Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.17.6"
@node Tweaking output
@chapter Tweaking output
@tab direction, beam-thickness
@end multitable
-As we shall see shortly, the properties of different types of
-object are modified by different commands, so it is useful to
-be able to recognize the type of object from the names of its
-properties.
+As we shall see shortly, the properties of different types of object are
+modified by different commands, so it is useful to be able to recognize
+the types of objects and properties from their names.
@node Tweaking methods
@cindex tweaking methods
-@strong{\override command}
+@menu
+* The \override command::
+* The \revert command::
+* The \once prefix::
+* The \overrideProperty command::
+* The \tweak command::
+@end menu
+
+@node The \override command
+@unnumberedsubsubsec The @code{\override} command
@cindex override command
@cindex override syntax
The general syntax of this command is:
@example
-\override @var{Context}.@var{LayoutObject} #'@var{layout-property} =
-#@var{value}
+\override @var{Context}.@var{LayoutObject}.@var{layout-property} = #@var{value}
@end example
@noindent
layout object with the name @var{LayoutObject}, which is a member of
the @var{Context} context, to the value @var{value}.
-The @var{Context} can be omitted (and usually is) when the
+The @var{Context} may be omitted (and usually is) when the
required context is unambiguously implied and is one of lowest
level contexts, i.e., @code{Voice}, @code{ChordNames} or
@code{Lyrics}, and we shall omit it in many of the following
examples. We shall see later when it must be specified.
Later sections deal comprehensively with properties and their
-values, but to illustrate the format and use of these commands
-we shall use just a few simple properties and values which are
-easily understood.
-
-For now, don't worry about the @code{#'}, which must precede the
-layout property, and the @code{#}, which must precede the value.
-These must always be present in exactly this form. This is the
-most common command used in tweaking, and most of the rest of
-this chapter will be directed to presenting examples of how it is
-used. Here is a simple example to change the color of the
-note head:
+values, see @ref{Types of properties}. But in this section we shall
+use just a few simple properties and values which are easily
+understood in order to illustrate the format and use of these
+commands.
+
+LilyPond's primary expressions are musical items like notes,
+durations, and markups. More basic expressions like numbers,
+strings, and lists are processed in @q{Scheme mode}, which is
+invoked by prefixing the value with @samp{#}. Although the
+values may sometimes have a valid representation in LilyPond's
+musical mode, this manual will always use @samp{#} for their
+entry for the sake of consistency. For more information about
+Scheme mode, see @rextend{LilyPond Scheme syntax}.
+
+@code{\override} is the most common command used in tweaking, and
+most of the rest of this chapter will be directed to presenting
+examples of how it is used. Here is a simple example to change the
+color of the note head:
@cindex color property, example
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
-\override NoteHead #'color = #red
-e f g
-\override NoteHead #'color = #green
-a b c
+c4 d
+\override NoteHead.color = #red
+e4 f |
+\override NoteHead.color = #green
+g4 a b c |
@end lilypond
-@strong{\revert command}
+
+@node The \revert command
+@unnumberedsubsubsec The @code{\revert} command
@cindex revert command
commands have been issued.
@example
-\revert @var{Context}.@var{LayoutObject} #'@var{layout-property}
+\revert @var{Context}.@var{LayoutObject}.@var{layout-property}
@end example
Again, just like @var{Context} in the @code{\override} command,
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
-\override NoteHead #'color = #red
-e f g
-\override NoteHead #'color = #green
-a
-\revert NoteHead #'color
-b c
+c4 d
+\override NoteHead.color = #red
+e4 f |
+\override NoteHead.color = #green
+g4 a
+\revert NoteHead.color
+b4 c |
@end lilypond
-@strong{\once prefix}
+
+@node The \once prefix
+@unnumberedsubsubsec The @code{\once} prefix
@funindex \once
@funindex once
-Both the @code{\override} and the @code{\set} commands may be
-prefixed by @code{\once}. This causes the following
-@code{\override} or @code{\set} command to be effective only
-during the current musical moment before the property reverts
-back to its default value. Using the same example, we can
-change the color of a single note like this:
+Both the @code{\override} and the @code{\set} commands may be prefixed
+by @code{\once}. This causes the following @code{\override} or
+@code{\set} command to be effective only during the current musical
+moment before the property reverts back to its previous value (this can
+be different from the default if another @code{\override} is still in
+effect). Using the same example, we can change the color of a single
+note like this:
@cindex color property, example
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-c d
-\once \override NoteHead #'color = #red
-e f g
-\once \override NoteHead #'color = #green
-a b c
+c4 d
+\override NoteHead.color = #red
+e4 f |
+\once \override NoteHead.color = #green
+g4 a
+\revert NoteHead.color
+b c |
@end lilypond
-@strong{\overrideProperty command}
+
+@node The \overrideProperty command
+@unnumberedsubsubsec The @code{\overrideProperty} command
@cindex overrideProperty command
@rextend{Difficult tweaks}.
@c Maybe explain in a later iteration -td
-@strong{\tweak command}
+
+@node The \tweak command
+@unnumberedsubsubsec The @code{\tweak} command
@cindex tweak command
@funindex \tweak
@funindex tweak
-The final tweaking command which is available is @code{\tweak}.
-This should be used to change the properties of objects which
-occur at the same musical moment, such as the notes within a
-chord. Using @code{\override} would affect all the notes
-within a chord, whereas @code{\tweak} affects just the following
+The final tweaking command which is available is @code{\tweak}. This
+should be used when several objects occur at the same musical moment,
+but you only want to change the properties of selected ones, such as a
+single note within a chord. Using @code{\override} would affect all the
+notes within a chord, whereas @code{\tweak} affects just the following
item in the input stream.
Here's an example. Suppose we wish to change the size of the
@cindex NoteHead, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
- <c e g>4
- \once \override NoteHead #'font-size = #-3
- <c e g>
- <c e g>
+<c e g>4
+\once \override NoteHead.font-size = #-3
+<c e g>4
+<c e g>4
@end lilypond
We see the override affects @emph{all} the note heads in the chord.
which occur at the same musical moment as the @code{\override}
command itself.
-The @code{\tweak} command operates in a different way. It acts
-on the immediately following item in the input stream. However,
-it is effective only on objects which are created directly from
-the input stream, essentially note heads and articulations;
-objects such as stems and accidentals are created later and
-cannot be tweaked in this way. Furthermore, when it is applied
-to note heads these @emph{must} be within a chord, i.e., within
-single angle brackets, so to tweak a single note the @code{\tweak}
-command must be placed inside single angle brackets with the
-note.
+The @code{\tweak} command operates in a different way. It acts on
+the immediately following item in the input stream. In its simplest
+form, it is effective only on objects which are created directly
+from the following item, essentially note heads and articulations.
So to return to our example, the size of the middle note of
a chord would be changed in this way:
@cindex @code{\tweak}, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
- <c e g>4
- <c \tweak #'font-size #-3 e g>4
+<c e g>4
+<c \tweak font-size #-3 e g>4
@end lilypond
-Note that the syntax of @code{\tweak} is different from that
-of the @code{\override} command. Neither the context nor the
-layout object should be specified; in fact, it would generate
-an error to do so. These are both implied by the following
-item in the input stream. Note also that an equals sign should
-not be present. So the general syntax of the
-@code{\tweak} command is simply
+Note that the syntax of @code{\tweak} is different from that of the
+@code{\override} command. The context should not be specified; in
+fact, it would generate an error to do so. Both context and layout
+object are implied by the following item in the input stream. Note
+also that an equals sign should not be present. So the simple form
+of the @code{\tweak} command is
@example
-\tweak #'@var{layout-property} #@var{value}
+\tweak @var{layout-property} #@var{value}
@end example
A @code{\tweak} command can also be used to modify just one in
@cindex @code{\tweak}, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a ^Black
- -\tweak #'color #red ^Red
- -\tweak #'color #green _Green
+a4^"Black"
+ -\tweak color #red ^"Red"
+ -\tweak color #green _"Green"
@end lilypond
@noindent
-Note that the @code{\tweak} command must be preceded by an
-articulation mark as if it were an articulation itself.
+Note that the @code{\tweak} command must be preceded by an articulation
+mark since the tweaked expression needs to be applied as an articulation
+itself. In case of multiple direction overrides (@code{^} or @code{_}),
+the leftmost override wins since it is applied last.
+
+@cindex @code{\tweak}, Accidental
+@cindex @code{\tweak}, specific layout object
+
+Objects such as stems and accidentals are created later, and not
+directly from the following event. It is still possible to use
+@code{\tweak} on such indirectly created objects by explicitly naming
+the layout object, provided that LilyPond can trace its origin back to
+the original event:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+<\tweak Accidental.color #red cis4
+ \tweak Accidental.color #green es
+ g>
+@end lilypond
+
+This long form of the @code{\tweak} command can be described as
+
+@example
+\tweak @var{layout-object}.@var{layout-property} @var{value}
+@end example
@cindex tuplets, nested
@cindex triplets, nested
@cindex color property, example
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\tweak #'direction #up
+\tweak direction #up
\times 4/3 {
- \tweak #'color #red
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
- \times 2/3 { c8[ c8 c8] }
+ \tweak color #red
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c8[ c c] }
+ \times 2/3 { c8[ c c] }
}
@end lilypond
@cindex transparent property, example
@cindex TupletNumber, example of overriding
-@c NOTE Tuplet brackets collide if notes are high on staff
-@c See issue 509
@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\times 2/3 { c8[ c c] }
-\once \override TupletNumber
- #'text = #tuplet-number::calc-fraction-text
+\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
\times 2/3 {
- c[ c]
- c[ c]
- \once \override TupletNumber #'transparent = ##t
+ c8[ c]
+ c8[ c]
+ \once \override TupletNumber.transparent = ##t
\times 2/3 { c8[ c c] }
\times 2/3 { c8[ c c] }
}
Let's use a concrete example with a simple fragment of real
music:
+@c Mozart, Die Zauberflöte Nr.7 Duett
+
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8 b[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
to be tweaked, it is easier to go straight to the IR and search there.
This Slur page in the IR tells us first that Slur objects are created
-by the Slur_engraver. Then it lists the standard settings. Note
-these are @strong{not} in alphabetic order. Browse down them looking
-for a property that might control the heaviness of slurs, and you
-should find
+by the Slur_engraver. Then it lists the standard settings. Browse
+through them looking for a property that might control the heaviness of
+slurs, and you should find
@example
@code{thickness} (number)
Line thickness, generally measured in @code{line-thickness}
@end example
-This looks a good bet to change the heaviness. It tells us that
+This looks a good bet to change the heaviness. It tells us that
the value of @code{thickness} is a simple @emph{number},
that the default value is 1.2, and that the units are
in another property called @code{line-thickness}.
at first, so we can be sure the command is working. We get:
@example
-\override Slur #'thickness = #5.0
+\override Slur.thickness = #5.0
@end example
-Don't forget the @code{#'} preceding the
-property name and a @code{#} preceding the new value!
+Don't forget the@tie{}@code{#} preceding the new value!
The final question is, @q{Where should this command be
placed?} While you are unsure and learning, the best
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
% Increase thickness of all following slurs from 1.2 to 5.0
- \override Slur #'thickness = #5.0
- r4 b8 b[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ \override Slur.thickness = #5.0
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
still need some practice. This is provided in the examples
which follow.
-@subheading Finding the context
+@subsubsubheading Finding the context
@cindex context, finding
@cindex context, identifying correct
engraver}. So slurs will be created in whichever context
the @code{Slur_engraver} is in. Follow the link to the
@code{Slur_engraver} page. At the very bottom it tells
-us that @code{Slur_engraver} is part of five Voice contexts,
+us that @code{Slur_engraver} is part of seven Voice contexts,
including the standard voice context, @code{Voice}, so our
guess was correct. And because @code{Voice} is one of the
lowest level contexts which is implied unambiguously by
the fact that we are entering notes, we can omit it in this
location.
-@subheading Overriding once only
+@subsubsubheading Overriding once only
@cindex overriding once only
@cindex once override
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of immediately following slur only
- \once \override Slur #'thickness = #5.0
- b4[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ \once \override Slur.thickness = #5.0
+ bes8[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
The @code{\once} command can also be used before the @code{\set}
command.
-@subheading Reverting
+@subsubsubheading Reverting
@cindex revert
@cindex default properties, reverting to
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of immediately following slur only
- \once \override Slur #'thickness = #5.0
- b4[( g]) g
+ \once \override Slur.thickness = #5.0
+ bes[( g]) g |
% Increase thickness of immediately following slur only
- \once \override Slur #'thickness = #5.0
- g4[( e]) e d[( f]) a
- a4 g
+ \once \override Slur.thickness = #5.0
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@lilypond[quote,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8
+ r4 bes8
% Increase thickness of all following slurs from 1.2 to 5.0
- \override Slur #'thickness = #5.0
- b4[( g]) g
- g4[( e])
+ \override Slur.thickness = #5.0
+ bes[( g]) g |
+ g8[( es]) es
% Revert thickness of all following slurs to default of 1.2
- \revert Slur #'thickness
- e4 d[( f]) a
- a4 g
+ \revert Slur.thickness
+ d8[( f]) as |
+ as8 g
}
\addlyrics {
- The man who feels love's sweet e -- mo -- tion
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
the property is @code{font-shape} and the value is
@code{italic}. As before, we'll omit the context.
-As an aside, although it is an important one, note that because the
-values of @code{font-shape} are symbols they must be introduced with a
-single apostrophe, @code{'}. That is why apostrophes are needed
-before @code{thickness} in the earlier example and @code{font-shape}.
-These are both symbols too. Symbols are then read internally by
-LilyPond. Some of them are the names of properties, like
-@code{thickness} or @code{font-shape}, others are used as values that
-can be given to properties, like @code{italic}. Note the distinction
-from arbitrary text strings, which would appear as @code{"a text
-string"}; for more details about symbols and strings, see
-@rextend{Scheme tutorial}.
+As an aside, although it is an important one, note that some
+properties take values that are symbols, like @code{italic}, and
+must be preceded by an apostrophe, @code{'}. Symbols are then
+read internally by LilyPond. Note the distinction from arbitrary
+text strings, which would appear as @code{"a text string"}; for
+more details about symbols and strings, see @rextend{Scheme tutorial}.
So we see that the @code{\override} command needed to print the lyrics
in italics is:
@example
-\override LyricText #'font-shape = #'italic
+\override LyricText.font-shape = #'italic
@end example
@noindent
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
+ \key es \major
\time 6/8
{
- r4 b8 b[( g]) g
- g4[( e]) e d[( f]) a
- a4 g
+ r4 bes8 bes[( g]) g |
+ g8[( es]) es d[( f]) as |
+ as8 g
}
\addlyrics {
- \override LyricText #'font-shape = #'italic
- The man who feels love's sweet e -- mo -- tion
+ \override LyricText.font-shape = #'italic
+ The man who | feels love's sweet e -- | mo -- tion
}
}
@end lilypond
@noindent
and the lyrics are all printed in italics.
-@subheading Specifying the context in lyric mode
-
-@cindex context, specifying in lyric mode
-@cindex lyric mode, specifying context
-
-In the case of lyrics, if you try specifying the context in the
-format given earlier the command will fail. A syllable
-entered in lyricmode is terminated by either a space,
-a newline or a digit. All other characters are included
-as part of the syllable. For this reason a space or newline
-must appear before the terminating @code{@}} to prevent it being
-included as part of the final syllable. Similarly,
-spaces must be inserted before and after the
-period or dot, @q{.}, separating the context name from the
-object name, as otherwise the two names are run together and
-the interpreter cannot recognize them. So the command should be:
-
-@example
-\override Lyrics . LyricText #'font-shape = #'italic
-@end example
-
@warning{In lyrics always leave whitespace between the final
syllable and the terminating brace.}
-@warning{In overrides in lyrics always place spaces around
-the dot between the context name and the object name.}
-
@seealso
Extending: @rextend{Scheme tutorial}.
@tab A valid direction constant or its numerical equivalent (decimal
values between -1 and 1 are allowed)
@tab @code{LEFT}, @code{CENTER}, @code{UP},
- @code{1}, @code{-1}
+ @code{1}, @w{@code{-1}}
@item Integer
@tab A positive whole number
@tab @code{3}, @code{1}
@code{(ly:make-moment 3 8)}
@item Number
@tab Any positive or negative decimal value
- @tab @code{3.5}, @code{-2.45}
+ @tab @code{3.5}, @w{@code{-2.45}}
@item Pair (of numbers)
@tab Two numbers separated by a @q{space . space} and enclosed
in brackets preceded by an apostrophe
by extension, many other layout objects too.) Let's consider each of
these in turn.
-@subheading stencil
+@menu
+* The stencil property::
+* The break-visibility property::
+* The transparent property::
+* The color property::
+@end menu
+
+@node The stencil property
+@unnumberedsubsubsec The @code{stencil} property
@cindex stencil property
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override BarLine #'stencil = ##f
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override BarLine.stencil = ##f
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.BarLine #'stencil = ##f
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.BarLine.stencil = ##f
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
-Now the bar lines have vanished.
+Now the bar lines have vanished. Setting the @code{stencil}
+property to @code{#f} is such a frequent operation that there is a
+shorthand for it called @code{\omit}:
+@funindex \omit
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+{
+ \time 12/16
+ \omit Staff.BarLine
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
+ e8
+}
+@end lilypond
Note, though, that setting the @code{stencil} property to @code{#f}
will cause errors when the dimensions of the object are required for
@lilypond[quote,verbatim,relative=2]
{
- c c
- \once \override NoteHead #'stencil = #point-stencil
- c c
+ c4 c
+ \once \override NoteHead.stencil = #point-stencil
+ c4 c
}
@end lilypond
-@subheading break-visibility
+@node The break-visibility property
+@unnumberedsubsubsec The @code{break-visibility} property
@cindex break-visibility property
These control respectively whether bar lines are printed at the end of
a line, in the middle of lines, and at the beginning of lines. For
our example we want all bar lines to be suppressed, so the value we
-need is @code{'#(#f #f #f)}. Let's try that, remembering to include
+need is @code{#(#f #f #f)} (also available
+under the name @code{all-invisible}). Let's try that, remembering to include
the @code{Staff} context. Note also that in writing this value we
-have @code{#'#} before the opening bracket. The @code{'#} is required
-as part of the value to introduce a vector, and the first @code{#} is
+have @code{##} before the opening parenthesis. One @code{#} is required
+as part of vector constant syntax, and the first@tie{}@code{#} is
required, as always, to precede the value itself in the
@code{\override} command.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.BarLine #'break-visibility = #'#(#f #f #f)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.BarLine.break-visibility = ##(#f #f #f)
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
And we see this too removes all the bar lines.
-@subheading transparent
+@node The transparent property
+@unnumberedsubsubsec The @code{transparent} property
@cindex transparent property
@cindex transparency
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.TimeSignature #'transparent = ##t
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.TimeSignature.transparent = ##t
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
+ e8
+}
+@end lilypond
+
+@noindent
+Again, setting the @code{transparent} property is a rather
+frequent operation, so we have a shorthand for it called
+@code{\hide}:
+@funindex \hide
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+{
+ \time 12/16
+ \hide Staff.TimeSignature
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@noindent
-The time signature is gone, but this command leaves a gap where
+In either case, the time signature is gone, but this command
+leaves a gap where
the time signature should be. Maybe this is what is wanted for
an exercise for the student to fill it in, but in other
circumstances a gap might be undesirable. To remove it, the
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.TimeSignature #'stencil = ##f
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \omit Staff.TimeSignature
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@noindent
and the difference is obvious: setting the stencil to @code{#f}
+(possibly via @code{\omit})
removes the object entirely; making the object @code{transparent}
+(which can be done using @code{\hide})
leaves it where it is, but makes it invisible.
-@subheading color
+@node The color property
+@unnumberedsubsubsec The @code{color} property
@cindex color property
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.BarLine #'color = #white
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.BarLine.color = #white
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@noindent
and again, we see the bar lines are not visible. Note that
@emph{white} is not preceded by an apostrophe -- it is not
-a symbol, but a @emph{function}. When called, it provides
+a symbol, but a @emph{variable}. When evaluated, it provides
the list of internal values required to set the color to
-white. The other colors in the normal list are functions
+white. The other colors in the normal list are variables
too. To convince yourself this is working you might like
-to change the color to one of the other functions in the
+to change the color to one of the other variables in the
list.
@cindex color, X11
The second way of changing the color is to use the list of
X11 color names in the second list in @ruser{List of colors}.
-However, these must be preceded by another function, which
-converts X11 color names into the list of internal values,
-@code{x11-color}, like this:
+However, these are mapped to the actual values by the function
+@code{x11-color} which
+converts X11 color symbols into the list of internal values like this:
@cindex BarLine, example of overriding
@cindex color property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.BarLine #'color = #(x11-color 'white)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.BarLine.color = #(x11-color 'white)
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@noindent
Note that in this case the function @code{x11-color} takes
a symbol as an argument, so the symbol must be preceded by
-an apostrophe and the two enclosed in brackets.
+an apostrophe to keep it from being evaluated as a variable, and
+the whole function call has to be enclosed in parentheses.
@cindex rgb colors
@cindex color, rgb
@funindex rgb-color
-There is yet a third function, one which converts RGB values into
+There is another function, one which converts RGB values into
internal colors -- the @code{rgb-color} function. This takes
three arguments giving the intensities of the red, green and
blue colors. These take values in the range 0 to 1. So to
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.BarLine #'color = #(rgb-color 1 1 1)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.BarLine.color = #(rgb-color 1 1 1)
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
Finally, there is also a grey scale available as part of the
-X11 set of colors. These range from black, @code{'grey0'},
+X11 set of colors. These range from black, @code{'grey0},
to white, @code{'grey100}, in steps of 1. Let's illustrate
this by setting all the layout objects in our example to
various shades of grey:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.StaffSymbol #'color = #(x11-color 'grey30)
- \override Staff.TimeSignature #'color = #(x11-color 'grey60)
- \override Staff.Clef #'color = #(x11-color 'grey60)
- \override Voice.NoteHead #'color = #(x11-color 'grey85)
- \override Voice.Stem #'color = #(x11-color 'grey85)
- \override Staff.BarLine #'color = #(x11-color 'grey10)
- c4 b8 c d16 c d8
- g,8 a16 b8 c d4 e16
+ \override Staff.StaffSymbol.color = #(x11-color 'grey30)
+ \override Staff.TimeSignature.color = #(x11-color 'grey60)
+ \override Staff.Clef.color = #(x11-color 'grey60)
+ \override Voice.NoteHead.color = #(x11-color 'grey85)
+ \override Voice.Stem.color = #(x11-color 'grey85)
+ \override Staff.BarLine.color = #(x11-color 'grey10)
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
e8
}
@end lilypond
@cindex objects, changing size of
Let us begin by looking again at the earlier example
-see @ref{Nesting music expressions}) which showed
+(see @ref{Nesting music expressions}) which showed
how to introduce a new temporary staff, as in an @rglos{ossia}.
@cindex alignAboveContext property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
alignAboveContext = #"main" }
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@cindex alignAboveContext property, example
@cindex @code{\with}, example
-@cindex stencil property, example
+@funindex \omit
@cindex Clef, example of overriding
@cindex TimeSignature, example of overriding
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
alignAboveContext = #"main"
}
{
- \override Staff.Clef #'stencil = ##f
- \override Staff.TimeSignature #'stencil = ##f
+ \omit Staff.Clef
+ \omit Staff.TimeSignature
{ f8 f c }
}
>>
- r4
+ r4 |
}
}
@end lilypond
But what is the difference between modifying the staff context by
using @code{\with} and modifying the stencils of the clef and the
-time signature with \override? The main difference is that
+time signature with @code{\override}, or in this case
+@code{\omit}?
+The main difference is that
changes made in a @code{\with} clause are made at the time the
context is created, and remain in force as the @strong{default}
values for the duration of that context, whereas
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
+ e4 r8
+ <<
+ { f8 c c }
+ \new Staff \with {
+ alignAboveContext = #"main"
+ % Don't print clefs in this staff
+ \override Clef.stencil = ##f
+ % Don't print time signatures in this staff
+ \override TimeSignature.stencil = ##f
+ }
+ { f8 f c }
+ >>
+ r4 |
+ }
+}
+@end lilypond
+
+It turns out that we can also employ the shorthands @code{\hide}
+and @code{\omit} for setting the @code{transparent} property and
+clearing the @code{stencil} here, leading to the result
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\new Staff ="main" {
+ \relative g' {
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
\new Staff \with {
alignAboveContext = #"main"
% Don't print clefs in this staff
- \override Clef #'stencil = ##f
+ \omit Clef
% Don't print time signatures in this staff
- \override TimeSignature #'stencil = ##f
+ \omit TimeSignature
}
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
like
@example
-\override NoteHead #'font-size = #-2
+\override NoteHead.font-size = #-2
@end example
or we can change the size of all fonts by setting a special
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
\new Staff \with {
alignAboveContext = #"main"
- \override Clef #'stencil = ##f
- \override TimeSignature #'stencil = ##f
+ \omit Clef
+ \omit TimeSignature
% Reduce all font sizes by ~24%
fontSize = #-2
}
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
- r4 g8 g c4 c8 d
+ r4 g8 g c4 c8 d |
e4 r8
<<
{ f8 c c }
\new Staff \with {
alignAboveContext = #"main"
- \override Clef #'stencil = ##f
- \override TimeSignature #'stencil = ##f
+ \omit Clef
+ \omit TimeSignature
fontSize = #-2
% Reduce stem length and line spacing to match
- \override StaffSymbol #'staff-space = #(magstep -2)
+ \override StaffSymbol.staff-space = #(magstep -2)
}
{ f8 f c }
>>
- r4
+ r4 |
}
}
@end lilypond
@code{outside-staff-priority}. The outside-staff objects are
taken one by one, beginning with the object with the lowest
@code{outside-staff-priority}, and placed so that they do not
-collide with any objects that have already been placed. That is,
+collide with any objects that have already been placed. That is,
if two outside-staff grobs are competing for the same space, the
one with the lower @code{outside-staff-priority} will be placed
closer to the staff. If two objects have the same
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
-c2^"Text2"
+c2^"Text2" |
c2^"Text3"
-c2^"Text4"
+c2^"Text4" |
@end lilypond
Staves are also positioned, by default, as closely together as
@node Within-staff objects
@subsection Within-staff objects
-We have already seen how the commands @code{\voiceXXX} affect
-the direction of slurs, ties, fingering and
-everything else which depends on the direction of the stems.
-These commands are essential when writing polyphonic music to
-permit interweaving melodic lines to be distinguished.
-But occasionally it may be necessary to override this automatic
-behavior. This can be done for whole sections of music or even
-for an individual note. The property which controls this
-behavior is the @code{direction} property of each layout object.
-We first explain what this does, and then introduce a number of
-ready-made commands which avoid your having to code explicit
+We have already seen how the commands @code{\voiceXXX} affect the
+direction of slurs, ties, fingering and everything else which depends on
+the direction of the stems -- see @ref{Explicitly instantiating voices}.
+These commands are essential when writing polyphonic music to permit
+interweaving melodic lines to be distinguished. But occasionally it may
+be necessary to override this automatic behavior. This can be done for
+whole sections of music or even for an individual note. The property
+which controls this behavior is the @code{direction} property of each
+layout object. We first explain what this does, and then introduce a
+number of ready-made commands which avoid your having to code explicit
overrides for the more common modifications.
Some layout objects like slurs and ties curve, bend or point
right or left when they point up or down. This is controlled
automatically when @code{direction} is set.
+@menu
+* The direction property::
+* Fingering::
+@end menu
+
+@node The direction property
+@unnumberedsubsubsec The @code{direction} property
+
@cindex down
@cindex up
@cindex center
@cindex direction property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-a4 g c a
-\override Stem #'direction = #DOWN
-a4 g c a
-\override Stem #'direction = #UP
-a4 g c a
-\revert Stem #'direction
-a4 g c a
+a4 g c a |
+\override Stem.direction = #DOWN
+a4 g c a |
+\override Stem.direction = #UP
+a4 g c a |
+\revert Stem.direction
+a4 g c a |
@end lilypond
Here we use the constants @code{DOWN} and @code{UP}.
-These have the values @code{-1} and @code{+1} respectively, and
+These have the values @w{@code{-1}} and @code{+1} respectively, and
these numerical values may be used instead. The value @code{0}
may also be used in some cases. It is simply treated as meaning
@code{UP} for stems, but for some objects it means @q{center}.
@tab Tuplets are below/above notes
@end multitable
-Note that these predefined commands may @strong{not} be
+The neutral/normal variants of these commands are implemented
+using @code{\revert} and may @strong{not} be
preceded by @code{\once}. If you wish to limit the
-effect to a single note you must either use the equivalent
-@code{\once \override} command or use the predefined command
-followed after the affected note by the corresponding
-@code{\xxxNeutral} command.
+effect of the other commands (which are implemented using
+@code{\override}) to a single timestep, you can precede them with
+@code{\once} like you would do with explicit overrides.
+@node Fingering
@unnumberedsubsubsec Fingering
@cindex fingering, placement
@cindex direction property, example
@lilypond[quote,verbatim,relative=2]
-c-5 a-3 f-1 c'-5
-\override Fingering #'direction = #DOWN
-c-5 a-3 f-1 c'-5
-\override Fingering #'direction = #UP
-c-5 a-3 f-1 c'-5
+c4-5 a-3 f-1 c'-5 |
+\override Fingering.direction = #DOWN
+c4-5 a-3 f-1 c'-5 |
+\override Fingering.direction = #UP
+c4-5 a-3 f-1 c'-5 |
@end lilypond
However, overriding the @code{direction} property is not the
@cindex fingering example
@lilypond[quote,verbatim,relative=2]
-c-5 a-3 f-1 c'-5
-c_5 a_3 f_1 c'_5
-c^5 a^3 f^1 c'^5
+c4-5 a-3 f-1 c'-5 |
+c4_5 a_3 f_1 c'_5 |
+c4^5 a^3 f^1 c'^5 |
@end lilypond
The @code{direction} property is ignored for chords, but the
@cindex fingering example
@lilypond[quote,verbatim,relative=2]
-<c-5 g-3>
-<c-5 g-3 e-2>
-<c-5 g-3 e-2 c-1>
+<c-5 g-3>4
+<c-5 g-3 e-2>4
+<c-5 g-3 e-2 c-1>4
@end lilypond
@noindent
@cindex fingering example
@lilypond[quote,verbatim,relative=2]
-<c-5 g-3 e-2 c-1>
-<c^5 g_3 e_2 c_1>
-<c^5 g^3 e^2 c_1>
+<c-5 g-3 e-2 c-1>4
+<c^5 g_3 e_2 c_1>4
+<c^5 g^3 e^2 c_1>4
@end lilypond
Even greater control over the placement of fingering of the
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\set fingeringOrientations = #'(left)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(up left down)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(up left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(right)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
@end lilypond
@noindent
If the fingering seems a little crowded the @code{font-size}
could be reduced. The default value can be seen from the
-@code{Fingering} object in the IR to be @code{-5}, so let's
-try @code{-7}:
+@code{Fingering} object in the IR to be @w{@code{-5}}, so let's
+try @w{@code{-7}}:
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
-\override Fingering #'font-size = #-7
+\override Fingering.font-size = #-7
\set fingeringOrientations = #'(left)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(up left down)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
\set fingeringOrientations = #'(up left)
-<f-2>
-<c-1 e-2 g-3 b-5>4
+<f-2>4
+<c-1 e-2 g-3 b-5>4 |
\set fingeringOrientations = #'(right)
-<f-2>
+<f-2>4
<c-1 e-2 g-3 b-5>4
@end lilypond
@subsection Outside-staff objects
Outside-staff objects are automatically placed to avoid collisions.
+There are several ways to override the automatic placement if the
+positioning is not optimum.
+
+@menu
+* The outside-staff-priority property::
+* The \textLengthOn command::
+* Dynamics placement::
+* Grob sizing::
+@end menu
+
+
+@node The outside-staff-priority property
+@unnumberedsubsubsec The @code{outside-staff-priority} property
+
Objects with the lower value of the @code{outside-staff-priority}
property are placed nearer to the staff, and other outside-staff
objects are then raised as far as necessary to avoid collisions.
By default it is set to @code{#f} for all within-staff objects,
and to a numerical value appropriate to each outside-staff object
when the object is created. The following table shows the default
-numerical values for some of the commonest outside-staff objects
-which are, by default, placed in the @code{Staff} or @code{Voice}
-contexts.
+numerical values for some of the commonest outside-staff objects.
@cindex spanners
@headitem Layout Object
@tab Priority
@tab Controls position of:
-@item @code{MultiMeasureRestText}
- @tab @code{450}
- @tab Text over full-bar rests
+@item @code{RehearsalMark}
+ @tab @code{1500}
+ @tab Rehearsal marks
+@item @code{MetronomeMark}
+ @tab @code{1000}
+ @tab Metronome marks
+@item @code{VoltaBracketSpanner}
+ @tab @code{600}
+ @tab Volta brackets
@item @code{TextScript}
@tab @code{450}
@tab Markup text
+@item @code{MultiMeasureRestText}
+ @tab @code{450}
+ @tab Markup text over full-bar rests
@item @code{OttavaBracket}
@tab @code{400}
@tab Ottava brackets
@item @code{DynamicLineSpanner}
@tab @code{250}
@tab All dynamic markings
-@item @code{VoltaBracketSpanner}
- @tab @code{100}
- @tab Volta brackets
+@item @code{BarNumber}
+ @tab @code{ 100}
+ @tab Bar numbers
@item @code{TrillSpanner}
@tab @code{50}
@tab Spanning trills
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
% Set details for later Text Spanner
-\override TextSpanner #'(bound-details left text)
+\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
% Place dynamics above staff
\dynamicUp
c4\pp\<
c4
% Add Text Script
-c4^Text
+c4^Text |
c4 c
% Add Dynamic Text and terminate hairpin
-c4\ff c \stopTextSpan
+c4\ff c \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c
+c,4 c c c |
@end lilypond
This example also shows how to create Text Spanners --
@cindex tweaking rehearsal mark placement
@cindex rehearsal marks, tweaking placement
-Note that bar numbers, metronome marks and rehearsal marks are not
-shown. By default these are created in the @code{Score} context and
-their @code{outside-staff-priority} is ignored relative to the layout
-objects which are created in the @code{Staff} context. If you wish to
-place bar numbers, metronome marks or rehearsal marks in accordance
-with the value of their @code{outside-staff-priority} the
-@code{Bar_number_engraver}, @code{Metronome_mark_engraver} or
-@code{Mark_engraver} respectively should be removed from the
-@code{Score} context and placed in the top @code{Staff} context. If
-this is done, these marks will be given the following default
-@code{outside-staff-priority} values:
-
-@multitable @columnfractions .3 .3
-@headitem Layout Object @tab Priority
-@item @code{RehearsalMark} @tab @code{1500}
-@item @code{MetronomeMark} @tab @code{1000}
-@item @code{BarNumber} @tab @code{ 100}
-@end multitable
-
If the default values of @code{outside-staff-priority} do not give you
the placing you want, the priority of any of the objects may be
overridden. Suppose we would like the ottava bracket to be placed
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
% Set details for later Text Spanner
-\override TextSpanner #'(bound-details left text)
+\override TextSpanner.bound-details.left.text
= \markup { \small \bold Slower }
% Place dynamics above staff
\dynamicUp
-%Place following Ottava Bracket below Text Spanners
-\once \override Staff.OttavaBracket #'outside-staff-priority = #340
+% Place following Ottava Bracket below Text Spanners
+\once \override Staff.OttavaBracket.outside-staff-priority = #340
% Start Ottava Bracket
\ottava #1
c'4 \startTextSpan
% Add Dynamic Line Spanner
c4\<
% Add Text Script
-c4^Text
+c4^Text |
c4 c
% Add Dynamic Text
-c4\ff c \stopTextSpan
+c4\ff c \stopTextSpan |
% Stop Ottava Bracket
\ottava #0
-c,4 c c c
+c,4 c c c |
@end lilypond
+Note that some of these objects, in particular bar numbers,
+metronome marks and rehearsal marks, live by default in the
+@code{Score} context, so be sure to use the correct context
+when these are being overriden.
+
@cindex slurs and outside-staff-priority
@cindex slurs and articulations
@cindex articulations and slurs
example showing the effect of the two methods:
@lilypond[quote,verbatim,relative=2]
-c4( c^\markup { \tiny \sharp } d4.) c8
+c4( c^\markup { \tiny \sharp } d4.) c8 |
c4(
-\once \override TextScript #'avoid-slur = #'inside
-\once \override TextScript #'outside-staff-priority = ##f
-c4^\markup \tiny \sharp d4.) c8
-\once \override Slur #'outside-staff-priority = #500
-c4( c^\markup { \tiny \sharp } d4.) c8
+\once \override TextScript.avoid-slur = #'inside
+\once \override TextScript.outside-staff-priority = ##f
+c4^\markup { \tiny \sharp } d4.) c8 |
+\once \override Slur.outside-staff-priority = #500
+c4( c^\markup { \tiny \sharp } d4.) c8 |
@end lilypond
Changing the @code{outside-staff-priority} can also be used to
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
-c2^"Text2"
-\once \override TextScript #'outside-staff-priority = #500
+c2^"Text2" |
+\once \override TextScript.outside-staff-priority = #500
c2^"Text3"
-c2^"Text4"
+c2^"Text4" |
@end lilypond
This certainly lifts @qq{Text3} above @qq{Text4} but it also lifts it
room for the text. This is done using the @code{textLengthOn}
command.
-@subheading \textLengthOn
+@node The \textLengthOn command
+@unnumberedsubsubsec The @code{\textLengthOn} command
@cindex notes, spreading out with text
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\textLengthOn % Cause notes to space out to accommodate text
c2^"Text1"
-c2^"Text2"
+c2^"Text2" |
c2^"Text3"
-c2^"Text4"
+c2^"Text4" |
@end lilypond
The command to revert to the default behavior is
@code{\textLengthOff}. Remember @code{\once} only works with
-@code{\override}, @code{\set}, @code{\revert} or @code{unset},
+@code{\override}, @code{\set}, @code{\revert} or @code{\unset},
so cannot be used with @code{\textLengthOn}.
@cindex markup text, allowing collisions
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
% This markup is short enough to fit without collision
-c2^"Tex"
-c''2
-R1
+c2^"Tex" c'' |
+R1 |
+
% This is too long to fit, so it is displaced upwards
-c,,2^"Text"
-c''2
-R1
+c,,2^"Text" c'' |
+R1 |
+
% Turn off collision avoidance
-\once \override TextScript #'outside-staff-priority = ##f
-c,,2^"Long Text "
-c''2
-R1
+\once \override TextScript.outside-staff-priority = ##f
+c,,2^"Long Text " c'' |
+R1 |
+
% Turn off collision avoidance
-\once \override TextScript #'outside-staff-priority = ##f
-\textLengthOn % and turn on textLengthOn
+\once \override TextScript.outside-staff-priority = ##f
+\textLengthOn % and turn on textLengthOn
c,,2^"Long Text " % Spaces at end are honored
-c''2
+c''2 |
@end lilypond
-
-@subheading Dynamics
+@node Dynamics placement
+@unnumberedsubsubsec Dynamics placement
@cindex tweaking dynamics placement
@cindex dynamics, tweaking placement
Dynamic markings will normally be positioned beneath the
-staff, but may be positioned above with the @code{dynamicUp}
+staff, but may be positioned above with the @code{\dynamicUp}
command. They will be positioned vertically relative to the
note to which they are attached, and will float below (or above)
all within-staff objects such as phrasing slurs and bar numbers.
\key aes \major
\time 9/8
\dynamicUp
-bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\!
-ees,2.~\)\mf ees4 r8
+bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ees,2.~\)\mf ees4 r8 |
@end lilypond
However, if the notes and attached dynamics are close
command, but there is no equivalent command for dynamic marks. So we
shall have to work out how to do this using @code{\override} commands.
-@subheading Grob sizing
+@node Grob sizing
+@unnumberedsubsubsec Grob sizing
@cindex grob sizing
@cindex sizing grobs
the command to do this for dynamic text:
@example
-\override DynamicText #'extra-spacing-width = #'(0 . 0)
+\override DynamicText.extra-spacing-width = #'(0 . 0)
@end example
@noindent
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
-\override DynamicText #'extra-spacing-width = #'(0 . 0)
-a4\f b\mf c\mp b\p
+\override DynamicText.extra-spacing-width = #'(0 . 0)
+a4\f b\mf c\mp b\p |
@end lilypond
@noindent
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
% Extend width by 1 staff space
-\override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
+\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
a4\f b\mf c\mp b\p
@end lilypond
@ref{Within-staff objects}.
@item
-@code{padding}, @code{left-padding},
-@code{right-padding}, @code{staff-padding}
+@code{padding}, @code{right-padding}, @code{staff-padding}
@cindex padding
-@cindex left-padding property
@cindex padding property
@cindex right-padding property
@cindex staff-padding property
@code{side-position-interface}.
Instead of @code{padding}, the placement of groups of accidentals
-is controlled by @code{left-padding} and @code{right-padding}.
-These properties are to be found in the @code{AccidentalPlacement}
-object which, note, lives in the @strong{staff} context. In the
-type-setting process the note heads are type-set first and then
-the accidentals, if any, are added to the left of the note heads
-using the @code{right-padding} property to determine the separation
-from the note heads. So only the @code{right-padding} property of the
-@code{AccidentalPlacement} object has any effect on the placement
-of the accidentals.
+is controlled by @code{right-padding}. This property is to be found
+in the @code{AccidentalPlacement} object which, note, lives in the
+@strong{Staff} context. In the typesetting process the note heads
+are typeset first and then the accidentals, if any, are added to the
+left of the note heads using the @code{right-padding} property to determine
+the separation from the note heads and between individual accidentals.
+So only the @code{right-padding} property of the @code{AccidentalPlacement}
+object has any effect on the placement of the accidentals.
The @code{staff-padding} property is closely related to the
@code{padding} property: @code{padding} controls the minimum amount of
the @code{self-alignment-interface}. In general these are objects
that contain text. The values are @code{LEFT}, @code{RIGHT}
or @code{CENTER}. Alternatively, a numerical value between
-@code{-1} and @code{+1} may be specified, where @code{-1} is
+@w{@code{-1}} and @code{+1} may be specified, where @w{@code{-1}} is
left-aligned, @code{+1} is right-aligned, and numbers in between
move the text progressively from left-aligned to right-aligned.
Numerical values greater than @code{1} may be specified to move
-the text even further to the left, or less than @code{-1} to
+the text even further to the left, or less than @w{@code{-1}} to
move the text even further to the right. A change of @code{1}
in the value corresponds to a movement of half the text's length.
@cindex positions property
This is most useful for manually adjusting the slope and height
-of beams, slurs, and tuplets. It takes a pair of numbers
+of beams, slurs, and tuplets. It takes a pair of numbers
giving the position of the left and right ends of the beam, slur,
etc. relative to the center line of the staff. Units are
staff-spaces. Note, though, that slurs and phrasing slurs cannot
Let's now see how the properties in the previous section can
help to resolve overlapping notation.
-@subheading padding property
+@menu
+* The padding property::
+* The right-padding property::
+* The staff-padding property::
+* The self-alignment-X property::
+* The staff-position property::
+* The extra-offset property::
+* The positions property::
+* The force-hshift property::
+@end menu
+
+@node The padding property
+@unnumberedsubsubsec The @code{padding} property
@cindex padding
@cindex fixing overlapping notation
@lilypond[quote,fragment,relative=1,verbatim]
c2\fermata
-\override Script #'padding = #3
+\override Script.padding = #3
b2\fermata
@end lilypond
@lilypond[quote,fragment,relative=1,verbatim]
% This will not work, see below
-\override MetronomeMark #'padding = #3
-\tempo 4=120
-c1
+\override MetronomeMark.padding = #3
+\tempo 4 = 120
+c1 |
% This works
-\override Score.MetronomeMark #'padding = #3
-\tempo 4=80
-d1
+\override Score.MetronomeMark.padding = #3
+\tempo 4 = 80
+d1 |
@end lilypond
Note in the second example how important it is to figure out what
objects outside it are moved.
-@subheading left-padding and right-padding
+@node The right-padding property
+@unnumberedsubsubsec The @code{right-padding} property
-@cindex left-padding property
@cindex right-padding property
The @code{right-padding} property affects the spacing between the
\relative c'' {
c4
% This prints a sesquisharp but the spacing is too small
- \once \override Accidental
- #'stencil = #ly:text-interface::print
- \once \override Accidental #'text = #sesquisharp
+ \once \override Accidental.stencil = #ly:text-interface::print
+ \once \override Accidental.text = #sesquisharp
cis4 c
% This improves the spacing
- \once \override Score.AccidentalPlacement #'right-padding = #0.6
- \once \override Accidental
- #'stencil = #ly:text-interface::print
- \once \override Accidental #'text = #sesquisharp
- cis4
+ \once \override Score.AccidentalPlacement.right-padding = #0.6
+ \once \override Accidental.stencil = #ly:text-interface::print
+ \once \override Accidental.text = #sesquisharp
+ cis4 |
}
@end lilypond
@noindent
-@subheading staff-padding property
+@node The staff-padding property
+@unnumberedsubsubsec The @code{staff-padding} property
@cindex aligning objects on a baseline
@cindex objects, aligning on a baseline
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
% Extend width by 1 unit
-\override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
+\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
% Align dynamics to a base line 2 units above staff
-\override DynamicLineSpanner #'staff-padding = #2
+\override DynamicLineSpanner.staff-padding = #2
a4\f b\mf c\mp b\p
@end lilypond
-@subheading self-alignment-X property
+@node The self-alignment-X property
+@unnumberedsubsubsec The @code{self-alignment-X} property
The following example shows how this can resolve the collision
of a string fingering object with a note's stem by aligning the
@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
\voiceOne
-< a\2 >
-\once \override StringNumber #'self-alignment-X = #RIGHT
-< a\2 >
+<a\2>
+\once \override StringNumber.self-alignment-X = #RIGHT
+<a\2>
@end lilypond
-@subheading staff-position property
+@node The staff-position property
+@unnumberedsubsubsec The @code{staff-position} property
@cindex object collision within a staff
the rest is in voice two. The default in @code{\voiceTwo} (i.e. in
the second voice of a @code{<<@{...@} \\ @{...@}>>} construct) is that
@code{staff-position} is set to -4 for MultiMeasureRest, so we need to
-move it, say, four half-staff spaces down to @code{-8}.
+move it, say, four half-staff spaces down to @w{@code{-8}}.
@cindex MultiMeasureRest, example of overriding
@cindex staff-position property, example
<<
{ c4 c c c }
\\
- \override MultiMeasureRest #'staff-position = #-8
+ \override MultiMeasureRest.staff-position = #-8
{ R1 }
>>
@end lilypond
This is better than using, for example, @code{extra-offset},
because the ledger line above the rest is inserted automatically.
-@subheading extra-offset property
+@node The extra-offset property
+@unnumberedsubsubsec The @code{extra-offset} property
@cindex positioning objects
@cindex positioning grobs
@lilypond[quote,fragment,relative=1,verbatim]
\stemUp
f4-5
-\once \override Fingering #'extra-offset = #'(-0.3 . -1.8)
+\once \override Fingering.extra-offset = #'(-0.3 . -1.8)
f4-5
@end lilypond
-@subheading positions property
+@node The positions property
+@unnumberedsubsubsec The @code{positions} property
@cindex controlling tuplets, slurs, phrasing slurs, and beams manually
@cindex manually controlling tuplets, slurs, phrasing slurs, and beams
@cindex phrasing slurs, controlling manually
@cindex beams, controlling manually
-The @code{positions} property allows the position and slope of
-tuplets, slurs, phrasing slurs and beams to be controlled manually.
-Here's an example which has an ugly phrasing slur due to its trying to
-avoid the slur on the acciaccatura.
-
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4 \acciaccatura e8\( d8 c~ c d c d\)
-@end lilypond
+The @code{positions} property allows the vertical position and hence
+the slope of tuplets, slurs, phrasing slurs and beams to be controlled
+manually.
-@noindent
-We could simply move the phrasing slur above the notes, and this
-would be the preferred solution:
+Here's an example in which the phrasing slur and slur collide:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4
-\phrasingSlurUp
-\acciaccatura e8\( d8 c~ c d c d\)
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+a8 \( ( a'16 ) a \)
@end lilypond
-@noindent
-But if there were some reason why this could not be done the
-other alternative would be to move the left end of the phrasing
-slur down a little using the @code{positions} property. This
-also resolves the rather nasty shape.
-
@cindex PhrasingSlur, example of overriding
@cindex positions property, example
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4
-\once \override PhrasingSlur #'positions = #'(-4 . -3)
-\acciaccatura
-e8\( d8 c~ c d c d\)
+@noindent
+One possibility would be to move the two ends of the phrasing slur
+higher. We can try setting the left end to 2.5 staff-spaces above the
+centre line and the right end to 4.5 above, and LilyPond will
+select the phrasing slur from the candidates it has found with its
+end points closest to these:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
+a8 \( ( a'16 ) a \)
@end lilypond
-Here's a further example taken from the opening of the left-hand
-staff of Chopin's Prelude Op 28 No. 2. We see that the beam
-collides with the upper notes:
+This is an improvement, but why not lower the right end of the slur
+a little? If you try it you'll find it can't be done in this way.
+That's because there are no candidate slurs lower than the one
+already selected, and in this case the @code{positions} property has
+no effect. However, ties, slurs and phrasing slurs @emph{can} be
+positioned and shaped very precisely when necessary. To learn how to
+do this, see @ruser{Modifying ties and slurs}.
+
+Here's a further example. We see that the beams
+collide with the ties:
@lilypond[quote,verbatim,fragment,ragged-right]
{
- \clef "bass"
- << { b,8 ais, b, g, } \\ { e, g e, g } >>
- << { b,8 ais, b, g, } \\ { e, g e, g } >>
+ \time 4/2
+ <<
+ { c'1 ~ c'2. e'8 f' }
+ \\
+ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' }
+ >>
+ <<
+ { c'1 ~ c'2. e'8 f' }
+ \\
+ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' }
+ >>
}
@end lilypond
@noindent
This can be resolved by manually moving both ends of the beam
-up from their position at 2 staff-spaces above the center line to,
-say, 3:
+up from their position at 1.81 staff-spaces below the center line to,
+say, 1:
@cindex Beam, example of overriding
@cindex positions property, example
@lilypond[quote,verbatim,fragment,ragged-right]
{
- \clef "bass"
+ \time 4/2
<<
- \override Beam #'positions = #'(3 . 3)
- { b,8 ais, b, g, }
- \\
- { e,8 g e, g }
+ { c'1 ~ c'2. e'8 f' }
+ \\
+ {
+ \override Beam.positions = #'(-1 . -1)
+ e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g''
+ }
+ >>
+ <<
+ { c'1 ~ c'2. e'8 f' }
+ \\
+ { e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' }
>>
- << { b,8 ais, b, g, } \\ { e, g e, g } >>
}
@end lilypond
@noindent
Note that the override continues to apply in the first voice of
-the second block of quavers, but not to any of the beams in the
+the second measure of eighth notes, but not to any of the beams in the
second voice.
-@subheading force-hshift property
+@node The force-hshift property
+@unnumberedsubsubsec The @code{force-hshift property}
We can now see how to apply the final corrections to the Chopin
example introduced at the end of @ref{I'm hearing Voices}, which
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
- <ees c>2
- des2
- }
+ { c2 aes4. bes8 }
+ \\
+ { <ees, c>2 des }
+ \\
+ \\
+ { aes'2 f4 fes }
>> |
<c ees aes c>1 |
}
@end lilypond
@noindent
-The lower two notes of the first chord (i.e, those in the third voice)
-should not be shifted away from the note column of the higher two
-notes. To correct this we set @code{force-hshift}, which is a
-property of @code{NoteColumn}, of these notes to zero. The lower note
-of the second chord is best placed just to the right of the higher
-notes. We achieve this by setting @code{force-hshift} of this note to
-0.5, ie half a note head's width to the right of the note column of
-the higher notes.
+The inner note of the first chord (i.e. the A-flat in the fourth
+Voice) need not be shifted away from the note column of the higher
+note. To correct this we set @code{force-hshift}, which is a property
+of @code{NoteColumn}, of this note to zero.
+
+In the second chord we prefer the F to line up with the A-flat and the
+lowest note to be positioned slightly right to avoid a collision of
+stems. We achieve this by setting @code{force-hshift} in the
+@code{NoteColumn} of the low D-flat to move it to the right by half
+a staff-space.
Here's the final result:
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
- \once \override NoteColumn #'force-hshift = #0 <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5 des2
+ { c2 aes4. bes8 }
+ \\
+ {
+ <ees, c>2
+ \once \override NoteColumn.force-hshift = #0.5
+ des2
+ }
+ \\
+ \\
+ {
+ \override NoteColumn.force-hshift = #0
+ aes'2 f4 fes
}
>> |
<c ees aes c>1 |
deal with a tricky example which needs several tweaks to produce
the desired output. The example has been deliberately chosen to
illustrate the use of the Notation Reference to resolve unusual
-problems with notation. It is not representative of more usual
+problems with notation. It is not representative of the more usual
engraving process, so please do not let these difficulties put
you off! Fortunately, difficulties like these are not very common!
@c The following should appear as music without code
@c This example should not be indexed
@c line-width ensures no break
-@lilypond[quote,ragged-right,line-width=5.5\in]
+@lilypond[quote,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2
- c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- bes2.^\markup {\bold "Moderato"} r8
- <<
- {c,8 d fis bes a | }
- \\
- % Reposition the c2 to the right of the merged note
- {c,8~ \once \override NoteColumn #'force-hshift = #1.0
- % Move the c2 out of the main note column so the merge will work
- \shiftOnn c2}
- \\
- % Stem on the d2 must be down to permit merging
- {s8 \stemDown \once \override Stem #'transparent = ##t d2}
- \\
- {s4 fis4.}
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie.staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ bes2.^\markup { \bold "Moderato" } r8
+ <<
+ { c,8 d fis bes a }
+ \new Voice {
+ \voiceTwo
+ c,8~
+ % Reposition the c2 to the right of the merged note
+ \once \override NoteColumn.force-hshift = #1.0
+ % Move the c2 out of the main note column
+ % so the merge will work
+ \shiftOnn
+ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8
+ % Stem on the d2 must be down to permit merging
+ \stemDown
+ % Stem on the d2 should be invisible
+ \tweak Stem.transparent ##t
+ \tweak Flag.transparent ##t
+ d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\)
+ }
}
lhMusic = \relative c' {
the tied C, the half-note D which is merged with the eighth note
D, and the dotted quarter note F-sharp, which is also merged with
the eighth note at the same pitch. Everything else is in a single
-voice, so the easiest way is to introduce these four voices
+voice, so the easiest way is to introduce these extra three voices
temporarily at the time they are needed. If you have forgotten
-how to do this, look at @ref{I'm hearing Voices}. Let us begin
-by entering the notes as two variables and setting up the staff
-structure in a score block, and see what LilyPond produces by
-default:
+how to do this, look at @ref{I'm hearing Voices} and @ref{Explicitly
+instantiating voices}. Here we choose to use explicitly instantiated
+voices for the polyphonic passage, as LilyPond is better able to
+avoid collisions if all voices are instantiated explicitly in this
+way.
+
+So let us begin by entering the notes as two variables, setting up
+the staff structure in a score block, and seeing what LilyPond
+produces by default:
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4. g8 |
- bes1~ |
- \time 6/4
- bes2. r8
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- g2.
+ \new Voice {
+ r2 c4. g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ g2. % continuation of main voice
+ }
}
lhMusic = \relative c' {
@end lilypond
All the notes are right, but the appearance is far from
-satisfactory. The tie clashes with the change in time signature,
-the notes are not merged together, and several notation elements
+satisfactory. The tie collides with the change in time signature,
+some notes are not merged together, and several notation elements
are missing. Let's first deal with the easier things. We can
easily add the left hand slur and the right hand phrasing slur,
since these were all covered in the Tutorial. Doing this gives:
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- bes1~ |
- \time 6/4
- bes2. r8
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
next need to correct the collision of the tie with the time signature.
This is best done by moving the tie upwards. Moving objects was
covered earlier in @ref{Moving objects}, which says that objects
-positioned relative to the staff can be moved by overriding their
-@code{staff-position} property, which is specified in half staff
+positioned relative to the staff can be moved vertically by overriding
+their @code{staff-position} property, which is specified in half staff
spaces relative to the center line of the staff. So the following
override placed just before the first tied note would move the tie up
to 3.5 half staff spaces above the center line:
-@code{\once \override Tie #'staff-position = #3.5}
+@code{\once \override Tie.staff-position = #3.5}
This completes bar two, giving:
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2. r8
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie.staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
@end lilypond
On to bar three and the start of the Moderato section. The tutorial
-showed how to add embolded text with the @code{\markup} command, so
-adding @q{Moderato} in bold is easy. But how do we merge notes in
+showed how to add bold text with the @code{\markup} command, so
+adding @qq{Moderato} in bold is easy. But how do we merge notes in
different voices together? This is where we need to turn again to
the Notation Reference for help. A search for @qq{merge} in the
Notation Reference index quickly leads us to the commands for merging
-differently headed and differently dotted notes in @ruser{Collision
-resolution}. In our example we need to merge both types of note for
-the duration of the polyphonic section in bar 3, so using the
-information we find in the Notation Reference we add
+differently headed and differently dotted notes in
+@ruser{Collision resolution}. In our example we need to merge both
+types of note for the duration of the polyphonic section in bar 3,
+so using the information we find in the Notation Reference we add
@example
\mergeDifferentlyHeadedOn
to the end, giving:
@c line-width ensures no break
-@lilypond[quote,ragged-right,line-width=5.5\in]
+@lilypond[quote,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2.^\markup {\bold "Moderato"} r8
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- {c,8~ c2 | }
- \\
- {s8 d2 | }
- \\
- {s4 fis4. | }
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie.staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup { \bold "Moderato" } r8
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8 d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
@cindex staff-position property, example
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2 c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2.^\markup {\bold "Moderato"} r8
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- % Start polyphonic section of four voices
- <<
- {c,8 d fis bes a | }
- \\
- % Move the c2 out of the main note column so the merge will work
- {c,8~ \shiftOnn c2 | }
- \\
- % Stem on the d2 must be down to permit merging
- {s8 \stemDown d2 | }
- \\
- {s4 fis4. | }
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie.staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup { \bold "Moderato" } r8
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ % Move the c2 out of the main note column
+ % so the merge will work
+ c,8~ \shiftOnn c2
+ }
+ \new Voice {
+ \voiceThree
+ % Stem on the d2 must be down to permit merging
+ s8 \stemDown d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
@cindex transparent property, example
@c line-width ensures no break
-@lilypond[quote,verbatim,ragged-right,line-width=5.5\in]
+@lilypond[quote,verbatim,ragged-right,line-width=6\in]
rhMusic = \relative c'' {
- r2
- c4.\( g8 |
- \once \override Tie #'staff-position = #3.5
- bes1~ |
- \bar "||"
- \time 6/4
- bes2.^\markup {\bold "Moderato"} r8
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- <<
- {c,8 d fis bes a | }
- \\
- % Reposition the c2 to the right of the merged note
- {c,8~ \once \override NoteColumn #'force-hshift = #1.0
- % Move the c2 out of the main note column so the merge will work
- \shiftOnn c2}
- \\
- % Stem on the d2 must be down to permit merging
- {s8 \stemDown \once \override Stem #'transparent = ##t d2}
- \\
- {s4 fis4.}
- >>
- \mergeDifferentlyHeadedOff
- \mergeDifferentlyDottedOff
- g2.\)
+ \new Voice {
+ r2 c4.\( g8 |
+ \once \override Tie.staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup { \bold "Moderato" } r8
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ % Start polyphonic section of four voices
+ <<
+ { c,8 d fis bes a } % continuation of main voice
+ \new Voice {
+ \voiceTwo
+ c,8~
+ % Reposition the c2 to the right of the merged note
+ \once \override NoteColumn.force-hshift = #1.0
+ % Move the c2 out of the main note column
+ % so the merge will work
+ \shiftOnn
+ c2
+ }
+ \new Voice {
+ \voiceThree
+ s8
+ % Stem on the d2 must be down to permit merging
+ \stemDown
+ % Stem on the d2 should be invisible
+ \tweak Stem.transparent ##t
+ \tweak Flag.transparent ##t
+ d2
+ }
+ \new Voice {
+ \voiceFour
+ s4 fis4.
+ }
+ >> |
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
+ g2.\) % continuation of main voice
+ }
}
lhMusic = \relative c' {
* Using variables for tweaks::
* Style sheets::
* Other sources of information::
-* Avoiding tweaks with slower processing::
* Advanced tweaks with Scheme::
@end menu
@node Other uses for tweaks
@subsection Other uses for tweaks
+@menu
+* Tying notes across voices::
+* Simulating a fermata in MIDI::
+@end menu
+
@cindex transparent property, use of
@cindex objects, making invisible
@cindex removing objects
@cindex objects, hiding
@cindex invisible objects
@cindex objects, invisible
-@cindex tying notes across voices
-@subheading Tying notes across voices
+@node Tying notes across voices
+@unnumberedsubsubsec Tying notes across voices
+
+@cindex tying notes across voices
The following example demonstrates how to connect notes in
different voices using ties. Normally, only two notes in the
with the tied notes in one of them
@lilypond[quote,fragment,relative=2]
-<< { b8~ b8\noBeam }
-\\ { b[ g8] }
->>
+<< { b8~ b\noBeam } \\ { b8[ g] } >>
@end lilypond
@noindent
@lilypond[quote,fragment,relative=2,verbatim]
<<
{
- \once \override Stem #'transparent = ##t
- b8~ b8\noBeam
+ \tweak Stem.transparent ##t
+ \tweak Flag.transparent ##t
+ b8~ b\noBeam
}
\\
- { b[ g8] }
+ { b8[ g] }
>>
@end lilypond
@lilypond[quote,fragment,relative=2,verbatim]
<<
{
- \once \override Stem #'transparent = ##t
- \once \override Stem #'length = #8
- b8~ b8\noBeam
+ \tweak Stem.transparent ##t
+ \tweak Flag.transparent ##t
+ \tweak Stem.length #8
+ b8~ b\noBeam
}
\\
- { b[ g8] }
+ { b8[ g] }
>>
@end lilypond
-@subheading Simulating a fermata in MIDI
+@funindex \single
+@cindex tweak, generated from override
+Now for @emph{overriding} the transparency of a graphical object,
+we could have used the shorthand @code{\hide} as explained above.
+Tweaking is a different operation, affecting only properties
+generated from a single music expression. It turns out that we
+can convert overrides into tweaks using @code{\single}, making it
+possible to rewrite the above example as
+
+@lilypond[quote,fragment,relative=2,verbatim]
+<<
+ {
+ \single \hide Stem
+ \single \hide Flag
+ \tweak Stem.length #8
+ b8~ b\noBeam
+ }
+\\
+ { b8[ g] }
+>>
+@end lilypond
+
+In this particular case, the difference to @code{\once \hide} is
+not apparent. It is important when there are several objects at
+the same point in musical time (like noteheads in a chord). In
+that case, @code{\once} will affect all of those objects while
+@code{\single} will only affect a single one, the one generated by
+the immediately following music expression.
+
+@node Simulating a fermata in MIDI
+@unnumberedsubsubsec Simulating a fermata in MIDI
@cindex stencil property, use of
@cindex fermata, implementing in MIDI
% Visible tempo marking
\tempo 4=120
a4 a a
- \once \override Score.MetronomeMark #'transparent = ##t
+ \once \hide Score.MetronomeMark
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
- a\fermata
+ a4\fermata |
% New tempo for next section
\tempo 4=100
- a a a a
+ a4 a a a |
}
\layout { }
\midi { }
% Visible tempo marking
\tempo 4=120
a4 a a
- \once \override Score.MetronomeMark #'stencil = ##f
+ \once \omit Score.MetronomeMark
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
- a\fermata
+ a4\fermata |
% New tempo for next section
\tempo 4=100
- a a a a
+ a4 a a a |
}
\layout { }
\midi { }
forces the following tempo indication too high while the
second (with the stencil removed) does not.
+@seealso
+Music Glossary:
+@rglos{system}.
+
@node Using variables for tweaks
@subsection Using variables for tweaks
alternative can we use @code{\override} and @code{\revert} commands?
@example
-@code{\override Lyrics . LyricText #'font-shape = #'italic}
-@code{\override Lyrics . LyricText #'font-series = #'bold}
+@code{\override Lyrics.LyricText.font-shape = #'italic}
+@code{\override Lyrics.LyricText.font-series = #'bold}
-@code{\revert Lyrics . LyricText #'font-shape}
-@code{\revert Lyrics . LyricText #'font-series}
+@code{\revert Lyrics.LyricText.font-shape}
+@code{\revert Lyrics.LyricText.font-series}
@end example
These would also be extremely tedious to enter if there were many
@lilypond[quote,verbatim]
emphasize = {
- \override Lyrics.LyricText #'font-shape = #'italic
- \override Lyrics.LyricText #'font-series = #'bold
+ \override Lyrics.LyricText.font-shape = #'italic
+ \override Lyrics.LyricText.font-series = #'bold
}
+
normal = {
- \revert Lyrics.LyricText #'font-shape
- \revert Lyrics.LyricText #'font-series
+ \revert Lyrics.LyricText.font-shape
+ \revert Lyrics.LyricText.font-series
}
-global = { \time 4/4 \partial 4 \key c \major}
-SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a a g }
-AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
-TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
-BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
-VerseOne = \lyrics { E -- | ter -- nal \emphasize Fa -- ther, \normal | strong to save, }
-VerseTwo = \lyricmode { O | \emphasize Christ, \normal whose voice the | wa -- ters heard, }
-VerseThree = \lyricmode { O | \emphasize Ho -- ly Spi -- rit, \normal | who didst brood }
-VerseFour = \lyricmode { O | \emphasize Tri -- ni -- ty \normal of | love and pow'r }
+global = { \key c \major \time 4/4 \partial 4 }
+
+SopranoMusic = \relative c' { c4 | e4. e8 g4 g | a4 a g }
+AltoMusic = \relative c' { c4 | c4. c8 e4 e | f4 f e }
+TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
+BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
+
+VerseOne = \lyrics {
+ E -- | ter -- nal \emphasize Fa -- ther, | \normal strong to save,
+}
+
+VerseTwo = \lyricmode {
+ O | \once \emphasize Christ, whose voice the | wa -- ters heard,
+}
+
+VerseThree = \lyricmode {
+ O | \emphasize Ho -- ly Spi -- rit, | \normal who didst brood
+}
+
+VerseFour = \lyricmode {
+ O | \emphasize Tri -- ni -- ty \normal of | love and pow'r
+}
\score {
\new ChoirStaff <<
\clef "treble"
\new Voice = "Soprano" { \voiceOne \global \SopranoMusic }
\new Voice = "Alto" { \voiceTwo \AltoMusic }
- \new Lyrics \lyricsto "Soprano" { \VerseOne }
- \new Lyrics \lyricsto "Soprano" { \VerseTwo }
+ \new Lyrics \lyricsto "Soprano" { \VerseOne }
+ \new Lyrics \lyricsto "Soprano" { \VerseTwo }
\new Lyrics \lyricsto "Soprano" { \VerseThree }
- \new Lyrics \lyricsto "Soprano" { \VerseFour }
+ \new Lyrics \lyricsto "Soprano" { \VerseFour }
>>
\new Staff <<
\clef "bass"
\new Voice = "Tenor" { \voiceOne \TenorMusic }
- \new Voice = "Bass" { \voiceTwo \BassMusic }
+ \new Voice = "Bass" { \voiceTwo \BassMusic }
>>
>>
}
@ref{Advanced tweaks with Scheme}.
@lilypond[quote,verbatim,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+mpdolce =
+#(make-dynamic-script
+ #{ \markup { \hspace #0
+ \translate #'(5 . 0)
+ \line { \dynamic "mp"
+ \text \italic "dolce" } }
+ #})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #{ ^\markup \bold \box #string #})
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
-There are some problems with overlapping output; we'll fix those using
-the techniques in @ref{Moving objects}. But let's also
-do something about the @code{mpdolce} and @code{inst}
-definitions. They produce the output we desire, but we might want
-to use them in another piece. We could simply copy-and-paste them
-at the top of every file, but that's an annoyance. It also leaves
-those definitions in our input files, and I personally find all
-the @code{#()} somewhat ugly. Let's hide them in another file:
+Let's do something about the @code{mpdolce} and @code{inst} definitions.
+They produce the output we desire, but we might want to use them in
+another piece. We could simply copy-and-paste them at the top of every
+file, but that's an annoyance. It also leaves those definitions in our
+input files, and I personally find all the @code{#()} somewhat ugly.
+Let's hide them in another file:
@example
%%% save this to a file called "definitions.ily"
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+mpdolce =
+#(make-dynamic-script
+ #@{ \markup @{ \hspace #0
+ \translate #'(5 . 0)
+ \line @{ \dynamic "mp"
+ \text \italic "dolce" @} @}
+ #@})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #@{ ^\markup \bold \box #string #@})
@end example
We will refer to this file using the @code{\include} command near
-the top of the music file. (The extension @code{.ily} is used to
+the top of the music file. (The extension @file{.ily} is used to
distinguish this included file, which is not meant to be compiled
on its own, from the main file.)
-Now let's modify our music (let's save this file as @file{"music.ly"}).
+Now let's modify our music (let's save this file as @file{music.ly}).
@c We have to do this awkward example/lilypond-non-verbatim
@c because we can't do the \include stuff in the manual.
\relative c'' @{
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line(#:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+mpdolce =
+#(make-dynamic-script
+ #{ \markup { \hspace #0
+ \translate #'(5 . 0)
+ \line { \dynamic "mp"
+ \text \italic "dolce" } }
+ #})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #{ ^\markup \bold \box #string #})
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% definitions.ily
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+mpdolce =
+#(make-dynamic-script
+ #@{ \markup @{ \hspace #0
+ \translate #'(5 . 0)
+ \line @{ \dynamic "mp"
+ \text \italic "dolce" @} @}
+ #@})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #@{ ^\markup \bold \box #string #@})
\layout@{
- \context @{ \Score
- \override MetronomeMark #'extra-offset = #'(-9 . 0)
- \override MetronomeMark #'padding = #'3
+ \context @{
+ \Score
+ \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.padding = #'3
@}
- \context @{ \Staff
- \override TimeSignature #'style = #'numbered
+ \context @{
+ \Staff
+ \override TimeSignature.style = #'numbered
@}
- \context @{ \Voice
- \override Glissando #'thickness = #3
- \override Glissando #'gap = #0.1
+ \context @{
+ \Voice
+ \override Glissando.thickness = #3
+ \override Glissando.gap = #0.1
@}
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+mpdolce =
+#(make-dynamic-script
+ #{ \markup { \hspace #0
+ \translate #'(5 . 0)
+ \line { \dynamic "mp"
+ \text \italic "dolce" } }
+ #})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #{ ^\markup \bold \box #string #})
\layout{
- \context { \Score
- \override MetronomeMark #'extra-offset = #'(-9 . 0)
- \override MetronomeMark #'padding = #'3
+ \context {
+ \Score
+ \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.padding = #'3
}
- \context { \Staff
- \override TimeSignature #'style = #'numbered
+ \context {
+ \Staff
+ \override TimeSignature.style = #'numbered
}
- \context { \Voice
- \override Glissando #'thickness = #3
- \override Glissando #'gap = #0.1
+ \context {
+ \Voice
+ \override Glissando.thickness = #3
+ \override Glissando.gap = #0.1
}
}
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
overall size of the output.
@example
-%%% definitions.ily
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+%%% web-publish.ily
+mpdolce =
+#(make-dynamic-script
+ #@{ \markup @{ \hspace #0
+ \translate #'(5 . 0)
+ \line @{ \dynamic "mp"
+ \text \italic "dolce" @} @}
+ #@})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #@{ ^\markup \bold \box #string #@})
#(set-global-staff-size 23)
+
\layout@{
- \context @{ \Score
- \override MetronomeMark #'extra-offset = #'(-9 . 0)
- \override MetronomeMark #'padding = #'3
+ \context @{
+ \Score
+ \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.padding = #'3
@}
- \context @{ \Staff
+ \context @{
+ \Staff
@}
- \context @{ \Voice
- \override Glissando #'thickness = #3
- \override Glissando #'gap = #0.1
+ \context @{
+ \Voice
+ \override Glissando.thickness = #3
+ \override Glissando.gap = #0.1
@}
@}
@end example
@lilypond[quote,ragged-right]
-mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
- #:line( #:dynamic "mp" #:text #:italic "dolce" )))
-
-inst = #(define-music-function (parser location string) (string?)
- (make-music
- 'TextScriptEvent
- 'direction UP
- 'text (markup #:bold (#:box string))))
+mpdolce =
+#(make-dynamic-script
+ #{ \markup { \hspace #0
+ \translate #'(5 . 0)
+ \line { \dynamic "mp"
+ \text \italic "dolce" } }
+ #})
+
+inst =
+#(define-music-function
+ (parser location string)
+ (string?)
+ #{ ^\markup \bold \box #string #})
#(set-global-staff-size 23)
+
\layout{
\context { \Score
- \override MetronomeMark #'extra-offset = #'(-9 . 0)
- \override MetronomeMark #'padding = #'3
+ \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.padding = #'3
}
\context { \Voice
- \override Glissando #'thickness = #3
- \override Glissando #'gap = #0.1
+ \override Glissando.thickness = #3
+ \override Glissando.gap = #0.1
}
}
\relative c'' {
\tempo 4=50
- a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
+ a4.\mpdolce d8 cis4--\glissando a |
+ b4 bes a2 |
\inst "Clarinet"
- cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
+ cis4.\< d8 e4 fis |
+ g8(\! fis)-. e( d)-. cis2 |
}
@end lilypond
@example
%%% global.ily
\version @w{"@version{}"}
+
#(ly:set-option 'point-and-click #f)
+
\include "../init/init-defs.ly"
\include "../init/init-layout.ly"
\include "../init/init-headers.ly"
of this directory depends (a) on whether you obtained LilyPond
by downloading a precompiled binary from lilypond.org
or whether you installed it from a package manager (i.e.
-distributed with Linux, or installed under fink or cygwin) or
+distributed with GNU/Linux, or installed under fink or cygwin) or
compiled it from source, and (b) on which operating system it is
being used:
-@strong{Downloaded from lilypond.org}
+@subsubsubheading Downloaded from lilypond.org
@itemize @bullet
-@item Linux
+@item GNU/Linux
Navigate to
-@file{@var{INSTALLDIR}/lilypond/usr/share/lilypond/current/}
+@example
+@file{@var{INSTALLDIR}/lilypond/usr/@/share/lilypond/current/}
+@end example
@item MacOS X
Navigate to
-@file{@var{INSTALLDIR}/LilyPond.app/Contents/Resources/share/lilypond/current/}
+@example
+@file{@var{INSTALLDIR}/LilyPond.app/Contents/@/Resources/share/lilypond/current/}
+@end example
+
by either @code{cd}-ing into this directory from the
Terminal, or control-clicking on the LilyPond application and
selecting @q{Show Package Contents}.
@item Windows
Using Windows Explorer, navigate to
-@file{@var{INSTALLDIR}/LilyPond/usr/share/lilypond/current/}
+@example
+@file{@var{INSTALLDIR}/LilyPond/usr/@/share/lilypond/current/}
+@end example
@end itemize
-@strong{Installed from a package manager or compiled from source}
+@subsubsubheading Installed from a package manager or compiled from source
Navigate to
@file{@var{PREFIX}/share/lilypond/@var{X.Y.Z}/}, where
@example
tieDotted = @{
- \override Tie #'dash-period = #0.75
- \override Tie #'dash-fraction = #0.1
+ \override Tie.dash-period = #0.75
+ \override Tie.dash-fraction = #0.1
@}
@end example
@end multitable
Other settings (such as the definitions of markup commands) are
-stored as @code{.scm} (Scheme) files. The Scheme programming
+stored as @file{.scm} (Scheme) files. The Scheme programming
language is used to provide a programmable interface into
LilyPond internal operation. Further explanation of these files
is currently outside the scope of this manual, as a knowledge of
@end multitable
-
-@node Avoiding tweaks with slower processing
-@subsection Avoiding tweaks with slower processing
-
-LilyPond can perform extra checks while it processes input files.
-These checks will take extra time to perform, but fewer manual tweaks
-may be required to obtain an acceptable result. If a text script
-or part of the lyrics extends over the margins these checks will
-compress that line of the score just enough to fit within the
-margins.
-
-To be effective under all circumstances these checks must be enabled
-by placing the overrides in a Score @code{\with} block, rather than
-in-line in music, as follows:
-
-@example
-\new Score \with @{
- % Makes sure text scripts and lyrics are within the paper margins
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
-@} @{
- ..
-@}
-@end example
-
-However, @code{keep-inside-line} is expensive and the recommendation
-is to not enable it, to allow for faster processing, until creating
-a final version. This way you do not need to manually add @code{\break}
-commands to avoid text running off the right-hand side of the page.
-
@node Advanced tweaks with Scheme
@subsection Advanced tweaks with Scheme
@lilypond[quote,verbatim,ragged-right]
#(define (color-notehead grob)
- "Color the notehead according to its position on the staff."
- (let ((mod-position (modulo (ly:grob-property grob 'staff-position) 7)))
- (case mod-position
- ;; Return rainbow colors
- ((1) (x11-color 'red )) ; for C
- ((2) (x11-color 'orange )) ; for D
- ((3) (x11-color 'yellow )) ; for E
- ((4) (x11-color 'green )) ; for F
- ((5) (x11-color 'blue )) ; for G
- ((6) (x11-color 'purple )) ; for A
- ((0) (x11-color 'violet )) ; for B
- )
- )
-)
+ "Color the notehead according to its position on the staff."
+ (let ((mod-position (modulo (ly:grob-property grob 'staff-position)
+ 7)))
+ (case mod-position
+ ;; Return rainbow colors
+ ((1) (x11-color 'red )) ; for C
+ ((2) (x11-color 'orange )) ; for D
+ ((3) (x11-color 'yellow )) ; for E
+ ((4) (x11-color 'green )) ; for F
+ ((5) (x11-color 'blue )) ; for G
+ ((6) (x11-color 'purple )) ; for A
+ ((0) (x11-color 'violet )) ; for B
+ )))
\relative c' {
% Arrange to obtain color from color-notehead procedure
- \override NoteHead #'color = #color-notehead
- a2 b |
- c2 d |
- e2 f |
- g2 a |
+ \override NoteHead.color = #color-notehead
+ a2 b | c2 d | e2 f | g2 a |
}
@end lilypond