet bracket.
374 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
375 \tweak #'direction #up
378 \times 2/3 { c8[ c8 c8] }
379 \times 2/3 { c8[ c8 c8] }
380 \times 2/3 { c8[ c8 c8] }
384 You can find more details of the @code{\tweak} command in
385 @ruser{Objects connected to the input}.
387 If nested tuplets do not begin at the same moment their
388 appearance may be modified in the usual way with
389 @code{\override} commands:
391 @c NOTE Tuplet brackets collide if notes are high on staff
393 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
394 \times 2/3 { c8[ c c]}
395 \once \override TupletNumber
396 #'text = #tuplet-number::calc-fraction-text
400 \once \override TupletNumber #'transparent = ##t
401 \times 2/3 { c8[ c c] }
402 \times 2/3 { c8[ c c]}
407 @node The Internals Reference manual
408 @section The Internals Reference manual
410 @cindex Internals Reference
413 * Properties of layout objects::
414 * Properties found in interfaces::
415 * Types of properties::
418 @node Properties of layout objects
419 @subsection Properties of layout objects
421 @cindex properties of layout objects
422 @cindex properties of grobs
423 @cindex grobs, properties of
424 @cindex layout objects, properties of
426 Suppose you have a slur in a score which, to your mind,
427 appears too thin and you'd like to draw it a little heavier.
428 How do you go about doing this? You know from the statements
429 earlier about the flexibility of LilyPond that such a thing
430 should be possible, and you would probably guess that an
431 @code{\override} command would be needed. But is there a
432 heaviness property for a slur, and if there is, how might it
433 be modified? This is where the Internals Reference manual
434 comes in. It contains all the information you might need to
435 construct this and all other @code{\override} commands.
437 Before we look at the Internals Reference a word of warning.
438 This is a @strong{reference} document, which means there is
439 little or no explanation contained within it: its purpose is
440 to present information precisely and concisely. This
441 means it might look daunting at first sight. Don't worry!
442 The guidance and explanation presented here will enable you
443 to extract the information from the Internals Reference for
444 yourself with just a little practice.
446 @cindex override example
447 @cindex Internals Reference, example of using
449 Let's use a concrete example with a simple fragment of real
452 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
457 g[( e]) e d[( f]) a |
461 The man who feels love's sweet e -- mo -- tion
466 Suppose now that we decide we would like the slurs to be a
467 little heavier. Is this possible? The slur is certainly a
468 layout object, so the question is, @q{Is there a property
469 belonging to a slur which controls the heaviness?} To answer
470 this we must look in the Internals Reference, or IR for short.
472 The IR for the version of LilyPond you are using may be found
473 on the LilyPond website at @uref{http://lilypond.org}. Go to the
474 documentation page and click on the Internals Reference link.
475 For learning purposes you should use the standard html version,
476 not the @q{one big page} or the PDF. For the next few
477 paragraphs to make sense you will need to actually do this
480 Under the heading @strong{Top} you will see five links. Select
481 the link to the @emph{Backend}, which is where information about
482 layout objects is to be found. There, under the heading
483 @strong{Backend}, select the link to @emph{All layout objects}.
484 The page that appears lists all the layout objects used in your
485 version of LilyPond, in alphabetic order. Select the link to
486 Slur, and the properties of Slurs are listed.
488 (An alternative way of finding this page is from the Notation
489 Reference. On one of the pages that deals with slurs you may
490 find a link to the Internals Reference. This link will
491 take you directly to this page, but often it is easier to go
492 straight to the IR and search there.)
494 This Slur page in the IR tells us first that Slur objects are
496 Slur_engraver. Then it lists the standard settings. Note
497 these are @strong{not} in alphabetic order. Browse down
498 them looking for a property that might control the heaviness
499 of slurs, and you should find
502 @code{thickness} (number)
504 Line thickness, generally measured in @code{line-thickness}
507 This looks a good bet to change the heaviness. It tells us that
508 the value of @code{thickness} is a simple @emph{number},
509 that the default value is 1.2, and that the units are
510 in another property called @code{line-thickness}.
512 As we said earlier, there are few to no explanations in the IR,
513 but we already have enough information to try changing the
514 slur thickness. We see that the name of the layout object
515 is @code{Slur}, that the name of the property to change is
516 @code{thickness} and that the new value should be a number
517 somewhat larger than 1.2 if we are to make slurs thicker.
519 We can now construct the @code{\override} command by simply
520 substituting the values we have found for the names, omitting
521 the context. Let's use a very large value for the thickness
522 at first, so we can be sure the command is working. We get:
525 \override Slur #'thickness = #5.0
528 Don't forget the @code{#'} preceding the
529 property name and and @code{#} preceding the new value!
531 The final question is, @q{Where should this command be
532 placed?} While you are unsure and learning, the best
533 answer is, @q{Within the music, before the first slur and
534 close to it.} Let's do that:
536 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
540 % Increase thickness of all following slurs from 1.2 to 5.0
541 \override Slur #'thickness = #5.0
543 g[( e]) e d[( f]) a |
547 The man who feels love's sweet e -- mo -- tion
553 and we see that the slur is indeed heavier.
555 So this is the basic way of constructing @code{\override}
556 commands. There are a few more complications that we
557 shall meet in later sections, but you now know all the
558 essentials required to make up your own -- but you will
559 still need some practice. This is provided in the examples
562 @subheading Finding the context
563 @cindex context, finding
565 But first, what if we had needed to specify the Context?
566 What should it be? We could guess that slurs are in
567 the Voice context, as they are clearly closely associated
568 with individual lines of music, but can we be sure? To
569 find out, go back to the top of the IR page describing the
570 Slur, where it says @q{Slur objects are created by: Slur
571 engraver}. So slurs will be created in whichever context
572 the @code{Slur_engraver} is in. Follow the link to the
573 @code{Slur_engraver} page. At the very bottom it tells
574 us that @code{Slur_engraver} is part of five Voice contexts,
575 including the standard voice context, @code{Voice}, so our
576 guess was correct. And because @code{Voice} is one of the
577 lowest level contexts which is implied unambiguously by
578 the fact that we are entering notes, we can omit it in this
581 @subheading Overriding once only
583 @cindex overriding once only
584 @cindex once override
587 As you can see, @emph{all} the slurs are thicker in the
588 final example above. But what if we
589 wanted just the first slur to be thicker? This is achieved
590 with the @code{\once} command. Placed immediately before
591 the @code{\override} command it causes it to change only the
592 slur which begins on the @strong{immediately following} note.
594 immediately following note does not begin a slur the command
595 has no effect at all -- it is not remembered until a slur
596 is encountered, it is simply discarded. So the command with
598 repositioned as follows:
600 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
605 % Increase thickness of immediately following slur only
606 \once \override Slur #'thickness = #5.0
608 g[( e]) e d[( f]) a |
612 The man who feels love's sweet e -- mo -- tion
618 Now only the first slur is made heavier.
620 The @code{\once} command can also be used before the @code{\set}
623 @subheading Reverting
626 @cindex default properties, reverting
629 Finally, what if we wanted just the first two slurs to be
630 heavier? Well, we could use two commands, each preceded by
631 @code{\once} placed immediately before each of the notes where
634 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
639 % Increase thickness of immediately following slur only
640 \once \override Slur #'thickness = #5.0
642 % Increase thickness of immediately following slur only
643 \once \override Slur #'thickness = #5.0
644 g[( e]) e d[( f]) a |
648 The man who feels love's sweet e -- mo -- tion
654 or we could omit the @code{\once} command and use the
655 @code{\revert} command
656 to return the @code{thickness} property to its default value
657 after the second slur:
659 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
664 % Increase thickness of all following slurs from 1.2 to 5.0
665 \override Slur #'thickness = #5.0
668 % Revert thickness of all following slurs to default of 1.2
669 \revert Slur #'thickness
674 The man who feels love's sweet e -- mo -- tion
680 The @code{\revert} command can be used to return any property
681 changed with @code{\override} back to its default value.
682 You may use whichever method best suits what you want to do.
684 That concludes our introduction to the IR, and the basic
685 method of tweaking. Several examples follow in the later
686 sections of this Chapter, partly to introduce you to some of the
687 additional features of the IR, and partly to give you more
688 practice in extracting information from it. These examples will
689 contain progressively fewer words of guidance and explanation.
691 @node Properties found in interfaces
692 @subsection Properties found in interfaces
694 @cindex interface properties
695 @cindex properties in interfaces
697 Suppose now that we wish to print the lyrics in italics. What
698 form of @code{\override} command do we need to do this?
699 We first look in the IR page listing @q{All layout objects}, as
700 before, and look for an object that might control lyrics. We
701 find @code{LyricText}, which looks right. Clicking on this shows
702 the settable properties for lyric text. These include the
703 @code{font-series} and @code{font-size}, but nothing that might
704 give an italic shape.
705 This is because the shape property is one that is common to all
706 font objects, so, rather than including it in every layout
707 object, it is grouped together with other similar common
708 properties and placed in an @strong{Interface}, the
709 @code{font-interface}.
711 So now we need to learn how to find the properties of interfaces,
712 and to discover what objects use these interface properties.
714 Look again at the IR page which describes LyricText. At the
715 bottom of the page is a list of clickable (in the html versions
716 of the IR) interfaces which LyricText supports. The list has
717 seven items, including @code{font-interface}.
718 Clicking on this brings up the properties associated
719 with this interface, which are also properties of all the objects
720 which support it, including LyricText.
722 Now we see all the user-settable properties which control fonts,
723 including @code{font-shape(symbol)}, where @code{symbol} can be
724 set to @code{upright}, @code{italics} or @code{caps}.
726 You will notice that @code{font-series} and @code{font-size}
727 are also listed there.
728 This immediately raises the question: Why are the common font
729 properties @code{font-series} and @code{font-size} listed under
730 @code{LyricText} as well as under the interface
731 @code{font-interface} but @code{font-shape} is not? The answer
732 is that @code{font-series} and @code{font-size} are changed
733 from their global default values when a @code{LyricText} object
734 is created, but @code{font-shape} is not. The entries in
735 @code{LyricText} then tell you the values for those two
736 properties which apply to @code{LyricText}. Other objects
737 which support @code{font-interface} will set these
738 properties differently when they are created.
740 Let's see if we can now construct the @code{\override} command
741 to change the lyrics to italics. The object is @code{LyricText},
742 the property is @code{font-shape} and the value is
743 @code{italic}. As before, we'll omit the context.
745 As an aside, although it is an important one, note that because
747 @code{font-shape} are symbols they must be introduced with a
748 single apostrophe, @code{'}. That is why apostrophes
749 are needed before @code{thickness} in the earlier example
750 and @code{font-shape}. These are both symbols too.
751 Symbols are special names which are known internally to
752 LilyPond. Some of them are the names of properties,
753 like @code{thickness} or @code{font-shape}, others are in
754 effect special values that can be given to properties, like
755 @code{italic}. Note the distinction from arbitrary
756 text strings, which would appear as @code{"a text string"}.
758 Ok, so the @code{\override} command we need to print the lyrics
762 \override LyricText #'font-shape = #'italic
766 and this should be placed just in front of and close to the
767 lyrics which it should affect, like this:
769 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
774 g[( e]) e d[( f]) a |
778 \override LyricText #'font-shape = #'italic
779 The man who feels love's sweet e -- mo -- tion
785 and the lyrics are all printed in italics.
787 @subheading Specifying the context in lyric mode
788 @cindex context, specifying in lyric mode
790 In the case of lyrics, if you try specifying the context in the
791 format given earlier the command will fail. A syllable
792 entered in lyricmode is terminated by either a space,
793 a newline or a digit. All other characters are included
794 as part of the syllable. For this reason a space or newline
795 must appear before the terminating @code{@}} to prevent it being
796 included as part of the final syllable. Similarly,
797 spaces must be inserted before and after the
798 period or dot, @q{.}, separating the context name from the
799 object name, as otherwise the two names are run together and
800 the interpreter cannot recognize them. So the command should be:
803 \override Lyrics . LyricText #'font-shape = #'italic
806 @warning{In lyrics always leave whitespace between the final
807 syllable and the terminating brace.}
809 @warning{In overrides in lyrics always place spaces around
810 the dot between the context name and the object name.}
812 @node Types of properties
813 @subsection Types of properties
815 @cindex Property types
817 So far we have seen two types of property: @code{number} and
818 @code{symbol}. To be valid, the value given to a property
819 must be of the correct type and obey the rules for that type.
820 The type of property is always shown in brackets after the
821 property name in the IR. Here is a list of the types you may
822 need, together with the rules for that type, and some examples.
823 You must always add a hash symbol, @code{#}, of course,
824 to the front of these values when they are entered in the
825 @code{\override} command.
827 @multitable @columnfractions .2 .45 .35
828 @headitem Property type
832 @tab Either True or False, represented by #t or #f
833 @tab @code{#t}, @code{#f}
834 @item Dimension (in staff space)
835 @tab A positive decimal number (in units of staff space)
836 @tab @code{2.5}, @code{0.34}
838 @tab A valid direction constant or its numerical equivalent
839 @tab @code{LEFT}, @code{CENTER}, @code{UP},
842 @tab A positive whole number
843 @tab @code{3}, @code{1}
845 @tab A bracketed set of items separated by spaces,
846 preceded by an apostrophe
847 @tab @code{'(left-edge staff-bar)}, @code{'(1)},
848 @code{'(1.0 0.25 0.5)}
850 @tab Any valid markup
851 @tab @code{\markup @{ \italic "cresc." @}}
853 @tab A fraction of a whole note constructed with the
855 @tab @code{(ly:make-moment 1 4)},
856 @code{(ly:make-moment 3 8)}
858 @tab Any positive or negative decimal value
859 @tab @code{3.5}, @code{-2.45}
860 @item Pair (of numbers)
861 @tab Two numbers separated by a @q{space . space} and enclosed
862 in brackets preceded by an apostrophe
863 @tab @code{'(2 . 3.5)}, @code{'(0.1 . -3.2)}
865 @tab Any of the set of permitted symbols for that property,
866 preceded by an apostrophe
867 @tab @code{'italic}, @code{'inside}
869 @tab A procedure or @code{#f} (to cause no action)
870 @tab @code{bend::print}, @code{ly:text-interface::print},
873 @tab A list of three items enclosed in brackets and preceded
874 by apostrophe-hash, @code{'#}.
875 @tab @code{'#(#t #t #f)}
878 @node Appearance of objects
879 @section Appearance of objects
881 Let us now put what we have learned into practice with a few
882 examples which show how tweaks may be used to change the
883 appearance of the printed music.
886 * Visibility and color of objects::
888 * Length and thickness of objects::
891 @node Visibility and color of objects
892 @subsection Visibility and color of objects
894 In the educational use of music we might wish to print a score
895 with certain elements omitted as an exercise for the student,
896 who is required to supply them. As a simple example,
897 let us suppose the exercise is to supply the missing bar lines
898 in a piece of music. But the bar lines are normally inserted
899 automatically. How do we prevent them printing?
901 Before we tackle this, let us remember that object properties
902 are grouped in what are called @emph{interfaces} -- see
903 @ref{Properties found in interfaces}. This is simply to
904 group together those properties that are commonly required
905 together -- if one of them is required for an object, so are
906 the others. Some objects then need the properties in some
907 interfaces, others need them from other interfaces. The
908 interfaces which contain the properties required by a
909 particular grob are listed in the IR at the bottom of the
910 page describing that grob, and those properties may be
911 viewed by looking at those interfaces.
913 We explained how to find information about grobs in
914 @ref{Properties of layout objects}. Using the same approach,
915 we go to the IR to find the layout object which prints
916 bar lines. Going via @emph{Backend} and @emph{All layout objects}
918 is a layout object called @code{BarLine}. Its properties include
919 two that control its visibility: @code{break-visibility} and
920 @code{stencil}. Barline also supports a number of interfaces,
921 including the @code{grob-interface}, where we find the
922 @code{transparent} and the @code{color} properties. All
923 of these can affect the visibility of bar lines (and, of course,
924 by extension, many other layout objects too.) Let's consider
925 each of these in turn.
928 @cindex stencil property
930 This property controls the appearance of the bar lines by specifying
931 the symbol (glyph) which should be printed. In common
932 with many other properties, it can be set to print nothing by
933 setting its value to @code{#f}. Let's try it, as before, omitting
934 the implied Context, @code{Voice}:
936 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
939 \override BarLine #'stencil = ##f
946 The bar lines are still printed. What is wrong? Go back to the
947 IR and look again at the page giving the properties of BarLine.
948 At the top of the page it says @qq{Barline objects are created
949 by: Bar_engraver}. Go to the @code{Bar_engraver} page.
951 it gives a list of Contexts in which the bar engraver operates.
952 All of them are of the type @code{Staff}, so the reason the
953 @code{\override} command failed to work as expected is because
954 @code{Barline} is not in the default @code{Voice} context.
956 is specified wrongly, the command simply does not work. No
957 error message is produced, and nothing is logged in the log
958 file. Let's try correcting it by adding the correct context:
960 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
963 \override Staff.BarLine #'stencil = ##f
970 Now the bar lines have vanished.
972 @subheading break-visibility
974 @cindex break-visibility property
976 We see from the @code{BarLine} properties in the IR that the
977 @code{break-visibility} property requires a vector of three
979 These control respectively whether bar lines are printed at
980 the end of a line, in the middle of lines, and at the beginning
981 of lines. For our example we want all bar lines to be suppressed,
982 so the value we need is @code{'#(#f #f #f)}.
983 Let's try that, remembering
984 to include the @code{Staff} context. Note also that in writing
985 this value we have @code{#'#} before the opening bracket.
986 The @code{'#} is required as part of the value to introduce a
987 vector, and the first @code{#} is required, as always, to precede
988 the value itself in the @code{\override} command.
990 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
993 \override Staff.BarLine #'break-visibility = #'#(#f #f #f)
1000 And we see this too removes all the bar lines.
1002 @subheading transparent
1003 @cindex transparent property
1005 We see from the properties specified in the @code{grob-interface}
1006 page in the IR that the @code{transparent} property is a boolean.
1008 should be set to @code{#t} to make the grob transparent.
1009 In this next example let us make the time signature invisible
1010 rather than the bar lines.
1011 To do this we need to find the grob name for the time signature.
1013 the @q{All layout objects} page in the IR to find the properties
1014 of the @code{TimeSignature} layout object. This is produced by
1015 the @code{Time_signature_engraver} which you can check also lives
1016 in the @code{Staff} context and also supports the
1017 @code{grob-interface}. So the command to make the time signature
1020 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1023 \override Staff.TimeSignature #'transparent = ##t
1025 g, a16 b8 c d4 e16 |
1031 The time signature is gone, but this command leaves a gap where
1032 the time signature should be. Maybe this is what is wanted for
1033 an exercise for the student to fill it in, but in other
1034 circumstances a gap might be undesirable. To remove it, the
1035 stencil for the time signature should be set to @code{#f}
1038 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1041 \override Staff.TimeSignature #'stencil = ##f
1043 g, a16 b8 c d4 e16 |
1049 and the difference is obvious: setting the stencil to @code{#f}
1050 removes the object entirely; making the object @code{transparent}
1051 leaves it where it is, but makes it invisible.
1054 @cindex color property
1056 Finally let us try making the bar lines invisible by coloring
1057 them white. (There is a difficulty with this in that the
1058 white bar line may or may not blank out the staff lines where
1059 they cross. You may see in some of the examples below that this
1060 happens unpredictably. The details of why this is so and how to
1061 control it are covered in @ruser{Painting objects white}. But at
1062 the moment we are learning about color, so please just accept this
1063 limitation for now.)
1065 The @code{grob-interface} specifies that the
1066 color property value is a list, but there is no
1067 explanation of what that list should be. The list it
1068 requires is actually a list of values in internal units,
1069 but, to avoid having to know what these are, several ways
1070 are provided to specify colors. The first way is to use one
1071 of the @q{normal} colors listed in the first table in
1072 @ruser{List of colors}. To set the bar lines to white
1075 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1078 \override Staff.BarLine #'color = #white
1080 g, a16 b8 c d4 e16 |
1086 and again, we see the bar lines are not visible. Note that
1087 @emph{white} is not preceded by an apostrophe -- it is not
1088 a symbol, but a @emph{function}. When called, it provides
1089 the list of internal values required to set the color to
1090 white. The other colors in the normal list are functions
1091 too. To convince yourself this is working you might like
1092 to change the color to one of the other functions in the
1098 The second way of changing the color is to use the list of
1099 X11 color names in the second list in @ruser{List of colors}.
1100 However, these must be preceded by another function, which
1101 converts X11 color names into the list of internal values,
1102 @code{x11-color}, like this:
1104 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1107 \override Staff.BarLine #'color = #(x11-color 'white)
1109 g, a16 b8 c d4 e16 |
1115 Note that in this case the function @code{x11-color} takes
1116 a symbol as an argument, so the symbol must be preceded by
1117 an apostrophe and the two enclosed in brackets.
1122 There is yet a third function, one which converts RGB values into
1123 internal colors -- the @code{rgb-color} function. This takes
1124 three arguments giving the intensities of the red, green and
1125 blue colors. These take values in the range 0 to 1. So to
1126 set the color to red the value should be @code{(rgb-color 1 0 0)}
1127 and to white it should be @code{(rgb-color 1 1 1)}:
1129 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1132 \override Staff.BarLine #'color = #(rgb-color 1 1 1)
1134 g, a16 b8 c d4 e16 |
1139 Finally, there is also a grey scale available as part of the
1140 X11 set of colors. These range from black, @code{'grey0'},
1141 to white, @code{'grey100}, in steps of 1. Let's illustrate
1142 this by setting all the layout objects in our example to
1143 various shades of grey:
1145 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1148 \override Staff.StaffSymbol #'color = #(x11-color 'grey30)
1149 \override Staff.TimeSignature #'color = #(x11-color 'grey60)
1150 \override Staff.Clef #'color = #(x11-color 'grey60)
1151 \override Voice.NoteHead #'color = #(x11-color 'grey85)
1152 \override Voice.Stem #'color = #(x11-color 'grey85)
1153 \override Staff.BarLine #'color = #(x11-color 'grey10)
1155 g, a16 b8 c d4 e16 |
1161 Note the contexts associated with each of the layout objects.
1162 It is important to get these right, or the commands will not
1163 work! Remember, the context is the one in which the appropriate
1164 engraver is placed. The default context for engravers can be
1165 found by starting from the layout object, going from there to
1166 the engraver which produces it, and on the engraver page in the
1167 IR it tells you in which context the engraver will normally be
1171 @node Size of objects
1172 @subsection Size of objects
1174 Let us begin by looking again at the earlier example
1175 see @ref{Nesting music expressions}) which showed
1176 how to introduce a new temporary staff, as in an @rglos{ossia}.
1178 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1179 \new Staff ="main" {
1186 alignAboveContext = "main" }
1194 Ossia are normally written without clef and time signature, and
1195 are usually printed slightly smaller than the main staff. We
1196 already know now how to remove the clef and time signature --
1197 we simply set the stencil of each to @code{#f}, as follows:
1199 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1200 \new Staff ="main" {
1207 alignAboveContext = "main"
1210 \override Staff.Clef #'stencil = ##f
1211 \override Staff.TimeSignature #'stencil = ##f
1221 where the extra pair of braces after the @code{\with} clause are
1222 required to ensure the enclosed overrides and music are applied
1225 But what is the difference between modifying the staff context by
1226 using @code{\with} and modifying the stencils of the clef and the
1227 time signature with \override? The main difference is that
1228 changes made in a @code{\with} clause are made at the time the
1229 context is created, and remain in force as the @strong{default}
1230 values for the duration of that context, whereas
1231 @code{\set} or @code{\override} commands embedded in the
1232 music are dynamic -- they make changes synchronized with
1233 a particular point in the music. If changes are unset or
1234 reverted using @code{\unset} or @code{\revert} they return to
1235 their default values, which will be the ones set in the
1236 @code{\with} clause, or if none have been set there, the normal
1239 Some context properties
1240 can be modified only in @code{\with} clauses. These are those
1241 properties which cannot sensibly be changed after the context
1242 has been created. @code{alignAboveContext} and its partner,
1243 @code{alignBelowContext}, are two such properties -- once the
1244 staff has been created its alignment is decided and it would
1245 make no sense to try to change it later.
1247 The default values of layout object properties can also be set
1248 in @code{\with} clauses. Simply use the normal @code{\override}
1249 command leaving out the context name, since this is unambiguously
1250 defined as the context which the @code{\with} clause is modifying.
1251 If fact, an error will be generated if a context is specified
1254 So we could replace the example above with
1256 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1257 \new Staff ="main" {
1264 alignAboveContext = "main"
1265 % Don't print clefs in this staff
1266 \override Clef #'stencil = ##f
1267 % Don't print time signatures in this staff
1268 \override TimeSignature #'stencil = ##f
1277 Finally we come to changing the size of layout objects.
1279 Some layout objects are created as glyphs selected from
1280 a typeface font. These include note heads, accidentals, markup,
1281 clefs, time signatures, dynamics and lyrics.
1282 Their size is changed by modifying the
1283 @code{font-size} property, as we shall shortly see. Other
1284 layout objects such as slurs and ties -- in general, spanner
1285 objects -- are drawn individually, so there is no
1287 associated with them. These objects generally derive their
1288 size from the objects to which they are attached, so usually
1289 there is no need to change their size manually. Still other
1290 properties such as the length of stems and bar lines, thickness
1291 of beams and other lines, and the separation of staff lines all
1292 need to be modified in special ways.
1294 Returning to the ossia example, let us first change the font-size.
1295 We can do this in two ways. We can either change the size of the
1296 fonts of each object type, like @code{NoteHead}s with commands
1300 \override NoteHead #'font-size = #-2
1303 or we can change the size of all fonts by setting a special
1304 property, @code{fontSize}, using @code{\set}, or by including
1305 it in a @code{\with} clause (but without the @code{\set}).
1311 Both of these statements would cause the font size to be reduced
1312 by 2 steps from its previous value, where each
1313 step reduces or increases the size by approximately 12%.
1315 Let's try it in our ossia example:
1317 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1318 \new Staff ="main" {
1325 alignAboveContext = "main"
1326 \override Clef #'stencil = ##f
1327 \override TimeSignature #'stencil = ##f
1328 % Reduce all font sizes by ~24%
1338 This is still not quite right. The note heads and flags are
1339 smaller, but the stems are too long in proportion and the
1340 staff lines are spaced too widely apart. These need to be
1341 scaled down in proportion to the font reduction. The next
1342 sub-section discusses how this is done.
1344 @node Length and thickness of objects
1345 @subsection Length and thickness of objects
1351 @cindex size, changing
1352 @cindex stem length, changing
1353 @cindex staff line spacing, changing
1355 Distances and lengths in LilyPond are generally measured in
1356 staff-spaces, the distance between adjacent lines in the staff,
1357 (or occasionally half staff spaces) while most @code{thickness}
1358 properties are measured in units of an internal property called
1359 @code{line-thickness.} For example, by default, the lines of
1360 hairpins are given a thickness of 1 unit of @code{line-thickness},
1361 while the @code{thickness} of a note stem is 1.3. Note, though,
1362 that some thickness properties are different; for example, the
1363 thickness of beams is measured in staff-spaces.
1365 So how are lengths to be scaled in proportion to the font size?
1366 This can be done with the help of a special function called
1367 @code{magstep} provided for exactly this purpose. It takes
1368 one argument, the change in font size (#-2 in the example above)
1369 and returns a scaling factor suitable for reducing other
1370 objects in proportion. It is used like this:
1372 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1373 \new Staff ="main" {
1380 alignAboveContext = "main"
1381 \override Clef #'stencil = ##f
1382 \override TimeSignature #'stencil = ##f
1384 % Reduce stem length and line spacing to match
1385 \override StaffSymbol #'staff-space = #(magstep -2)
1395 Since the length of stems and many other length-related properties
1396 are always calculated relative to the
1397 value of the @code{staff-space} property these are automatically
1398 scaled down in length too. Note that this affects only the
1399 vertical scale of the ossia -- the horizontal scale is determined
1400 by the layout of the main music in order to remain synchronized
1401 with it, so it is not affected by any of these changes in size.
1402 Of course, if the scale of all the main music were changed in this
1403 way then the horizontal spacing would be affected. This is
1404 discussed later in the layout section.
1406 This, then, completes the creation of an ossia. The sizes and
1407 lengths of all other objects may be modified in analogous ways.
1409 For small changes in scale, as in the example above, the
1410 thickness of the various drawn lines such as bar lines,
1411 beams, hairpins, slurs, etc does not usually require global
1412 adjustment. If the thickness of any particular layout object
1413 needs to be adjusted this can be best achieved by overriding its
1414 @code{thickness} property. An example of changing the thickness
1415 of slurs was shown above in @ref{Properties of layout objects}.
1416 The thickness of all drawn objects (i.e., those not produced
1417 from a font) may be changed in the same way.
1420 @node Placement of objects
1421 @section Placement of objects
1424 * Automatic behavior::
1425 * Within-staff objects::
1426 * Outside staff objects::
1430 @node Automatic behavior
1431 @subsection Automatic behavior
1433 There are some objects in musical notation that belong to
1434 the staff and there are other objects that should be
1435 placed outside the staff. These are called within-staff
1436 objects and outside-staff objects respectively.
1438 Within-staff objects are those that are located on the staff
1439 -- note heads, stems, accidentals, etc. The positions of
1440 these are usually fixed by the music itself -- they are
1441 vertically positioned on specific lines of the staff or are
1442 tied to other objects that are so positioned. Collisions of
1443 note heads, stems and accidentals in closely set chords are
1444 normally avoided automatically. There are commands and
1445 overrides which can modify this automatic behavior, as we
1448 Objects belonging outside the staff include things such as
1449 rehearsal marks, text and dynamic markings. LilyPond's rule for
1450 the vertical placement of outside-staff objects is to place them
1451 as close to the staff as possible but not so close that they
1452 collide with any other object. LilyPond uses the
1453 @code{outside-staff-priority} property to determine the order in
1454 which the objects should be placed, as follows.
1456 First, LilyPond places all the within-staff objects.
1457 Then it sorts the outside-staff objects according to their
1458 @code{outside-staff-priority}. The outside-staff objects are
1459 taken one by one, beginning with the object with the lowest
1460 @code{outside-staff-priority}, and placed so that they do not
1461 collide with any objects that have already been placed. That is,
1462 if two outside-staff grobs are competing for the same space, the
1463 one with the lower @code{outside-staff-priority} will be placed
1464 closer to the staff. If two objects have the same
1465 @code{outside-staff-priority} the one encountered first will be
1466 placed closer to the staff.
1468 In the following example all the markup texts have the same
1469 priority (since it is not explicitly set). Note that @q{Text3}
1470 is automatically positioned close to the staff again, nestling
1473 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1480 Staves are also positioned, by default, as closely together as
1481 possible (subject to a minimum separation). If notes project
1482 a long way towards an adjacent staff they will force the
1483 staves further apart only if an overlap of the notation
1484 would otherwise occur. The following example demonstrates
1485 this @q{nestling} of the notes on adjacent staves:
1487 @lilypond[quote,ragged-right,verbatim]
1490 \relative c' { c a, }
1493 \relative c'''' { c a, }
1499 @node Within-staff objects
1500 @subsection Within-staff objects
1502 We have already seen how the commands @code{\voiceXXX} affect
1503 the direction of slurs, ties, fingering and
1504 everything else which depends on the direction of the stems.
1505 These commands are essential when writing polyphonic music to
1506 permit interweaving melodic lines to be distinguished.
1507 But occasionally it may be necessary to override this automatic
1508 behavior. This can be done for whole sections of music or even
1509 for an individual note. The property which controls this
1510 behavior is the @code{direction} property of each layout object.
1511 We first explain what this does, and then introduce a number of
1512 ready-made commands which avoid your having to code explicit
1513 overrides for the more common modifications.
1515 Some layout objects like slurs and ties curve, bend or point
1516 either up or down; others like stems and flags also move to
1517 right or left when they point up or down. This is controlled
1518 automatically when @code{direction} is set.
1520 The following example shows in bar 1 the default behavior of
1522 with those on high notes pointing down and those on low notes
1523 pointing up, followed by four notes with all stems forced down,
1524 four notes with all stems forced up, and finally four notes
1525 reverted back to the default behavior.
1527 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1529 \override Stem #'direction = #DOWN
1531 \override Stem #'direction = #UP
1533 \revert Stem #'direction
1537 Here we use the constants @code{DOWN} and @code{UP}.
1538 These have the values @code{-1} and @code{+1} respectively, and
1539 these numerical values may be used instead. The value @code{0}
1540 may also be used in some cases. It is simply treated as meaning
1541 @code{UP} for stems, but for some objects it means @q{center}.
1542 There is a constant, @code{CENTER} which has the value @code{0}.
1544 However, these explicit overrides are not usually used, as there
1545 are simpler equivalent predefined commands available.
1546 Here is a table of the commonest. The meaning of each is stated
1547 where it is not obvious.
1549 @multitable @columnfractions .2 .2 .25 .35
1554 @item @code{\arpeggioArrowDown}
1555 @tab @code{\arpeggioArrowUp}
1556 @tab @code{\arpeggioNormal}
1557 @tab Arrow is at bottom, at top, or no arrow
1558 @item @code{\dotsDown}
1560 @tab @code{\dotsNeutral}
1561 @tab Direction of movement to avoid staff lines
1562 @item @code{\dynamicDown}
1563 @tab @code{\dynamicUp}
1564 @tab @code{\dynamicNeutral}
1566 @item @code{\phrasingSlurDown}
1567 @tab @code{\phrasingSlurUp}
1568 @tab @code{\phrasingSlurNeutral}
1569 @tab Note: distinct from slur commands
1570 @item @code{\slurDown}
1572 @tab @code{\slurNeutral}
1574 @item @code{\stemDown}
1576 @tab @code{\stemNeutral}
1578 @item @code{\textSpannerDown}
1579 @tab @code{\textSpannerUp}
1580 @tab @code{\textSpannerNeutral}
1581 @tab Text entered as spanner is below/above staff
1582 @item @code{\tieDown}
1584 @tab @code{\tieNeutral}
1586 @item @code{\tupletDown}
1587 @tab @code{\tupletUp}
1588 @tab @code{\tupletNeutral}
1589 @tab Tuplets are below/above notes
1592 Note that these predefined commands may @strong{not} be
1593 preceded by @code{\once}. If you wish to limit the
1594 effect to a single note you must either use the equivalent
1595 @code{\once \override} command or use the predefined command
1596 followed after the affected note by the corresponding
1597 @code{\xxxNeutral} command.
1599 @subheading Fingering
1600 @cindex fingering, placement
1602 The placement of fingering is also affected by the value
1603 of its @code{direction} property, but there are special
1604 commands which allow the fingering of individual notes
1605 of chords to be controlled, with the fingering being placed
1606 above, below, to the left or to the right of each note.
1608 First, here's the effect of @code{direction} on fingering,
1609 the first bar shows the default, then the effect of specifying
1610 @code{DOWN} and @code{UP}:
1612 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1614 \override Fingering #'direction = #DOWN
1616 \override Fingering #'direction = #UP
1620 This is how to control fingering on single notes, but the
1622 property is ignored for chords. Instead, by default, the
1623 fingering is automatically placed both above and below the
1624 notes of a chord, as shown:
1626 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1632 Greater control over the placement of fingering of the
1633 individual notes in a chord is possible by using
1634 the @code{\set fingeringOrientations} command. The format of
1638 @code{\set fingeringOrientations = #'([up] [left/right] [down])}
1642 @code{\set} is used because @code{fingeringOrientations} is a
1643 property of the @code{Voice} context, created and used by the
1644 @code{New_fingering_engraver}.
1646 The property may be set to a list of one to three values.
1647 It controls whether fingerings may be placed above (if
1648 @code{up} appears in the list), below (if @code{down} appears),
1649 to the left (if @code{left} appears, or to the right
1650 (if @code{right} appears). Conversely, if a location is not
1651 listed, no fingering is placed there. LilyPond takes these
1652 constraints and works out the best placement for the fingering
1653 of the notes of the following chords. Note that @code{left} and
1654 @code{right} are mutually exclusive -- fingering may be placed
1655 only on one side or the other, not both.
1657 To control the placement of the fingering of a single note
1658 using this command it is necessary to write it as a single
1659 note chord by placing angle brackets round it.
1661 Here are a few examples:
1663 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1664 \set fingeringOrientations = #'(left)
1666 < c-1 e-2 g-3 b-5 > 4
1667 \set fingeringOrientations = #'(left)
1669 < c-1 e-2 g-3 b-5 > 4
1670 \set fingeringOrientations = #'(up left down)
1672 < c-1 e-2 g-3 b-5 > 4
1673 \set fingeringOrientations = #'(up left)
1675 < c-1 e-2 g-3 b-5 > 4
1676 \set fingeringOrientations = #'(right)
1678 < c-1 e-2 g-3 b-5 > 4
1682 If the fingering seems a little crowded the @code{font-size}
1683 could be reduced. The default value can be seen from the
1684 @code{Fingering} object in the IR to be @code{-5}, so let's
1687 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1688 \override Fingering #'font-size = #-7
1689 \set fingeringOrientations = #'(left)
1691 < c-1 e-2 g-3 b-5 > 4
1692 \set fingeringOrientations = #'(left)
1694 < c-1 e-2 g-3 b-5 > 4
1695 \set fingeringOrientations = #'(up left down)
1697 < c-1 e-2 g-3 b-5 > 4
1698 \set fingeringOrientations = #'(up left)
1700 < c-1 e-2 g-3 b-5 > 4
1701 \set fingeringOrientations = #'(right)
1703 < c-1 e-2 g-3 b-5 > 4
1706 @node Outside staff objects
1707 @subsection Outside staff objects
1709 Outside-staff objects are automatically placed to avoid collisions.
1710 Objects with the lower value of the @code{outside-staff-priority}
1711 property are placed nearer to the staff, and other outside-staff
1712 objects are then raised as far as necessary to avoid collisions.
1713 The @code{outside-staff-priority} is defined in the
1714 @code{grob-interface} and so is a property of all layout objects.
1715 By default it is set to @code{#f} for all within-staff objects,
1716 and to a numerical value appropriate to each outside-staff object
1717 when the object is created. The following table shows
1718 the default numerical values for some of the commonest
1719 outside-staff objects which are, by default, placed in the
1720 @code{Staff} or @code{Voice} contexts.
1722 @multitable @columnfractions .3 .3 .3
1723 @headitem Layout Object
1725 @tab Controls position of:
1726 @item @code{MultiMeasureRestText}
1728 @tab Text over full-bar rests
1729 @item @code{TextScript}
1732 @item @code{OttavaBracket}
1734 @tab Ottava brackets
1735 @item @code{TextSpanner}
1738 @item @code{DynamicLineSpanner}
1740 @tab All dynamic markings
1741 @item @code{VoltaBracketSpanner}
1744 @item @code{TrillSpanner}
1746 @tab Spanning trills
1749 Here is an example showing the default placement of some of
1752 @cindex text spanner
1753 @funindex \startTextSpan
1754 @funindex \stopTextSpan
1755 @cindex ottava bracket
1757 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1758 % Set details for later Text Spanner
1759 \override TextSpanner #'bound-details #'left #'text
1760 = \markup { \small \bold Slower }
1761 % Place dynamics above staff
1763 % Start Ottava Bracket
1768 % Add Dynamic Line Spanner
1774 c\ff c \stopTextSpan
1775 % Stop Ottava Bracket
1780 This example also shows how to create Text Spanners --
1781 text with extender lines above a section of music. The
1782 spanner extends from the @code{\startTextSpan} command to
1783 the @code{\stopTextSpan} command, and the format of the
1784 text is defined by the @code{\override TextSpanner} command.
1785 For more details see @ruser{Text spanners}.
1787 It also shows how ottava brackets are created.
1789 Note that bar numbers, metronome marks and rehearsal marks
1790 are not shown. By default these are created in the
1791 @code{Score} context and their @code{outside-staff-priority}
1792 is ignored relative to the layout objects which are created
1793 in the @code{Staff} context.
1794 If you wish to place bar numbers, metronome marks or rehearsal
1795 marks in accordance with the value of their
1796 @code{outside-staff-priority} the @code{Bar_number_engraver},
1797 @code{Metronome_mark_engraver} or @code{Mark_engraver} respectively
1798 should be removed from the @code{Score} context and placed in the
1799 top @code{Staff} context. If this is done, these marks will be
1800 given the following default @code{outside-staff-priority} values:
1802 @multitable @columnfractions .3 .3
1803 @headitem Layout Object @tab Priority
1804 @item @code{RehearsalMark} @tab @code{1500}
1805 @item @code{MetronomeMark} @tab @code{1000}
1806 @item @code{BarNumber} @tab @code{ 100}
1809 If the default values of @code{outside-staff-priority} do not
1810 give you the placing you want, the priority of any of the objects
1811 may be overridden. Suppose we would
1812 like the ottava bracket to be placed below the text spanner in the
1813 example above. All we need to do is to look up the priority of
1814 @code{OttavaBracket} in the IR or in the tables above, and reduce
1815 it to a value lower than that of a @code{TextSpanner}, remembering
1816 that @code{OttavaBracket} is created in the @code{Staff} context:
1818 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1819 % Set details for later Text Spanner
1820 \override TextSpanner #'bound-details #'left #'text
1821 = \markup { \small \bold Slower }
1822 % Place dynamics above staff
1824 %Place following Ottava Bracket below Text Spanners
1825 \once \override Staff.OttavaBracket #'outside-staff-priority = #340
1826 % Start Ottava Bracket
1831 % Add Dynamic Line Spanner
1837 c\ff c \stopTextSpan
1838 % Stop Ottava Bracket
1843 Changing the @code{outside-staff-priority} can also be used to
1844 control the vertical placement of individual objects, although
1845 the results may not always be desirable. Suppose we would
1846 like @qq{Text3} to be placed above @qq{Text4} in the example
1847 under Automatic behavior, above (see @ref{Automatic behavior}).
1848 All we need to do is to look up the priority of @code{TextScript}
1849 in the IR or in the tables above, and increase the priority of
1850 @qq{Text3} to a higher value:
1852 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1855 \once \override TextScript #'outside-staff-priority = #500
1860 This certainly lifts @qq{Text3} above @qq{Text4} but it also
1861 lifts it above @qq{Text2}, and @qq{Text4} now drops down.
1862 Perhaps this is not so good. What we would really like to do
1863 is to position all the annotation at the same distance above
1864 the staff? To do this, we clearly
1865 will need to space the notes out horizontally to make more
1866 room for the text. This is done using the @code{textLengthOn}
1869 @subheading \textLengthOn
1871 @funindex \textLengthOn
1872 @cindex notes, spreading out with text
1874 By default, text produced by markup takes up no horizontal space
1875 as far as laying out the music is concerned. The @code{\textLengthOn}
1876 command reverses this behavior, causing the notes to be spaced
1877 out as far as is necessary to accommodate the text:
1879 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1880 \textLengthOn % Cause notes to space out to accommodate text
1887 The command to revert to the default behavior is
1888 @code{\textLengthOff}. Remember @code{\once} only works with
1889 @code{\override}, @code{\set}, @code{\revert} or @code{unset},
1890 so cannot be used with @code{\textLengthOn}.
1892 Markup text will also avoid notes which project above the staff.
1893 If this is not desired, the automatic displacement upwards may
1894 be turned off by setting the priority to @code{#f}. Here's an
1895 example to show how markup text interacts with such notes.
1897 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1898 % This markup is short enough to fit without collision
1902 % This is too long to fit, so it is displaced upwards
1906 % Turn off collision avoidance
1907 \once \override TextScript #'outside-staff-priority = ##f
1911 % Turn off collision avoidance
1912 \once \override TextScript #'outside-staff-priority = ##f
1913 \textLengthOn % and turn on textLengthOn
1914 c,,2^"Long Text " % Spaces at end are honored
1919 @subheading Dynamics
1921 Dynamic markings will normally be positioned beneath the
1922 staff, but may be positioned above with the @code{dynamicUp}
1923 command. They will be positioned vertically relative to the
1924 note to which they are attached, and will float below (or above)
1925 all within-staff objects such as phrasing slurs and bar numbers.
1926 This can give quite acceptable results, as this example
1929 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
1934 bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
1935 ees,2.~\)\mf ees4 r8 |
1938 However, if the notes and attached dynamics are close
1939 together the automatic placement will avoid collisions
1940 by displacing later dynamic markings further away, but this may
1941 not be the optimum placement, as this rather artificial example
1944 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
1950 Should a similar situation arise in @q{real} music, it may
1951 be preferable to space out the notes
1952 a little further, so the dynamic markings can all fit at the
1953 same vertical distance from the staff. We were able to do this
1954 for markup text by using the @code{\textLengthOn} command, but there
1955 is no equivalent command for dynamic marks. So we shall have to
1956 work out how to do this using @code{\override} commands.
1958 @subheading Grob sizing
1961 @cindex sizing grobs
1962 @cindex @code{X-offset}
1963 @cindex @code{Y-offset}
1964 @cindex @code{X-extent}
1965 @cindex @code{Y-extent}
1967 First we must learn how grobs are sized. All grobs have a
1968 reference point defined within them which is used to position
1969 them relative to their parent object. This point in the grob
1970 is then positioned at a horizontal distance, @code{X-offset},
1971 and at a vertical distance, @code{Y-offset}, from its parent.
1972 The horizontal extent of the object is given by a pair of
1973 numbers, @code{X-extent}, which say where the left and right
1974 edges are relative to the reference point. The vertical extent
1975 is similarly defined by a pair of numbers, @code{Y-extent}.
1976 These are properties of all grobs which support the
1977 @code{grob-interface}.
1979 @cindex @code{extra-spacing-width}
1981 By default, outside-staff objects are given a width of zero so
1982 that they may overlap in the horizontal direction. This is done
1983 by the trick of adding infinity to the leftmost extent and
1984 minus infinity to the rightmost extent by setting the
1985 @code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So
1986 to ensure they do not overlap in the horizontal direction we
1987 must override this value of @code{extra-spacing-width} to
1988 @code{'(0 . 0)} so the true width shines through. This is
1989 the command to do this for dynamic text:
1992 \override DynamicText #'extra-spacing-width = #'(0 . 0)
1996 Let's see if this works in our previous example:
1998 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2000 \override DynamicText #'extra-spacing-width = #'(0 . 0)
2005 Well, it has certainly stopped the dynamic marks being
2006 displaced, but two problems remain. The marks should be
2007 spaced a little further apart and it would be better
2008 if they were all the same distance from the staff.
2009 We can solve the first problem easily. Instead of making
2010 the @code{extra-spacing-width} zero we could add a little
2011 more to it. The units are the space between two staff
2012 lines, so moving the left edge half a unit to the left and the
2013 right edge half a unit to the right should do it:
2015 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2017 % Extend width by 1 staff space
2018 \override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
2023 This looks better, but maybe we would prefer the dynamic marks
2024 to be aligned along the same baseline rather than going up and
2025 down with the notes. The property to do this is
2026 @code{staff-padding} which is covered in the following section.
2029 @node Collisions of objects
2030 @section Collisions of objects
2034 * Fixing overlapping notation::
2035 * Real music example::
2038 @node Moving objects
2039 @subsection Moving objects
2041 This may come as a surprise, but LilyPond is not perfect. Some
2042 notation elements can overlap. This is unfortunate, but in fact
2043 rather rare. Usually the need to move objects is for clarity or
2044 aesthetic reasons -- they would look better with a little more
2045 or a little less space around them.
2047 There are three main approaches to resolving overlapping
2048 notation. They should be considered in the following order:
2052 The @strong{direction} of one of the overlapping objects may
2053 be changed using the predefined commands listed above for
2054 within-staff objects (see @ref{Within-staff objects}).
2055 Stems, slurs, beams, ties, dynamics, text and tuplets may be
2056 repositioned easily in this way. The limitation is that you
2057 have a choice of only two positions, and neither may be
2061 The @strong{object properties}, which LilyPond uses
2062 when positioning layout objects, may be modified using
2063 @code{\override}. The advantages
2064 of making changes to this type of property are (a) that some
2065 other objects will be moved automatically if necessary to make
2066 room and (b) the single override can apply to all instances of
2067 the same type of object. Such properties include:
2074 This has already been covered in some detail -- see
2075 @ref{Within-staff objects}.
2078 @code{padding}, @code{left-padding},
2079 @code{right-padding}, @code{staff-padding}
2081 @cindex left-padding property
2082 @cindex padding property
2083 @cindex right-padding property
2084 @cindex staff-padding property
2085 As an object is being positioned the value of its @code{padding}
2086 property specifies the gap that must be left between itself and
2087 the nearest edge of the object against which it is being
2088 positioned. Note that it is the @code{padding} value of the object
2089 @strong{being placed} that is used;
2090 the @code{padding} value of the object which is already placed is
2091 ignored. Gaps specified by @code{padding} can be applied
2092 to all objects which support the @code{side-position-interface}.
2094 Instead of @code{padding}, the placement of groups of accidentals
2095 is controlled by @code{left-padding} and @code{right-padding}.
2096 These properties are to be found in the @code{AccidentalPlacement}
2097 object which, note, lives in the @strong{staff} context. In the
2098 type-setting process the note heads are type-set first and then
2099 the accidentals, if any, are added to the left of the note heads
2100 using the @code{right-padding} property to determine the separation
2101 from the note heads. So only the @code{right-padding} property of the
2102 @code{AccidentalPlacement} object has any effect on the placement
2105 The @code{staff-padding} property is closely related to the
2106 @code{padding} property: @code{padding}
2107 controls the minimum amount of space between any object which
2108 supports the @code{side-position-interface} and the nearest
2109 other object (generally the note or the staff lines);
2110 @code{staff-padding} applies only to those objects which are always
2111 set outside the staff -- it controls the minimum amount of space
2112 that should be inserted between that object and the staff. Note
2113 that @code{staff-padding} has no effect on objects which are
2114 positioned relative to the note rather than the staff, even though
2115 it may be overridden without error for such objects -- it is simply
2118 To discover which padding property is required for the object
2119 you wish to reposition, you
2120 need to return to the IR and look up the object's properties.
2121 Be aware that the padding properties might not be located in the
2122 obvious object, so look in objects that appear to be related.
2124 All padding values are measured in staff spaces. For most
2125 objects, this value is set by default to be around 1.0 or less
2126 (it varies with each object). It may be overridden if a larger
2127 (or smaller) gap is required.
2130 @code{self-alignment-X}
2132 @cindex self-alignment-X property
2133 This property can be used to align the object to the left, to
2134 the right, or to center it with respect to the parent object's
2135 reference point. It may be used with all objects which support
2136 the @code{self-alignment-interface}. In general these are objects
2137 that contain text. The values are @code{LEFT}, @code{RIGHT}
2138 or @code{CENTER}. Alternatively, a numerical value between
2139 @code{-1} and @code{+1} may be specified, where @code{-1} is
2140 left-aligned, @code{+1} is right-aligned, and numbers in between
2141 move the text progressively from left-aligned to right-aligned.
2142 Numerical values greater than @code{1} may be specified to move
2143 the text even further to the left, or less than @code{-1} to
2144 move the text even further to the right. A change of @code{1}
2145 in the value corresponds to a movement of half the text's length.
2148 @code{extra-spacing-width}
2150 @cindex extra-spacing-width property
2151 This property is available for all objects which support the
2152 @code{item-interface}. It takes two numbers, the first is added
2153 to the leftmost extent and the second is added to the rightmost
2154 extent. Negative numbers move the edge to the left, positive to
2155 the right, so to widen an object the first number must be negative,
2156 the second positive. Note that not all objects honor both
2157 numbers. For example, the @code{Accidental} object only takes
2158 notice of the first (left edge) number.
2161 @code{staff-position}
2163 @cindex staff-position property
2164 @code{staff-position} is a property of the
2165 @code{staff-symbol-referencer-interface}, which is supported by
2166 objects which are positioned relative to the staff. It specifies
2167 the vertical position of the object relative to the center line
2168 of the staff in half staff-spaces. It is useful in resolving
2169 collisions between layout objects like multi-measure rests, ties
2170 and notes in different voices.
2175 @cindex force-hshift property
2177 Closely spaced notes in a chord, or notes occurring at the same
2178 time in different voices, are arranged in two, occasionally more,
2179 columns to prevent the note heads overlapping. These are called
2180 note columns, and an object called @code{NoteColumn} is created
2181 to lay out the notes in that column.
2183 The @code{force-hshift}
2184 property is a property of a @code{NoteColumn} (actually of the
2185 @code{note-column-interface}). Changing it permits a note column
2186 to be moved in units appropriate to a note column, viz. the note
2187 head width of the first voice note. It should be used in
2188 complex situations where the normal @code{\shiftOn} commands (see
2189 @ref{Explicitly instantiating voices}) do
2190 not resolve the note conflict. It is preferable to the
2191 @code{extra-offset} property for this purpose as there is no need
2192 to work out the distance in staff-spaces, and moving the notes
2193 into or out of a @code{NoteColumn} affects other actions such as
2199 Finally, when all else fails, objects may be manually repositioned
2200 relative to the staff center line vertically, or by
2201 displacing them by any distance to a new position. The
2202 disadvantages are that the correct values for the repositioning
2203 have to be worked out, often by trial and error, for every object
2204 individually, and, because the movement is done after LilyPond has
2205 placed all other objects, the user is responsible for avoiding any
2206 collisions that might ensue. But the main difficulty with this
2207 approach is that the repositioning values may need to be reworked
2208 if the music is later modified. The properties that can be used
2209 for this type of manual repositioning are:
2213 @cindex extra-offset property
2214 This property applies to any layout object
2215 supporting the @code{grob-interface}. It takes a pair of
2216 numbers which specify the extra displacement in the horizontal and
2217 vertical directions. Negative numbers move the object to
2218 the left or down. The units are staff-spaces. The extra
2219 displacement is made after the typesetting of objects is
2220 finished, so an object may be repositioned anywhere without
2221 affecting anything else.
2224 @cindex positions property
2225 This is most useful for manually adjusting the slope and height
2226 of beams, slurs, and tuplets. It takes a pair of numbers
2227 giving the position of the left and right ends of the beam, slur,
2228 etc. relative to the center line of the staff. Units are
2229 staff-spaces. Note, though, that slurs and phrasing slurs cannot
2230 be repositioned by arbitrarily large amounts. LilyPond first
2231 generates a list of possible positions for the slur and by default
2232 finds the slur that @qq{looks best}. If the @code{positions}
2233 property has been overridden the slur that is closest to the
2234 requested positions is selected from the list.
2239 A particular object may not have all of these properties.
2240 It is necessary to go to the IR to look up which properties
2241 are available for the object in question.
2243 Here is a list of the objects which are most likely to be
2244 involved in collisions, together with the name of the object which
2245 should be looked up in the IR in order to discover which properties
2246 should be used to move them.
2248 @multitable @columnfractions .5 .5
2249 @headitem Object type @tab Object name
2250 @item Articulations @tab @code{Script}
2251 @item Beams @tab @code{Beam}
2252 @item Dynamics (vertically) @tab @code{DynamicLineSpanner}
2253 @item Dynamics (horizontally) @tab @code{DynamicText}
2254 @item Fingerings @tab @code{Fingering}
2255 @item Rehearsal / Text marks @tab @code{RehearsalMark}
2256 @item Slurs @tab @code{Slur}
2257 @item Text e.g. @code{^"text"} @tab @code{TextScript}
2258 @item Ties @tab @code{Tie}
2259 @item Tuplets @tab @code{TupletBracket}
2263 @node Fixing overlapping notation
2264 @subsection Fixing overlapping notation
2266 Let's now see how the properties in the previous section can
2267 help to resolve overlapping notation.
2269 @subheading padding property
2270 @cindex padding property
2272 The @code{padding} property can be set to increase
2273 (or decrease) the distance between symbols that are printed
2274 above or below notes.
2276 @lilypond[quote,fragment,relative=1,verbatim]
2278 \override Script #'padding = #3
2282 @lilypond[quote,fragment,relative=1,verbatim]
2283 % This will not work, see below:
2284 \override MetronomeMark #'padding = #3
2288 \override Score.MetronomeMark #'padding = #3
2293 Note in the second example how important it is to figure out what
2294 context handles a certain object. Since the @code{MetronomeMark}
2296 is handled in the @code{Score} context, property changes in the
2297 @code{Voice} context will not be noticed. For more details, see
2298 @ruser{Modifying properties}.
2300 If the @code{padding} property of an object is increased when that
2301 object is in a stack of objects being positioned according to
2302 their @code{outside-staff-priority}, then that object and all
2303 objects outside it are moved.
2306 @subheading left-padding and right-padding
2307 @cindex left-padding property
2308 @cindex right-padding property
2310 The @code{right-padding} property affects the spacing between the
2311 accidental and the note to which it applies. It is not often
2312 required, but the following example shows one situation where it
2313 is needed. Suppose we wish to show a chord containing both
2314 a B-natural and a B-flat. To avoid ambiguity we would like to
2315 precede the notes with both a natural and a flat sign. Here
2316 are a few attempts to do this:
2318 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2324 None work, with the second two showing bad collisions between
2327 One way of achieving this is to override the accidental stencil
2328 with a markup containing the natural and flat symbols in the
2329 order we would like, like this:
2331 @lilypond[quote,ragged-right,verbatim]
2332 naturalplusflat = \markup { \natural \flat }
2334 \once \override Accidental
2335 #'stencil = #ly:text-interface::print
2336 \once \override Accidental #'text = #naturalplusflat
2337 \once \override Score.AccidentalPlacement #'right-padding = #1.5
2343 This necessarily uses an override for the accidental stencil which
2344 will not be covered until later. The stencil type must be a
2345 procedure, here changed to print the contents of the @code{text}
2346 property of @code{Accidental}, which itself is set to be a natural
2347 sign followed by a flat sign. These are then moved further away
2348 from the note head by overriding @code{right-padding}.
2352 @subheading staff-padding property
2353 @cindex staff-padding property
2355 @code{staff-padding} can be used to align objects such as dynamics
2356 along a baseline at a fixed height above the staff, rather than
2357 at a height dependent on the position of the note to which they
2358 are attached. It is not a property of
2359 @code{DynamicText} but of @code{DynamicLineSpanner}.
2360 This is because the baseline should apply equally to @strong{all}
2361 dynamics, including those created as extended spanners.
2362 So this is the way to align the dynamic marks in the example
2363 taken from the previous section:
2365 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2367 % Extend width by 1 unit
2368 \override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
2369 % Align dynamics to a base line 2 units above staff
2370 \override DynamicLineSpanner #'staff-padding = #2
2375 @subheading self-alignment-X property
2376 @cindex self-alignment-X property
2378 The following example shows how this can resolve the collision
2379 of a string fingering object with a note's stem by aligning the
2380 right edge with the reference point of the parent note:
2382 @lilypond[quote,fragment,ragged-right,verbatim,relative=3]
2385 \once \override StringNumber #'self-alignment-X = #RIGHT
2389 @subheading staff-position property
2390 @cindex staff-position property
2392 Multimeasure rests in one voice can collide with notes in another.
2393 Since these rests are typeset centered between the bar lines, it
2394 would require significant effort for LilyPond to figure out which
2395 other notes might collide with it, since all the current collision
2396 handling between notes and between notes and rests is done only
2397 for notes and rests that occur at the same time. Here's an
2398 example of a collision of this type:
2400 @lilypond[quote,verbatim,fragment,ragged-right, relative=1]
2401 << {c c c c} \\ {R1} >>
2404 The best solution here is to move the multimeasure rest down,
2405 since the rest is in voice two.
2406 The default in @code{\voiceTwo} (i.e. in the second voice of a
2407 @code{<<@{...@} \\ @{...@}>>} construct)
2408 is that @code{staff-position} is set to -4 for MultiMeasureRest,
2409 so we need to move it, say, four half-staff spaces down to
2412 @lilypond[quote,verbatim,fragment,ragged-right, relative=1]
2416 \override MultiMeasureRest #'staff-position = #-8
2421 This is better than using, for example, @code{extra-offset},
2422 because the ledger line above the rest is inserted automatically.
2424 @subheading extra-offset property
2425 @cindex extra-offset property
2427 The @code{extra-offset} property provides complete control over the
2428 positioning of an object both horizontally and vertically.
2430 In the following example, the second fingering is moved a little to
2431 the left, and 1.8 staff space downwards:
2433 @lilypond[quote,fragment,relative=1,verbatim]
2436 \once \override Fingering
2437 #'extra-offset = #'(-0.3 . -1.8)
2442 @subheading positions property
2443 @cindex positions property
2445 The @code{positions} property allows the position and slope of
2446 tuplets, slurs, phrasing slurs and beams to be controlled
2447 manually. Here's an example which has an ugly phrasing slur
2448 due to its trying to avoid the slur on the acciaccatura.
2450 @lilypond[quote,verbatim,fragment,ragged-right,relative=1]
2451 r4 \acciaccatura e8\( d8 c ~c d c d\)
2455 We could simply move the phrasing slur above the notes, and this
2456 would be the preferred solution:
2458 @lilypond[quote,verbatim,fragment,ragged-right,relative=1]
2461 \acciaccatura e8\( d8 c ~c d c d\)
2465 but if there were some reason why this could not be done the
2466 other alternative would be to move the left end of the phrasing
2467 slur down a little using the @code{positions} property. This
2468 also resolves the rather nasty shape.
2470 @lilypond[quote,verbatim,fragment,ragged-right,relative=1]
2472 \once \override PhrasingSlur #'positions = #'(-4 . -3)
2474 e8\( d8 c ~c d c d\)
2477 Here's a further example taken from the opening of the left-hand
2478 staff of Chopin's Prelude Op 28 No. 2. We see that the beam
2479 collides with the upper notes:
2481 @lilypond[quote,verbatim,fragment,ragged-right]
2484 << {b,8 ais, b, g,} \\ {e, g e, g} >>
2485 << {b,8 ais, b, g,} \\ {e, g e, g} >>
2490 This can be resolved by manually moving both ends of the beam
2491 up from their position at 2 staff-spaces above the center line to,
2494 @lilypond[quote,verbatim,fragment,ragged-right]
2498 \override Beam #'positions = #'(3 . 3)
2503 << {b,8 ais, b, g,} \\ {e, g e, g} >>
2508 Note that the override continues to apply in the first voice of
2509 the second block of quavers, but not to any of the beams in the
2512 @subheading force-hshift property
2513 @cindex force-hshift property
2514 @c FIXME: formatting stuff (ie not important right now IMO)
2515 @c @a nchor Chopin finally corrected TODOgp
2517 We can now see how to apply the final corrections to the Chopin
2518 example introduced at the end of @ref{I'm hearing Voices}, which
2519 was left looking like this:
2521 @lilypond[quote,verbatim,fragment,ragged-right]
2522 \new Staff \relative c'' {
2525 { c2 aes4. bes8 } \\
2537 The lower two notes of the first chord (i.e,
2538 those in the third voice) should not be shifted away from the
2539 note column of the higher two notes. To correct this we set
2540 @code{force-hshift}, which is a property of
2541 @code{NoteColumn}, of these notes to zero.
2542 The lower note of the second chord is best placed just to the
2543 right of the higher notes. We achieve this by setting
2544 @code{force-hshift} of this note to 0.5, ie half a note head's
2545 width to the right of the note column of the higher notes.
2547 Here's the final result:
2549 @lilypond[quote,verbatim,fragment,ragged-right]
2550 \new Staff \relative c'' {
2553 { c2 aes4. bes8 } \\
2556 \once \override NoteColumn #'force-hshift = #0 <ees c>2
2557 \once \override NoteColumn #'force-hshift = #0.5 des2
2565 @node Real music example
2566 @subsection Real music example
2568 We end this section on Tweaks by showing the steps to be taken to
2569 deal with a tricky example which needs several tweaks to produce
2570 the desired output. The example has been deliberately chosen to
2571 illustrate the use of the Notation Reference to resolve unusual
2572 problems with notation. It is not representative of more usual
2573 engraving process, so please do not let these difficulties put
2574 you off! Fortunately, difficulties like these are not very common!
2576 The example is from Chopin's Première Ballade, Op. 23, bars 6 to
2577 9, the transition from the opening Lento to Moderato.
2578 Here, first, is what we want the output to look like, but to avoid
2579 over-complicating the example too much we have left out the
2580 dynamics, fingering and pedalling.
2582 @c The following should appear as music without code
2583 @lilypond[quote,ragged-right]
2584 rhMusic = \relative c'' {
2587 \once \override Tie #'staff-position = #3.5
2591 \mergeDifferentlyHeadedOn
2592 \mergeDifferentlyDottedOn
2593 bes2.^\markup {\bold "Moderato"} r8
2595 {c,8[ d fis bes a] | }
2597 % Reposition the c2 to the right of the merged note
2598 {c,8~ \once \override NoteColumn #'force-hshift = #1.0
2599 % Move the c2 out of the main note column so the merge will work
2602 % Stem on the d2 must be down to permit merging
2603 {s8 \stemDown \once \override Stem #'transparent = ##t d2}
2607 \mergeDifferentlyHeadedOff
2608 \mergeDifferentlyDottedOff
2612 lhMusic = \relative c' {
2614 <d g, d>1)\arpeggio |
2621 \new Staff = "RH" <<
2625 \new Staff = "LH" <<
2634 We note first that the right hand part in the third bar
2635 requires four voices. These are the five beamed eighth notes,
2636 the tied C, the half-note D which is merged with the eighth note
2637 D, and the dotted quarter note F-sharp, which is also merged with
2638 the eighth note at the same pitch. Everything else is in a single
2639 voice, so the easiest way is to introduce these four voices
2640 temporarily at the time they are needed. If you have forgotten
2641 how to do this, look at @ref{I'm hearing Voices}. Let us begin
2642 by entering the notes as two variables and setting up the staff
2643 structure in a score block, and see what LilyPond produces by
2646 @lilypond[quote,verbatim,ragged-right]
2647 rhMusic = \relative c'' {
2652 % Start polyphonic section of four voices
2654 {c,8 d fis bes a | }
2665 lhMusic = \relative c' {
2674 \new Staff = "RH" <<
2678 \new Staff = "LH" <<
2687 All the notes are right, but the appearance is far from
2688 satisfactory. The tie clashes with the change in time signature,
2689 the beaming in the third bar is wrong, the notes are not
2690 merged together, and several notation elements are missing.
2691 Let's first deal with the easier things.
2692 We can correct the beaming by inserting a beam
2693 manually, and we can easily add the left hand slur and the right
2694 hand phrasing slur, since these were all covered in the Tutorial.
2697 @lilypond[quote,verbatim,ragged-right]
2698 rhMusic = \relative c'' {
2703 % Start polyphonic section of four voices
2705 {c,8[ d fis bes a] | }
2716 lhMusic = \relative c' {
2725 \new Staff = "RH" <<
2729 \new Staff = "LH" <<
2738 The first bar is now correct. The second bar contains an arpeggio
2739 and is terminated by a double bar line. How do we do these, as they
2740 have not been mentioned in this Learning Manual? This is where
2741 we need to turn to the Notation Reference. Looking up @q{arpeggio}
2742 and @q{bar line} in the
2743 index quickly shows us that an arpeggio is produced by appending
2744 @code{\arpeggio} to a chord, and a double bar line is produced by
2745 the @code{\bar "||"} command. That's easily done. We next need
2746 to correct the collision of the tie with the time signature. This
2747 is best done by moving the tie upwards. Moving objects was covered
2748 earlier in @ref{Moving objects}, which says that objects positioned
2749 relative to the staff can be moved by overriding their
2750 @code{staff-position} property, which is specified in half staff
2751 spaces relative to the center line of the staff. So the following
2752 override placed just before the first tied note would move the tie
2753 up to 3.5 half staff spaces above the center line:
2755 @code{\once \override Tie #'staff-position = #3.5}
2757 This completes bar two, giving:
2759 @lilypond[quote,verbatim,ragged-right]
2760 rhMusic = \relative c'' {
2762 \once \override Tie #'staff-position = #3.5
2767 % Start polyphonic section of four voices
2769 {c,8[ d fis bes a] | }
2780 lhMusic = \relative c' {
2782 <d g, d>1)\arpeggio |
2789 \new Staff = "RH" <<
2793 \new Staff = "LH" <<
2802 On to bar three and the start of the Moderato section. The
2803 tutorial showed how to add embolded text with the @code{\markup}
2804 command, so adding @q{Moderato} in bold is easy.
2805 But how do we merge notes in different voices together? This is
2806 where we need to turn to the Notation Reference for help. A search
2807 for @qq{merge} in the Notation Reference index quickly leads us to
2808 the commands for merging differently headed and differently
2809 dotted notes in @ruser{Collision resolution}. In our
2810 example we need to merge both types of note for the duration
2811 of the polyphonic section in bar 3, so using the information
2812 we find in the Notation Reference we add
2815 \mergeDifferentlyHeadedOn
2816 \mergeDifferentlyDottedOn
2820 to the start of that section and
2823 \mergeDifferentlyHeadedOff
2824 \mergeDifferentlyDottedOff
2830 @lilypond[quote,verbatim,ragged-right]
2831 rhMusic = \relative c'' {
2833 \once \override Tie #'staff-position = #3.5
2837 bes2.^\markup {\bold "Moderato"} r8
2838 \mergeDifferentlyHeadedOn
2839 \mergeDifferentlyDottedOn
2840 % Start polyphonic section of four voices
2842 {c,8[ d fis bes a] | }
2850 \mergeDifferentlyHeadedOff
2851 \mergeDifferentlyDottedOff
2855 lhMusic = \relative c' {
2857 <d g, d>1)\arpeggio |
2864 \new Staff = "RH" <<
2868 \new Staff = "LH" <<
2877 These overrides have merged the two F-sharp notes, but not the two
2878 on D. Why not? The answer is there in the same section in the
2879 Notation Reference -- notes being merged must have stems in
2880 opposite directions and two notes cannot be merged successfully if
2881 there is a third note in the same note column. Here the two D's
2882 both have upward stems and there is a third note -- the C. We know
2883 how to change the stem direction using @code{\stemDown}, and
2884 the Notation Reference also says how to move the C -- apply a shift
2885 using one of the @code{\shift} commands. But which one?
2886 The C is in voice two which has shift off, and the two D's are in
2887 voices one and three, which have shift off and shift on,
2888 respectively. So we have to shift the C a further level still
2889 using @code{\shiftOnn} to avoid it interfering with the two D's.
2890 Applying these changes gives:
2892 @lilypond[quote,verbatim,ragged-right]
2893 rhMusic = \relative c'' {
2895 \once \override Tie #'staff-position = #3.5
2899 bes2.^\markup {\bold "Moderato"} r8
2900 \mergeDifferentlyHeadedOn
2901 \mergeDifferentlyDottedOn
2902 % Start polyphonic section of four voices
2904 {c,8[ d fis bes a] | }
2906 % Move the c2 out of the main note column so the merge will work
2907 {c,8~ \shiftOnn c2 | }
2909 % Stem on the d2 must be down to permit merging
2910 {s8 \stemDown d2 | }
2914 \mergeDifferentlyHeadedOff
2915 \mergeDifferentlyDottedOff
2919 lhMusic = \relative c' {
2921 <d g, d>1)\arpeggio |
2928 \new Staff = "RH" <<
2932 \new Staff = "LH" <<
2941 Nearly there. Only two problems remain: The downward stem on the
2942 merged D should not be there, and the C would be better positioned
2943 to the right of the D's. We know how to do both of these from the
2944 earlier tweaks: we make the stem transparent, and move the C with
2945 the @code{force-hshift} property. Here's the final result:
2947 @lilypond[quote,verbatim,ragged-right]
2948 rhMusic = \relative c'' {
2951 \once \override Tie #'staff-position = #3.5
2955 bes2.^\markup {\bold "Moderato"} r8
2956 \mergeDifferentlyHeadedOn
2957 \mergeDifferentlyDottedOn
2959 {c,8[ d fis bes a] | }
2961 % Reposition the c2 to the right of the merged note
2962 {c,8~ \once \override NoteColumn #'force-hshift = #1.0
2963 % Move the c2 out of the main note column so the merge will work
2966 % Stem on the d2 must be down to permit merging
2967 {s8 \stemDown \once \override Stem #'transparent = ##t d2}
2971 \mergeDifferentlyHeadedOff
2972 \mergeDifferentlyDottedOff
2976 lhMusic = \relative c' {
2978 <d g, d>1)\arpeggio |
2985 \new Staff = "RH" <<
2989 \new Staff = "LH" <<
2999 @node Further tweaking
3000 @section Further tweaking
3003 * Other uses for tweaks::
3004 * Using variables for tweaks::
3005 * Other sources of information::
3006 * Avoiding tweaks with slower processing::
3007 * Advanced tweaks with Scheme::
3010 @node Other uses for tweaks
3011 @subsection Other uses for tweaks
3013 @cindex transparent property, use of
3014 @cindex objects, making invisible
3015 @cindex removing objects
3016 @cindex objects, removing
3017 @cindex hiding objects
3018 @cindex invisible objects
3019 @cindex tying notes across voices
3021 @subheading Tying notes across voices
3023 The following example demonstrates how to connect notes in
3024 different voices using ties. Normally, only two notes in the
3025 same voice can be connected with ties. By using two voices,
3026 with the tied notes in one of them
3028 @lilypond[quote,fragment,relative=2]
3029 << { b8~ b8\noBeam }
3035 and blanking the first up-stem in that voice, the tie appears to
3038 @lilypond[quote,fragment,relative=2,verbatim]
3041 \once \override Stem #'transparent = ##t
3049 To make sure that the just-blanked stem doesn't squeeze the tie
3050 too much, we can lengthen the stem by setting the
3051 @code{length} to @code{8},
3053 @lilypond[quote,fragment,relative=2,verbatim]
3056 \once \override Stem #'transparent = ##t
3057 \once \override Stem #'length = #8
3065 @subheading Simulating a fermata in MIDI
3067 @cindex stencil property, use of
3068 @cindex fermata, implementing in MIDI
3070 For outside-staff objects it is usually better to override the
3071 object's @code{stencil} property rather than its @code{transparent}
3072 property when you wish to remove it from the printed output.
3073 Setting the @code{stencil} property of an object to @code{#f} will
3074 remove that object entirely from the printed output. This means it
3075 has no effect on the placement of other objects placed relative to
3078 For example, if we wished to change the metronome setting in order
3079 to simulate a fermata in the MIDI output we would not want the
3080 metronome markings to appear in the printed output, and we would
3081 not want it to influence the spacing between the two systems or
3082 the positions of adjacent annotations on the staff. So setting
3083 its @code{stencil} property to @code{#f} would be the best way.
3084 We show here the effect of the two methods:
3086 @lilypond[quote,verbatim,ragged-right]
3089 % Visible tempo marking
3092 \once \override Score.MetronomeMark #'transparent = ##t
3093 % Invisible tempo marking to lengthen fermata in MIDI
3096 % New tempo for next section
3105 @lilypond[quote,verbatim,ragged-right]
3108 % Visible tempo marking
3111 \once \override Score.MetronomeMark #'stencil = ##f
3112 % Invisible tempo marking to lengthen fermata in MIDI
3115 % New tempo for next section
3125 Both methods remove the metronome mark which lengthens the fermata
3126 from the printed output, and both affect the MIDI timing as
3127 required, but the transparent metronome mark in the first line
3128 forces the following tempo indication too high while the
3129 second (with the stencil removed) does not.
3131 @node Using variables for tweaks
3132 @subsection Using variables for tweaks
3134 Override commands are often long and tedious to type, and they
3135 have to be absolutely correct. If the same overrides are to be
3136 used many times it may be worth defining variables to hold them.
3137 Suppose we wish to emphasize certain words in lyrics by printing
3138 them in bold italics. The @code{\italic} and @code{\bold}
3139 commands only work within lyrics if they are also embedded in
3140 @code{\markup}, which makes them tedious to enter, so as an
3141 alternative can we instead use the @code{\override} and
3142 @code{\revert} commands?
3145 @code{\override Lyrics . LyricText #'font-shape = #'italic}
3146 @code{\override Lyrics . LyricText #'font-series = #'bold}
3148 @code{\revert Lyrics . LyricText #'font-shape}
3149 @code{\revert Lyrics . LyricText #'font-series}
3152 These would also be extremely tedious to enter if there were many
3153 words requiring emphasis. So instead we define these as two
3154 variables, and use them as follows, although normally we would
3155 perhaps choose shorter names for the variables to make them
3158 @lilypond[quote,verbatim]
3160 \override Lyrics . LyricText #'font-shape = #'italic
3161 \override Lyrics . LyricText #'font-series = #'bold
3164 \revert Lyrics . LyricText #'font-shape
3165 \revert Lyrics . LyricText #'font-series
3168 global = { \time 4/4 \partial 4 \key c \major}
3169 SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a a g }
3170 AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
3171 TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
3172 BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
3173 VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, \normal | strong to save, }
3174 VerseTwo = \lyricmode { O | \emphasize Christ, \normal whose voice the | wa -- ters heard, }
3175 VerseThree = \lyricmode { O | \emphasize Ho -- ly Spi -- rit, \normal | who didst brood }
3176 VerseFour = \lyricmode { O | \emphasize Tri -- ni -- ty \normal of | love and pow'r }
3182 \new Voice = "Soprano" { \voiceOne \global \SopranoMusic }
3183 \new Voice = "Alto" { \voiceTwo \AltoMusic }
3184 \new Lyrics \lyricsto "Soprano" { \VerseOne }
3185 \new Lyrics \lyricsto "Soprano" { \VerseTwo }
3186 \new Lyrics \lyricsto "Soprano" { \VerseThree }
3187 \new Lyrics \lyricsto "Soprano" { \VerseFour }
3191 \new Voice = "Tenor" { \voiceOne \TenorMusic }
3192 \new Voice = "Bass" { \voiceTwo \BassMusic }
3200 @node Other sources of information
3201 @subsection Other sources of information
3203 The Internals Reference documentation contains a lot of information
3204 about LilyPond, but even more information can be gathered by
3205 looking at the internal LilyPond files. To explore these, you must
3206 first find the directory appropriate to your system. The location
3207 of this directory depends (a) on whether you obtained LilyPond
3208 by downloading a precompiled binary from lilypond.org
3209 or whether you installed it from a package manager (i.e.
3210 distributed with Linux, or installed under fink or cygwin) or
3211 compiled it from source, and (b) on which operating system it is
3214 @strong{Downloaded from lilypond.org}
3220 @file{@var{INSTALLDIR}/lilypond/usr/share/lilypond/current/}
3225 @file{@var{INSTALLDIR}/LilyPond.app/Contents/Resources/share/lilypond/current/}
3226 by either @code{cd}-ing into this directory from the
3227 Terminal, or control-clicking on the LilyPond application and
3228 selecting @q{Show Package Contents}.
3232 Using Windows Explorer, navigate to
3233 @file{@var{INSTALLDIR}/LilyPond/usr/share/lilypond/current/}
3237 @strong{Installed from a package manager or compiled from source}
3240 @file{@var{PREFIX}/share/lilypond/@var{X.Y.Z}/}, where
3241 @var{PREFIX} is set by your package manager or @code{configure}
3242 script, and @var{X.Y.Z} is the LilyPond version number.
3246 Within this directory the two interesting subdirectories are
3249 @item @file{ly/} - contains files in LilyPond format
3250 @item @file{scm/} - contains files in Scheme format
3253 Let's begin by looking at some files in @file{ly/}.
3254 Open @file{ly/property-init.ly} in a text editor. The one
3255 you normally use for @code{.ly} files will be fine. This file
3256 contains the definitions of all the standard LilyPond built-in
3257 commands, such as @code{\stemUp} and @code{\slurDotted}. You will
3258 see that these are nothing more than definitions of variables
3259 containing one or a group of @code{\override} commands. For
3260 example, @code{/tieDotted} is defined to be:
3264 \override Tie #'dash-period = #0.75
3265 \override Tie #'dash-fraction = #0.1
3269 If you do not like the default values these built-in commands can
3270 be redefined easily, just like any other variable, at the
3271 head of your input file.
3273 The following are the most useful files to be found in
3276 @multitable @columnfractions .4 .6
3279 @item @file{ly/engraver-init.ly}
3280 @tab Definitions of engraver Contexts
3281 @item @file{ly/paper-defaults.ly}
3282 @tab Specifications of paper-related defaults
3283 @item @file{ly/performer-init.ly}
3284 @tab Definitions of performer Contexts
3285 @item @file{ly/property-init.ly}
3286 @tab Definitions of all common built-in commands
3289 Other settings (such as the definitions of markup commands) are
3290 stored as @code{.scm} (Scheme) files. The Scheme programming
3291 language is used to provide a programmable interface into
3292 LilyPond internal operation. Further explanation of these files
3293 is currently outside the scope of this manual, as a knowledge of
3294 the Scheme language is required. Users should be warned that
3295 a substantial amount of technical knowledge or time is required
3296 to understand Scheme and these files (see @ref{Scheme tutorial}).
3298 If you have this knowledge, the Scheme files which may be of
3301 @multitable @columnfractions .4 .6
3304 @item @file{scm/auto-beam.scm}
3305 @tab Sub-beaming defaults
3306 @item @file{scm/define-grobs.scm}
3307 @tab Default settings for grob properties
3308 @item @file{scm/define-markup-commands.scm}
3309 @tab Specify all markup commands
3310 @item @file{scm/midi.scm}
3311 @tab Default settings for MIDI output
3312 @item @file{scm/output-lib.scm}
3313 @tab Settings that affect appearance of frets, colors,
3314 accidentals, bar lines, etc
3315 @item @file{scm/parser-clef.scm}
3316 @tab Definitions of supported clefs
3317 @item @file{scm/script.scm}
3318 @tab Default settings for articulations
3323 @node Avoiding tweaks with slower processing
3324 @subsection Avoiding tweaks with slower processing
3326 LilyPond can perform extra checks while it processes input files. These
3327 checks will take extra time to perform, but fewer manual tweaks
3328 may be required to obtain an acceptable result. If a text script
3329 or part of the lyrics extends over the margins these checks will
3330 compress that line of the score just enough to fit within the
3333 To be effective under all circumstances these checks must be enabled
3334 by placing the overrides in a Score @code{\with} block, rather than
3335 in-line in music, as follows:
3339 % Makes sure text scripts and lyrics are within the paper margins
3340 \override PaperColumn #'keep-inside-line = ##t
3341 \override NonMusicalPaperColumn #'keep-inside-line = ##t
3347 @node Advanced tweaks with Scheme
3348 @subsection Advanced tweaks with Scheme
3350 Although many things are possible with the @code{\override} and
3351 @code{\tweak} commands, an even more powerful way of modifying
3352 the action of LilyPond is available through a programmable
3353 interface to the LilyPond internal operation. Code written in
3354 the Scheme programming language can be incorporated directly in
3355 the internal operation of LilyPond. Of course, at least a basic
3356 knowledge of programming in Scheme is required to do this, and an
3357 introduction is provided in the @ref{Scheme tutorial}.
3359 As an illustration of one of the many possibilities, instead of
3360 setting a property to a constant it can be set to a Scheme
3361 procedure which is then called whenever that property is accessed
3362 by LilyPond. The property can then be set dynamically to a value
3363 determined by the procedure at the time it is called. In this
3364 example we color the note head in accordance with its position on
3367 @lilypond[quote,verbatim,ragged-right]
3368 #(define (color-notehead grob)
3369 "Color the notehead according to its position on the staff."
3370 (let ((mod-position (modulo (ly:grob-property grob 'staff-position) 7)))
3372 ;; Return rainbow colors
3373 ((1) (x11-color 'red )) ; for C
3374 ((2) (x11-color 'orange )) ; for D
3375 ((3) (x11-color 'yellow )) ; for E
3376 ((4) (x11-color 'green )) ; for F
3377 ((5) (x11-color 'blue )) ; for G
3378 ((6) (x11-color 'purple )) ; for A
3379 ((0) (x11-color 'violet )) ; for B
3385 % Arrange to obtain color from color-notehead procedure
3386 \override NoteHead #'color = #color-notehead
3393 Some -- where o -- ver the Rain -- bow, way up high,
3397 Further examples showing the use of these programmable interfaces
3398 can be found in @ref{Tweaking with Scheme}.