Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.42"
+@c \version "2.14.0"
@node Changing defaults
@chapter Changing defaults
store properties,
they also contain plug-ins called @q{engravers} that create notation
elements. For example, the @code{Voice} context contains a
-@code{Note_head_engraver} and the @code{Staff} context contains a
+@code{Note_heads_engraver} and the @code{Staff} context contains a
@code{Key_signature_engraver}.
For a full a description of each plug-in, see
@node set versus override
@subsection @code{\set} vs. @code{\override}
-TODO -- This section is probably unnecessary now.
+@c TODO -- This section is probably unnecessary now.
@ignore
We have seen two methods of changing properties: @code{\set} and
@end multitable
The example below shows the use of the vector form to control the
-visibility of barlines:
+visibility of bar lines:
@lilypond[quote,verbatim,relative=1,ragged-right]
f4 g a b
@cindex clefs, visibility of octavation
The small octavation symbol on octavated clefs is produced by the
-@code{OctavateEight} layout object. Its visibility is controlled
-independently from that of the @code{Clef} object, so it is
-necessary to apply any required @code{break-visibility} overrides
-to both the @code{Clef} and the @code{OctavateEight} layout objects
-to fully suppress such clef symbols at the start of each line.
+@code{OctavateEight} layout object. Its visibility is automatically
+inherited from the @code{Clef} object, so it is not necessary to apply
+any required @code{break-visibility} overrides to the @code{OctavateEight}
+layout objects to suppress octavation symbols for invisible clefs.
For explicit clef changes, the @code{explicitClefVisibility}
property controls both the clef symbol and any octavation symbol
@cindex slurs, modifying
@cindex ties, modifying
-@cindex Bézier curves
-@cindex Bézier control points
-
-Ties, slurs and phrasing slurs are drawn as third-order Bézier
-curves. If the shape of the tie or slur which is calculated
-automatically is not optimum, the shape may be modified manually by
-explicitly specifying the four control points required to define
-a third-order Bézier curve.
-
-Third-order or cubic Bézier curves are defined by four control
-points. The first and fourth control points are precisely the
-starting and ending points of the curve. The intermediate two
-control points define the shape. Animations showing how the curve
-is drawn can be found on the web, but the following description
-may be helpful. The curve starts from the first control point
-heading directly towards the second, gradually bending over to
-head towards the third and continuing to bend over to head towards
-the fourth, arriving there travelling directly from the third
-control point. The curve is entirely contained in the
-quadrilateral defined by the four control points.
-
-Here is an example of a case where the tie is not optimum, and
-where @code{\tieDown} would not help.
+@cindex Bézier curves, control points
+@cindex control points, Bézier curves
+
+If the shape of the tie or slur which is calculated automatically is not
+optimum, the shape may be modified manually by explicitly specifying the
+control points required to define the curve needed.
+
+Ties, slurs and phrasing slurs are drawn as @q{third-order} Bézier
+curves which are are defined by four control points. The first and
+fourth control points are the start and end points of the curve
+respectively, and the two intermediate control points define the
+overall shape.
+
+Animations showing how the curve is drawn can be found on the web, but
+the following description may be helpful. The curve starts from the
+first control point moving towards the second. As the curve nears and
+passes through the second control point it begins to arc towards the
+third. The curve continues on towards the the third control point,
+again starting to arc as it nears and passes through the third so as to
+finish the curve smoothly at the fourth and final control point. The
+whole curve is contained in the quadrilateral defined by the four
+control points.
+
+Here is an example of a case where the tie is not optimum (and where the
+@code{\tieDown} command would not help).
@lilypond[verbatim,quote,relative=1]
<<
- { e1 ~ e }
+ { e1~ e }
\\
{ r4 <g c,> <g c,> <g c,> }
>>
{
\once \override Tie
#'control-points = #'((1 . -1) (3 . 0.6) (12.5 . 0.6) (14.5 . -1))
- e1 ~ e1
+ e1 ~ e
}
\\
- { r4 <g c,> <g c,> <g c,>4 }
+ { r4 <g c,> <g c,> <g c,> }
>>
@end lilypond
@knownissues
-
It is not possible to modify shapes of ties or slurs by changing
-the @code{control-points} property if there are more than one at
-the same musical moment, not even by using the @code{\tweak}
-command. However, the @code{tie-configuration} property of
-@code{TieColumn} can be overridden to set start line and direction
-of ties as required.
-
+the @code{control-points} property if there are multiple ties or slurs
+at the same musical moment -- the @code{\tweak} command will also not
+work in this case. However, the @code{tie-configuration} property of
+@code{tie-column-interface} can be overridden to set start line and
+direction of ties as required.
+@seealso
+Internals Reference:
+@rinternals{tie-column-interface}.
@node Using music functions
}
@end lilypond
-@seealso
-
-TODO: add missing @@ref's here.
+@c TODO: add appropriate @@ref's here.
projects / lilypond.git / blobdiff