-@c -*-texinfo-*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@node Changing defaults
@chapter Changing defaults
The purpose of LilyPond's design is to provide the finest output
-quality as a default. Nevertheless, it may happen that you need to
-change that default layout. The layout is controlled through a large
+quality as a default. Nevertheless, it may happen that you need to
+change this default layout. The layout is controlled through a large
number of proverbial ``knobs and switches.'' This chapter does not
-list each and every knob. Rather, it outlines what groups of controls
-are available, and how to tune them.
+list each and every knob. Rather, it outlines what groups of controls
+are available and explains how to lookup which knob to use for a
+particular effect.
-Which controls are available for tuning is described in a separate
-document, the @internalsref{Program reference} manual. This manual
+
+@cindex Program reference
+
+The controls available for tuning are described in a separate
+document, the @internalsref{Program reference} manual. That manual
lists all different variables, functions and options available in
-LilyPond. It is available as a HTML document, which is available
-@uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
+LilyPond. It is written as a HTML document, which is available
+@uref{http://@/lilypond@/.org/@/doc/@/Documentation/@/user/@/out@/-www/@/lilypond@/-internals/,on@/-line},
but is also included with the LilyPond documentation package.
-There are X areas where the default settings may be changed:
+There are three areas where the default settings may be changed:
@itemize @bullet
-@item Output: changing the appearance of individual
- objects. For example, changing stem directions, or the location of
- subscripts.
+@item
+Output: changing the appearance of individual
+objects. For example, changing stem directions or the location of
+subscripts.
-@item Context: changing aspects of the translation from music events to
- notation. For example, giving each staff a separate time signature.
+@item
+Context: changing aspects of the translation from music events to
+notation. For example, giving each staff a separate time signature.
-@item Global layout: changing the appearance of the spacing, line
- breaks and page dimensions.
+@item
+Global layout: changing the appearance of the spacing, line
+breaks, and page dimensions.
@end itemize
-Then, there are separate systems for typesetting text (like
-@emph{ritardando}) and selecting different fonts. This chapter also
+Then there are separate systems for typesetting text (like
+@emph{ritardando}) and selecting different fonts. This chapter also
discusses these.
Internally, LilyPond uses Scheme (a LISP dialect) to provide
infrastructure. Overriding layout decisions in effect accesses the
-program internals, so it is necessary to learn a (very small) subset
-of Scheme. That is why this chapter starts with a short tutorial on
-entering numbers, lists, strings and symbols in Scheme.
+program internals, which requires Scheme input. Scheme elements are
+introduced in a @code{.ly} file with the hash mark
+@code{#}.@footnote{@ref{Scheme tutorial} contains a short tutorial
+on entering numbers, lists, strings, and symbols in Scheme.}
@menu
-* Scheme tutorial::
-* Context ::
-* Fine tuning layout::
-* Tuning output::
+* Interpretation contexts::
+* The \override command::
+* Fonts::
* Text markup::
-* Global layout::
-* Interpretation context::
-* Output details::
@end menu
-@node Scheme tutorial
-@section Scheme tutorial
-
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
-@cindex accessing Scheme
-@cindex evaluating Scheme
-@cindex LISP
-
-LilyPond uses the Scheme programming language, both as part of the
-input syntax, and as internal mechanism to glue together modules of
-the program. This section is a very brief overview of entering data in
-Scheme.@footnote{If you want to know more about Scheme, see
-@uref{http://www.schemers.org}.}
-
-The most basic thing of a language is data: numbers, character
-strings, lists, etc. Here is a list of data types that are relevant to
-LilyPond input.
-
-@table @asis
-@item Booleans
- Boolean values are True or False. The Scheme for True is @code{#t}
- and False is @code{#f}.
-@item Numbers
- Numbers are entered in the standard fashion,
- @code{1} is the (integer) number one, while @code{-1.5} is a
- floating point number (a non-integer number).
-@item Strings
- Strings are enclosed in double quotes,
- @example
- "this is a string"
- @end example
-
- Strings may span several lines
- @example
- "this
- is
- a string"
- @end example
-
- Quotation marks and newlines can also be added with so-called escape
- sequences. The string @code{a said "b"} is entered as
- @example
- "a said \"b\""
- @end example
-
- Newlines and backslashes are escaped with @code{\n} and @code{\\}
-respectively.
-@end table
-
-
-In a music file, snippets of Scheme code are introduced with the hash
-mark @code{#}. So, the previous examples translated in LilyPondese are
-
-@example
- ##t ##f
- #1 #1.5
- #"this is a string"
- #"this
- is
- a string"
-@end example
-
-For the rest of this section, we will assume that the data is entered
-in a music file, so we add @code{#}s everywhere.
-
-Scheme can be used to do calculations. It uses @emph{prefix}
-syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
-traditional 1+2.
-
-@lisp
- #(+ 1 2)
- @result{} #3
-@end lisp
-
-The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
-is @code{3}. Calculations may be nested: the result of a function may
-be used for another calculation.
-
-@lisp
- #(+ 1 (* 3 4))
- @result{} #(+ 1 12)
- @result{} #13
-@end lisp
-
-These calculations are examples of evaluations: an expression (like
-@code{(* 3 4)} is replaced by its value @code{12}. A similar thing
-happens with variables. After defining a variable
-
-@example
- twelve = #12
-@end example
-
-variables can also be used in expressions, here
-
-@example
- twentyFour = #(* 2 twelve)
-@end example
-
-the number 24 is stored in the variable @code{twentyFour}.
-
-The @emph{name} of a variable is also an expression, similar to a
-number or a string. It is entered as
-
-@example
- #'twentyFour
-@end example
-
-The quote mark @code{'} prevents Scheme interpreter from substituting
-@code{24} for the @code{twentyFour}. Instead, we get the name
-@code{twentyFour}.
-
-This syntax will be used very frequently, since many of the layout
-tweaks involve assigning (Scheme) values to internal variables, for
-example
-
-@example
- \override Stem #'thickness = #2.6
-@end example
-
-This instruction adjusts the appearance of stems. The value @code{2.6}
-is put into a the @code{thickness} variable of a @code{Stem}
-object. This makes stems almost twice as thick as their normal size.
-To distinguish between variables defined in input files (like
-@code{twentyFour} in the example above), and internal variables, we
-will call the latter ``properties.'' So, the stem object has a
-@code{thickness} property.
-
-Two-dimensional offsets (X and Y coordinates) as well as object sizes
-(intervals with a left and right point) are entered as @code{pairs}. A
-pair@footnote{In Scheme terminology, the pair is called @code{cons},
-and its two elements are called car and cdr respectively.} is entered
-as @code{(first . second)}, and like symbols, they must be quoted,
-
-@example
- \override TextScript #'extra-offset = #'(1 . 2)
-@end example
-
-This assigns the pair (1, 2) to @code{extra-offset} variable of the
-TextScript object. This moves the object 1 staff space to the right,
-and 2 spaces up.
-
-The two elements of a pair may be arbitrary values, for example
-
-@example
- #'(1 . 2)
- #'(#t . #f)
- #'("blah-blah" . 3.14159265)
-@end example
-
-A list is entered by enclosing its elements in parentheses, and adding
-a quote. For example,
-@example
- #'(1 2 3)
- #'(1 2 "string" #f)
-@end example
-
-We have been using lists all along. A calculation, like @code{(+ 1
-2)} is also a list (containing the symbol @code{+} and the numbers 1
-and 2). For entering lists, use a quote @code{'} and for
-calculations, do not use a quote.
-
-Inside a quoted list or pair, there is no need to quote anymore. The
-following is a pair of symbols, a list of symbols and a list of lists
-respectively,
-
-@example
- #'(stem . head)
- #'(staff clef key-signature)
- #'((1) (2))
-@end example
-
-
-@node Context
-@section Context
+
+@node Interpretation contexts
+@section Interpretation contexts
-When music is printed, a lot of things notation elements must be added
-to the input, which is often bare bones. For example, compare the
-input and output of the following example
+When music is printed, a lot of notational elements must be added to the
+input, which is often bare bones. For example, compare the input and
+output of the following example:
-@lilypond[verbatim,relative=2]
- cis4 cis2. g4
+@lilypond[quote,verbatim,relative=2,fragment]
+cis4 cis2. g4
@end lilypond
The input is rather sparse, but in the output, bar lines, accidentals,
-clef and time signature are added. LilyPond @emph{interprets} the
-input. During this step, the musical information is inspected in time
-order, similar to reading a score from left to right. While reading,
-the program remembers where measure boundaries are, and what pitches
-need explicit accidentals.
-
-This information can be present on several levels. For example, the
-effect of an accidental is limited to a single stave, while a bar line
-must be synchronized across the entire score. To match this
-hierarchy, LilyPond's interpretation step is hierarchical. There are
-interpretation contexts, like @context{Voice}, Staff and Score, and each level
-can maintain its own properties.
-
-Full description of all available contexts is in the program
+clef, and time signature are added. LilyPond @emph{interprets} the
+input. During this step, the musical information is inspected in time
+order, similar to reading a score from left to right. While reading,
+the input, the program remembers where measure boundaries are, and what
+pitches need explicit accidentals. This information can be presented on
+several levels. For example, the effect of an accidental is limited
+to a single staff, while a bar line must be synchronized across the
+entire score.
+
+Within LilyPond, these rules and bits of information are grouped in
+so-called Contexts. Examples of context are @context{Voice},
+@context{Staff}, and @context{Score}. They are hierarchical, for
+example, a @context{Staff} can contain many @context{Voice}s, and a
+@context{Score} can contain many @context{Staff} contexts.
+
+Each context has the responsibility for enforcing some notation rules,
+creating some notation objects and maintaining the associated
+properties. So, the synchronization of bar lines is handled at
+@context{Score} context. The @context{Voice} may introduce an
+accidental and then the @context{Staff} context maintains the rule to
+show or suppress the accidental for the remainder of the measure.
+
+For simple scores, contexts are created implicitly, and you need not
+be aware of them. For larger pieces, such as piano music, they must be
+created explicitly to make sure that you get as many staves as you
+need, and that they are in the correct order. For typesetting pieces
+with specialized notation, it can be useful to modify existing or
+to define new contexts.
+
+
+A complete description of all available contexts is in the program
reference, see
@ifhtml
-@internalsref{Contexts}
+@internalsref{Contexts}.
@end ifhtml
@ifnothtml
Translation @arrow{} Context.
@end ifnothtml
+@c [TODO: describe propagation]
+
+
@menu
* Creating contexts::
-* Changing context properties on the fly ::
+* Changing context properties on the fly::
* Modifying context plug-ins::
-* Defining context defaults ::
-* which properties to change::
+* Layout tunings within contexts::
+* Changing context default settings::
+* Defining new contexts::
@end menu
@node Creating contexts
@subsection Creating contexts
-For simple scores, the correct contexts are created automatically. For
-more complex scores, it is necessary to instantiate them by hand.
-There are three commands to do this.
+For scores with only one voice and one staff, correct contexts are
+created automatically. For more complex scores, it is necessary to
+create them by hand. There are three commands that do this.
The easiest command is @code{\new}, and it also the quickest to type.
-It is prepended to a music expression, for example
+It is prepended to a music expression, for example
+
+@cindex @code{\new}
+@cindex new contexts
+@cindex Context, creating
@example
- \new @var{type} @var{music expression}
+\new @var{type} @var{music expression}
@end example
@noindent
where @var{type} is a context name (like @code{Staff} or
@code{Voice}). This command creates a new context, and starts
-interpreting @var{music expression} with that.
+interpreting the @var{music expression} with that.
A practical application of @code{\new} is a score with many
-staves. Each part that should be on its own staff, gets a @code{\new
-Staff}.
+staves. Each part that should be on its own staff, is preceded with
+@code{\new Staff}.
-@lilypond[verbatim,relative=2,raggedright]
- << \new Staff { c4 c }
- \new Staff { d4 d }
- >>
+@lilypond[quote,verbatim,relative=2,raggedright,fragment]
+<< \new Staff { c4 c }
+ \new Staff { d4 d }
+>>
@end lilypond
+@cindex @code{\context}
-The @code{\context} command also directs a music expression to a
-context object, but gives the context an extra name. The syntax is
+Like @code{\new}, the @code{\context} command also directs a music
+expression to a context object, but gives the context an extra name. The
+syntax is
@example
- \context @var{type} = @var{id} @var{music}
+\context @var{type} = @var{id} @var{music}
@end example
This form will search for an existing context of type @var{type}
-called @var{id}. If that context does not exist yet, it is created.
-This is useful if the context referred to later on. For example, when
+called @var{id}. If that context does not exist yet, it is created.
+This is useful if the context is referred to later on. For example, when
setting lyrics the melody is in a named context
@example
- \context Voice = "@b{tenor}" @var{music}
+\CONtext Voice = "@b{tenor}" @var{music}
@end example
@noindent
@noindent
Another possibility is funneling two different music expressions into
-one context. In the following example, articulations and notes are
+one context. In the following example, articulations and notes are
entered separately,
-@verbatim
-music = \notes { c4 c4 }
-arts = \notes { s4-. s4-> }
-@end verbatim
+@example
+music = @{ c4 c4 @}
+arts = @{ s4-. s4-> @}
+@end example
They are combined by sending both to the same @context{Voice} context,
-@verbatim
- << \new Staff \context Voice = "A" \music
- \context Voice = "A" \arts
- >>
-@end verbatim
-@lilypond[raggedright]
-music = \notes { c4 c4 }
-arts = \notes { s4-. s4-> }
-\score {
- << \new Staff \context Voice = "A" \music
- \context Voice = "A" \arts
- >>
-}
+@example
+<< \new Staff \context Voice = "A" \music
+ \context Voice = "A" \arts
+>>
+@end example
+@lilypond[quote,raggedright]
+music = { c4 c4 }
+arts = { s4-. s4-> }
+\relative c'' <<
+ \new Staff \context Voice = "A" \music
+ \context Voice = "A" \arts
+>>
@end lilypond
+With this mechanism, it is possible to define an Urtext (original
+edition), with the option to put several distinct articulations on the
+same notes.
+@cindex @code{\context}
+@cindex creating contexts
The third command for creating contexts is
@example
- \context @var{type} @var{music}
+\context @var{type} @var{music}
@end example
any context of type @var{type}, regardless of its given name.
This variant is used with music expressions that can be interpreted at
-several levels. For example, the @code{\applyoutput} command (see
-@ref{Running a function on all layout objects}). Without an explicit
-@code{\context}, it is usually is applied to @context{Voice}
+several levels. For example, the @code{\applyoutput} command (see
+@ref{Running a function on all layout objects}). Without an explicit
+@code{\context}, it is usually applied to @context{Voice}
@example
- \applyoutput #@var{function} % apply to Voice
+\applyoutput #@var{function} % apply to Voice
@end example
-To have it interpreted at @context{Score} or @context{Staff} level use
+To have it interpreted at the @context{Score} or @context{Staff} level use
these forms
@example
- \context Score \applyoutput #@var{function}
- \context Staff \applyoutput #@var{function}
+\context Score \applyoutput #@var{function}
+\context Staff \applyoutput #@var{function}
@end example
-@node Changing context properties on the fly
-@subsection Changing context properties on the fly
+@node Changing context properties on the fly
+@subsection Changing context properties on the fly
+
+@cindex properties
+@cindex @code{\set}
+@cindex changing properties
Each context can have different @emph{properties}, variables contained
-in that context. They can be changed during the interpretation step.
+in that context. They can be changed during the interpretation step.
This is achieved by inserting the @code{\set} command in the music,
-@quotation
- @code{\set }[@var{context}]@code{.}@var{prop}@code{ = #}@var{value}
-@end quotation
+@example
+\set @var{context}.@var{prop} = #@var{value}
+@end example
For example,
-@lilypond[verbatim,relative=2]
- R1*2
- \set Score.skipBars = ##t
- R1*2
+@lilypond[quote,verbatim,relative=2,fragment]
+R1*2
+\set Score.skipBars = ##t
+R1*2
@end lilypond
-This command skips measures that have no notes. The result is that
-multi rests are condensed. The value assigned is a Scheme object. In
+This command skips measures that have no notes. The result is that
+multi-rests are condensed. The value assigned is a Scheme object. In
this case, it is @code{#t}, the boolean True value.
-If the @var{context} argument is left out, then the current
-bottom-most context (typically ChordNames, @context{Voice} or Lyrics)
-is used. In this example,
+If the @var{context} argument is left out, then the current bottom-most
+context (typically @context{ChordNames}, @context{Voice}, or
+@context{Lyrics}) is used. In this example,
-@lilypond[verbatim,relative=2]
- c8 c c c
- \set autoBeaming = ##f
- c8 c c c
+@lilypond[quote,verbatim,relative=2,fragment]
+c8 c c c
+\set autoBeaming = ##f
+c8 c c c
@end lilypond
@noindent
-the @var{context} argument to @code{\set} is left out, and the current
-@internalsref{Voice} is used.
+the @var{context} argument to @code{\set} is left out, so automatic
+beaming is switched off in the current @internalsref{Voice}. Note that
+the bottom-most context does not always contain the property that you
+wish to change -- for example, attempting to set the @code{skipBars}
+property (of the bottom-most context, in this case @code{Voice}) will
+have no effect.
+
+@lilypond[quote,verbatim,relative=2,fragment]
+R1*2
+\set skipBars = ##t
+R1*2
+@end lilypond
Contexts are hierarchical, so if a bigger context was specified, for
-example @code{Staff}, then the change would also apply to all
-@context{Voice}s in the current stave. The change is applied
+example @context{Staff}, then the change would also apply to all
+@context{Voice}s in the current stave. The change is applied
`on-the-fly', during the music, so that the setting only affects the
second group of eighth notes.
+@cindex @code{\unset}
+
There is also an @code{\unset} command,
-@quotation
- @code{\set }[@var{context}]@code{.}@var{prop}
-@end quotation
+@example
+\unset @var{context}.@var{prop}
+@end example
+
+@noindent
+which removes the definition of @var{prop}. This command removes
+the definition only if it is set in @var{context}, so
+
+@example
+\set Staff.autoBeaming = ##f
+@end example
@noindent
-which removes the definition of @var{prop}. This command only removes
-the definition if it is set in @var{context}. In
+introduces a property setting at @code{Staff} level. The setting also
+applies to the current @code{Voice}. However,
@example
- \set Staff.autoBeaming = ##f
- \unset Voice.autoBeaming
+\unset Voice.autoBeaming
@end example
@noindent
-the current @context{Voice} does not have the property, and the
-definition at @context{Staff} level remains intact.
+does not have any effect. To cancel this setting, the @code{\unset}
+must be specified on the same level as the original @code{\set}. In
+other words, undoing the effect of @code{Staff.autoBeaming = ##f}
+requires
+@example
+\unset Staff.autoBeaming
+@end example
+
+Like @code{\set}, the @var{context} argument does not have to be
+specified for a bottom context, so the two statements
+
+@example
+\set Voice.autoBeaming = ##t
+\set autoBeaming = ##t
+@end example
+
+@noindent
+are equivalent.
+
+@cindex \once
Settings that should only apply to a single time-step can be entered
-easily with @code{\once}, for example in
+with @code{\once}, for example in
-@lilypond[verbatim,relative=2]
- c4
- \once \set fontSize = #4.7
- c4
- c4
+@lilypond[quote,verbatim,relative=2,fragment]
+c4
+\once \set fontSize = #4.7
+c4
+c4
@end lilypond
-the property @code{fontSize} is unset automatically after the third
+the property @code{fontSize} is unset automatically after the second
note.
A full description of all available context properties is in the
program reference, see
@ifhtml
-@internalsref{Tunable-context-properties}.
+@internalsref{Tunable context properties}.
@end ifhtml
@ifnothtml
Translation @arrow{} Tunable context properties.
Notation contexts (like Score and Staff) not only store properties,
they also contain plug-ins, called ``engravers'' that create notation
-elements. For example, the Voice context contains a
+elements. For example, the Voice context contains a
@code{Note_head_engraver} and the Staff context contains a
@code{Key_signature_engraver}.
For a full a description of each plug-in, see
@ifhtml
-@internalsref{Engravers}
+@internalsref{Engravers}.
@end ifhtml
@ifnothtml
Program reference @arrow Translation @arrow{} Engravers.
lists the engravers used for that context.
-It can be useful to shuffle around these plug-ins. This is done by
+It can be useful to shuffle around these plug-ins. This is done by
starting a new context, with @code{\new} or @code{\context}, and
-modifying them like this,
+modifying it like this,
@example
- \new @var{context} \with @{
- \consists @dots{}
- \consists @dots{}
- \remove @dots{}
- \remove @dots{}
- @emph{etc.}
- @}
- @var{..music..}
+\new @var{context} \with @{
+ \consists @dots{}
+ \consists @dots{}
+ \remove @dots{}
+ \remove @dots{}
+ @emph{etc.}
+@}
+@emph{..music..}
@end example
-where the @dots{} should be the name of an engraver. Here is a simple
+@noindent
+where the @dots{} should be the name of an engraver. Here is a simple
example which removes @code{Time_signature_engraver} and
@code{Clef_engraver} from a @code{Staff} context,
-@lilypond[relative=1, verbatim]
+@lilypond[quote,relative=1,verbatim,fragment]
<< \new Staff {
f2 g
}
>>
@end lilypond
-In the second stave there are no time signature or clef symbols. This
-is a rather crude method of making objects disappear, it will affect
-the entire staff. More sophisticated methods are shown in (TODO).
+In the second staff there are no time signature or clef symbols. This
+is a rather crude method of making objects disappear since it will affect
+the entire staff. The spacing is adversely influenced too. A more
+sophisticated method of blanking objects is shown in @ref{Common tweaks}.
The next example shows a practical application. Bar lines and time
signatures are normally synchronized across the score. This is done
-by the @code{Timing_engraver}. This plug-in keeps an administration of
-time signature, location within the measure, etc. By moving the
-@code{Timing_engraver} engraver from Score to Staff context, we can
-have score where each staff has its own time signature.
+by the @code{Timing_engraver}. This plug-in keeps an administration of
+time signature, location within the measure, etc. By moving the
+@code{Timing_engraver} engraver from @code{Score} to @code{Staff}
+context, we can have a score where each staff has its own time
+signature.
@cindex polymetric scores
+@cindex Time signatures, multiple
-
-@lilypond[relative=1,raggedright,verbatim]
+@lilypond[quote,relative=1,raggedright,verbatim,fragment]
\new Score \with {
\remove "Timing_engraver"
} <<
\time 2/4
c4 c c c c c
}
- >>
+>>
@end lilypond
-@node Defining context defaults
-@subsection Defining context defaults
+@node Layout tunings within contexts
+@subsection Layout tunings within contexts
-Context properties can be set as defaults, within the
-@code{\paper} block. For example,
+Each context is responsible for creating certain types of graphical
+objects. The settings used for printing these objects are also stored by
+context. By changing these settings, the appearance of objects can be
+altered.
+
+The syntax for this is
-@verbatim
-\paper {
- \context {
- \ScoreContext
- skipBars = ##t
- }
-}
-@end verbatim
+@example
+\override @var{context}.@var{name} #'@var{property} = #@var{value}
+@end example
-@noindent
-will set skipBars default
+Here @var{name} is the name of a graphical object, like @code{Stem} or
+@code{NoteHead}, and @var{property} is an internal variable of the
+formatting system (`grob property' or `layout property'). The latter is a
+symbol, so it must be quoted. The subsection @ref{Constructing a
+tweak} explains what to fill in for @var{name}, @var{property}, and
+@var{value}. Here we only discuss the functionality of this command.
-When This score-wide
+The command
+@verbatim
+\override Staff.Stem #'thickness = #4.0
+@end verbatim
-@node which properties to change
-@subsection which properties to change
+@noindent
+makes stems thicker (the default is 1.3, with staff line thickness as a
+unit). Since the command specifies @context{Staff} as context, it only
+applies to the current staff. Other staves will keep their normal
+appearance. Here we see the command in action:
+
+@lilypond[quote,verbatim,relative=2,fragment]
+c4
+\override Staff.Stem #'thickness = #4.0
+c4
+c4
+c4
+@end lilypond
+The @code{\override} command changes the definition of the @code{Stem}
+within the current @context{Staff}. After the command is interpreted
+all stems are thickened.
-There are many different properties. Not all of them are listed in
-this manual. However, the program reference lists them all in the
-section @internalsref{Context-properties}, and most properties are
-demonstrated in one of the
-@ifhtml
-@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
-@end ifhtml
-@ifnothtml
-tips-and-tricks
-@end ifnothtml
-examples.
+Analogous to @code{\set}, the @var{context} argument may be left out,
+causing it to default to @context{Voice}, and adding @code{\once} applies
+the change during one timestep only
+@lilypond[quote,fragment,verbatim,relative=2]
+c4
+\once \override Stem #'thickness = #4.0
+c4
+c4
+@end lilypond
-@node Fine tuning layout
-@section Fine tuning layout
+The @code{\override} must be done before the object is
+started. Therefore, when altering @emph{Spanner} objects, like slurs or
+beams, the @code{\override} command must be executed at the moment when
+the object is created. In this example,
-Sometimes it is necessary to change music layout by hand. When music
-is formatted, layout objects are created for each symbol. For
-example, every clef and every note head is represented by a layout
-object. These layout objects also carry variables, which we call
-@emph{layout properties}. By changing these variables from their
-values, we can alter the look of a formatted score:
-@lilypond[verbatim,relative]
- c4
- \override Stem #'thickness = #3.0
- c4 c4 c4
+@lilypond[quote,fragment,verbatim,relative=2]
+\override Slur #'thickness = #3.0
+c8[( c
+\override Beam #'thickness = #0.6
+c8 c])
@end lilypond
@noindent
-In the example shown here, the layout property @code{thickness} (a
-symbol) is set to 3 in the @code{Stem} layout objects of the current
-As a result, the notes following @code{\override} have thicker
-stems.
+the slur is fatter but the beam is not. This is because the command for
+@code{Beam} comes after the Beam is started. Therefore it has no effect.
-For the most part, a manual override is needed only on a case by
-case basis and not for all subsequent instances of the altered
-property. To accomplish this, simply prefix @code{\once} to the
-@code{\override} statement and the override will apply only once,
-immediately reverting to its default setting, i.e.
+Analogous to @code{\unset}, the @code{\revert} command for a context
+undoes an @code{\override} command; like with @code{\unset}, it only
+affects settings that were made in the same context. In other words, the
+@code{\revert} in the next example does not do anything.
@example
- \once \override Stem #'thickness = #3.0
+\override Voice.Stem #'thickness = #4.0
+\revert Staff.Stem #'thickness
@end example
-@lilypond[relative]
- c4
- \once \override Stem #'thickness = #3.0
- c4 c4 c4
-@end lilypond
-
-@noindent
-Some overrides are so common that predefined commands are provided as
-a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
-commands are described in
-@ifhtml
-the
-@end ifhtml
-@ref{Notation manual}, under the sections for slurs and stems
-respectively.
-
-The exact tuning possibilities for each type of layout object are
-documented in the program reference of the respective
-object. However, many layout objects share properties, which can be
-used to apply generic tweaks. We mention a couple of these:
-@itemize @bullet
-@item The @code{extra-offset} property, which
-@cindex @code{extra-offset}
-has a pair of numbers as value, moves around objects in the printout.
-The first number controls left-right movement; a positive number will
-move the object to the right. The second number controls up-down
-movement; a positive number will move it higher. The units of these
-offsets are staff-spaces. The @code{extra-offset} property is a
-low-level feature: the formatting engine is completely oblivious to
-these offsets.
-In the following example, the second fingering is moved a little to
-the left, and 1.8 staff space downwards:
-@cindex setting object properties
+@seealso
-@lilypond[relative=1,verbatim]
-\stemUp
-f-5
-\once \override Fingering
- #'extra-offset = #'(-0.3 . -1.8)
-f-5
-@end lilypond
+Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
+@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
+@internalsref{All layout objects}.
-@item
-Setting the @code{transparent} property will cause an object to be printed
-in `invisible ink': the object is not printed, but all its other
-behavior is retained. The object still takes up space, it takes part in
-collisions, and slurs, and ties and beams can be attached to it.
-@cindex transparent objects
-@cindex removing objects
-@cindex invisible objects
-The following example demonstrates how to connect different voices
-using ties. Normally, ties only connect two notes in the same
-voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices:
-
-@lilypond[fragment,relative=1,verbatim]
- c4 << {
- \once \override Stem #'transparent = ##t
- b8~ b8
- } \\ {
- b[ g8]
- } >>
-@end lilypond
+@refbugs
-@item
-The @code{padding} property for objects with
-@cindex @code{padding}
-@code{side-position-interface} can be set to increase distance between
-symbols that are printed above or below notes. We only give an
-example; a more elaborate explanation is in @ref{Constructing a
-tweak}:
+The back-end is not very strict in type-checking object properties.
+Cyclic references in Scheme values for properties can cause hangs
+or crashes, or both.
-@lilypond[relative=1,verbatim]
- c2\fermata
- \override Script #'padding = #3
- b2\fermata
-@end lilypond
-@end itemize
+@node Changing context default settings
+@subsection Changing context default settings
-More specific overrides are also possible. The notation manual
-discusses in depth how to figure out these statements for yourself, in
-@ref{Tuning output}.
+The adjustments of the previous subsections (@ref{Changing context
+properties on the fly}, @ref{Modifying context plug-ins}, and
+@ref{Layout tunings within contexts}) can also be entered separately
+from the music, in the @code{\layout} block,
+@example
+\layout @{
+ @dots{}
+ \context @{
+ \Staff
+ \set fontSize = #-2
+ \override Stem #'thickness = #4.0
+ \remove "Time_signature_engraver"
+ @}
+@}
+@end example
+Here
+@example
+\Staff
+@end example
-@node Tuning output
-@section Tuning output
+@noindent
+takes the existing definition for context @context{Staff} from the
+identifier @code{\Staff}.
-There are situations where default layout decisions are not
-sufficient. In this section we discuss ways to override these
-defaults.
+The statements
+@example
+\set fontSize = #-2
+\override Stem #'thickness = #4.0
+\remove "Time_signature_engraver"
+@end example
-Formatting is internally done by manipulating so called objects
-(graphic objects). Each object carries with it a set of properties
-(object or layout properties) specific to that object. For example, a
-stem object has properties that specify its direction, length and
-thickness.
+@noindent
+affect all staves in the score.
-The most direct way of tuning the output is by altering the values of
-these properties. There are two ways of doing that: first, you can
-temporarily change the definition of one type of object, thus
-affecting a whole set of objects. Second, you can select one specific
-object, and set a layout property in that object.
+Other contexts can be modified analogously.
-Do not confuse layout properties with translation
-properties. Translation properties always use a mixed caps style
-naming, and are manipulated using @code{\set} and @code{\unset}:
-@example
- \set Context.propertyName = @var{value}
-@end example
+The @code{\set} keyword is optional within the @code{\layout} block, so
-Layout properties are use Scheme style variable naming, i.e. lower
-case words separated with dashes. They are symbols, and should always
-be quoted using @code{#'}. For example, this could be an imaginary
-layout property name:
@example
- #'layout-property-name
+\context @{
+ @dots{}
+ fontSize = #-2
+@}
@end example
-
-@menu
-* Tuning objects::
-* Constructing a tweak::
-* Selecting font sizes::
-* Font selection::
-@end menu
+@noindent
+will also work.
-@node Tuning objects
-@subsection Tuning objects
+@refbugs
-@cindex object description
+It is not possible to collect context changes in a variable, and apply
+them to one @code{\context} definition by referring to that variable.
-The definition of an object is a list of default object
-properties. For example, the definition of the Stem object (available
-in @file{scm/define-grobs.scm}), includes the following definitions
-for @internalsref{Stem}:
+The @code{\RemoveEmptyStaffContext} will override your current
+@code{\Staff} variable. If you wish to change the defaults for a
+staff that uses @code{\RemoveEmptyStaffContext}, you must do so
+after calling @code{\RemoveemptyStaffContext}, ie
@example
- (thickness . 1.3)
- (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
- (Y-extent-callback . ,Stem::height)
- @var{...}
+\layout @{
+ \context @{
+ \RemoveEmptyStaffContext
+
+ \override Stem #'thickness = #4.0
+ @}
+@}
@end example
-Adding variables on top of this existing definition overrides the
-system default, and alters the resulting appearance of the layout
-object.
+@node Defining new contexts
+@subsection Defining new contexts
+
+Specific contexts, like @context{Staff} and @code{Voice}, are made of
+simple building blocks, and it is possible to compose engraver
+plug-ins in different combinations, thereby creating new types of
+contexts.
+
+The next example shows how to build a different type of
+@context{Voice} context from scratch. It will be similar to
+@code{Voice}, but prints centered slash noteheads only. It can be used
+to indicate improvisation in Jazz pieces,
+@lilypond[quote,raggedright]
+\layout { \context {
+ \name ImproVoice
+ \type "Engraver_group_engraver"
+ \consists "Note_heads_engraver"
+ \consists "Text_engraver"
+ \consists Pitch_squash_engraver
+ squashedPosition = #0
+ \override NoteHead #'style = #'slash
+ \override Stem #'transparent = ##t
+ \alias Voice
+}
+\context { \Staff
+ \accepts "ImproVoice"
+}}
+
+\relative c'' {
+ a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+ c4 c^"undress" c_"while playing :)" c }
+ a1
+}
+@end lilypond
-Changing a variable for only one object is commonly achieved with
-@code{\once}:
+These settings are again done within a @code{\context} block inside a
+@code{\layout} block,
@example
-\once \override @var{context}.@var{objectname}
- @var{symbol} = @var{value}
+\layout @{
+ \context @{
+ @dots{}
+ @}
+@}
@end example
-Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{objectname} is a string and @var{value} is a Scheme expression.
-This command applies a setting only during one moment in the score.
-
-In the following example, only one @internalsref{Stem} object is
-changed from its original setting:
-
-@lilypond[verbatim,fragment,relative=1]
- c4
- \once \override Voice.Stem #'thickness = #4
- c4
- c4
-@end lilypond
-@cindex @code{\once}
-For changing more objects, the same command, without @code{\once} can
-be used:
+In the following discussion, the example input shown should go on the
+@dots{} in the previous fragment.
+
+First, the context gets a name. Instead of @context{Voice} it
+will be called @context{ImproVoice},
+
@example
-\override @var{context}.@var{objectname} @var{symbol} = @var{value}
+\name ImproVoice
@end example
-This command adds @code{@var{symbol} = @var{value}} to the definition
-of @var{objectname} in the context @var{context}, and this definition
-stays in place until it is removed.
-An existing definition may be removed by the following command:
-@c
+Since it is similar to the @context{Voice}, we want commands that work
+on (existing) @context{Voice}s to remain working. This is achieved by
+giving the new context an alias @context{Voice},
+
@example
-\property @var{context}.@var{objectname} \revert @var{symbol}
+\alias Voice
@end example
-@c
-
-Some examples:
-@lilypond[verbatim]
-c'4 \override Stem #'thickness = #4.0
-c'4
-c'4 \revert Stem #'thickness
-c'4
-@end lilypond
+The context will print notes, and instructive texts
+@example
+\consists Note_heads_engraver
+\consists Text_engraver
+@end example
-Reverting a setting which was not set in the first place has no
-effect.
+but only on the center line,
+@example
+\consists Pitch_squash_engraver
+squashedPosition = #0
+@end example
-@seealso
+The @internalsref{Pitch_squash_engraver} modifies note heads (created
+by @internalsref{Note_heads_engraver}) and sets their vertical
+position to the value of @code{squashedPosition}, in this case@tie{}@code{0},
+the center line.
-Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
-@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
-@internalsref{All-layout-objects}.
+The notes look like a slash, without a stem,
+@example
+\override NoteHead #'style = #'slash
+\override Stem #'transparent = ##t
+@end example
-@refbugs
-The back-end is not very strict in type-checking object properties.
-Cyclic references in Scheme values for properties can cause hangs
-and/or crashes.
+All these plug-ins have to cooperate, and this is achieved with a
+special plug-in, which must be marked with the keyword @code{\type}.
+This should always be @internalsref{Engraver_group_engraver},
+@example
+\type "Engraver_group_engraver"
+@end example
-@node Constructing a tweak
-@subsection Constructing a tweak
+Put together, we get
+@example
+\context @{
+ \name ImproVoice
+ \type "Engraver_group_engraver"
+ \consists "Note_heads_engraver"
+ \consists "Text_engraver"
+ \consists Pitch_squash_engraver
+ squashedPosition = #0
+ \override NoteHead #'style = #'slash
+ \override Stem #'transparent = ##t
+ \alias Voice
+@}
+@end example
-@cindex internal documentation
-@cindex finding graphical objects
-@cindex graphical object descriptions
-@cindex tweaking
-@cindex @code{\override}
-@cindex @code{\set}
-@cindex internal documentation
+Contexts form hierarchies. We want to hang the @context{ImproVoice}
+under @context{Staff}, just like normal @code{Voice}s. Therefore, we
+modify the @code{Staff} definition with the @code{\accepts}
+command,@footnote{The opposite of @code{\accepts} is @code{\denies},
+which is sometimes needed when reusing existing context definitions.}
-Three pieces of information are required to use @code{\override} and
-@code{\set}: the name of the layout object, the context and the name
-of the property. We demonstrate how to glean this information from
-the notation manual and the program reference.
+@example
+\context @{
+ \Staff
+ \accepts ImproVoice
+@}
+@end example
-The generated documentation is a set of HTML pages which should be
-included if you installed a binary distribution, typically in
-@file{/usr/share/doc/lilypond}. They are also available on the web:
-go to the @uref{http://lilypond.org,LilyPond website}, click
-``Documentation'', select the correct version, and then click
-``Program reference.'' It is advisable to bookmark the local HTML
-files. They will load faster than the ones on the web and matches the
-version of LilyPond you are using.
-
+Putting both into a @code{\layout} block, like
+@example
+\layout @{
+ \context @{
+ \name ImproVoice
+ @dots{}
+ @}
+ \context @{
+ \Staff
+ \accepts "ImproVoice"
+ @}
+@}
+@end example
-@c [TODO: revise for new site.]
+Then the output at the start of this subsection can be entered as
-Suppose we want to move the fingering indication in the fragment
+@example
+\relative c'' @{
+ a4 d8 bes8
+ \new ImproVoice @{
+ c4^"ad lib" c
+ c4 c^"undress"
+ c c_"while playing :)"
+ @}
+ a1
+@}
+@end example
+
+
+
+
+@node The \override command
+@section The \override command
+
+In the previous section, we have already touched on a command that
+changes layout details: the @code{\override} command. In this section,
+we will look in more detail at how to use the command in practice.
+First, we will give a few versatile commands that are sufficient
+for many situations. The next section will discuss the general use of
+@code{\override}.
+
+
+@menu
+* Common tweaks::
+* Constructing a tweak::
+* Navigating the program reference::
+* Layout interfaces::
+* Determining the grob property::
+* Difficult tweaks::
+@end menu
+
+
+
+@node Common tweaks
+@subsection Common tweaks
+
+@c Should we point at ly/property-init.ly ? -gp
+Some overrides are so common that predefined commands are provided as
+short-cuts, for example, @code{\slurUp} and @code{\stemDown}. These
+commands are described in
+@ifhtml
+the
+@end ifhtml
+@c @ref{Notation manual},
+Notation manual
+@c FIXME
+under the sections for slurs and stems
+respectively.
+
+The exact tuning possibilities for each type of layout object are
+documented in the program reference of the respective
+object. However, many layout objects share properties, which can be
+used to apply generic tweaks. We mention a few of these:
+
+@itemize @bullet
+@item The @code{extra-offset} property, which
+@cindex @code{extra-offset}
+has a pair of numbers as value, moves objects around in the printout.
+The first number controls left-right movement; a positive number will
+move the object to the right. The second number controls up-down
+movement; a positive number will move it higher. The units of these
+offsets are staff-spaces. The @code{extra-offset} property is a
+low-level feature: the formatting engine is completely oblivious to
+these offsets.
+
+In the following example, the second fingering is moved a little to
+the left, and 1.8 staff space downwards:
+
+@cindex setting object properties
+
+@lilypond[quote,fragment,relative=1,verbatim]
+\stemUp
+f-5
+\once \override Fingering
+ #'extra-offset = #'(-0.3 . -1.8)
+f-5
+@end lilypond
+
+@item
+Setting the @code{transparent} property will cause an object to be printed
+in `invisible ink': the object is not printed, but all its other
+behavior is retained. The object still takes up space, it takes part in
+collisions, and slurs, ties, and beams can be attached to it.
+
+@cindex transparent objects
+@cindex removing objects
+@cindex hiding objects
+@cindex invisible objects
+The following example demonstrates how to connect different voices
+using ties. Normally, ties only connect two notes in the same
+voice. By introducing a tie in a different voice,
+
+@lilypond[quote,fragment,relative=2]
+<< {
+ b8~ b8\noBeam
+} \\ {
+ b[ g8]
+} >>
+@end lilypond
+
+@noindent
+and blanking the first up-stem in that voice, the tie appears to cross
+voices:
+
+@lilypond[quote,fragment,relative=2,verbatim]
+<< {
+ \once \override Stem #'transparent = ##t
+ b8~ b8\noBeam
+} \\ {
+ b[ g8]
+} >>
+@end lilypond
+
+@item
+The @code{padding} property for objects with
+@cindex @code{padding}
+@code{side-position-interface} can be set to increase the distance between
+symbols that are printed above or below notes. We only give an
+example; a more elaborate explanation is in @ref{Constructing a
+tweak}:
+
+@lilypond[quote,fragment,relative=1,verbatim]
+c2\fermata
+\override Script #'padding = #3
+b2\fermata
+@end lilypond
+
+@end itemize
+
+More specific overrides are also possible. The next section
+discusses in depth how to figure out these statements for yourself.
+
+
+@node Constructing a tweak
+@subsection Constructing a tweak
+
+The general procedure of changing output, that is, entering
+a command like
+
+@example
+\override Voice.Stem #'thickness = #3.0
+@end example
+
+@noindent
+means that we have to determine these bits of information:
+
+@itemize
+@item the context: here @context{Voice}.
+@item the layout object: here @code{Stem}.
+@item the layout property: here @code{thickness}
+@item a sensible value: here @code{3.0}
+@end itemize
+
+
+@cindex internal documentation
+@cindex finding graphical objects
+@cindex graphical object descriptions
+@cindex tweaking
+@cindex @code{\override}
+@cindex internal documentation
+
+We demonstrate how to glean this information from the notation manual
+and the program reference.
+
+@node Navigating the program reference
+@subsection Navigating the program reference
+
+Suppose we want to move the fingering indication in the fragment
below:
-@lilypond[relative=2,verbatim]
+@lilypond[quote,fragment,relative=2,verbatim]
c-2
\stemUp
f
@end lilypond
-If you visit the documentation of @code{Fingering} (in @ref{Fingering
-instructions}), you will notice that there is written:
+If you visit the documentation on fingering instructions (in
+@ref{Fingering instructions}), you will notice that there is written:
@quotation
@seealso
-Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
+Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
@end quotation
-@separate
+
+
+This fragment points to two parts of the program reference: a page
+on @code{FingerEvent} and one on @code{Fingering}.
+
+The page on @code{FingerEvent} describes the properties of the music
+expression for the input @code{-2}. The page contains many links
+forward. For example, it says
+
+@quotation
+Accepted by: @internalsref{Fingering_engraver},
+@end quotation
@noindent
-In other words, the fingerings once entered, are internally stored as
-@code{FingerEvent} music objects. When printed, a @code{Fingering}
-layout object is created for every @code{FingerEvent}.
+That link brings us to the documentation for the Engraver, the
+plug-in, which says
+
+@quotation
+This engraver creates the following layout objects: @internalsref{Fingering}.
+@end quotation
+
+In other words, once the @code{FingerEvent}s are interpreted, the
+@code{Fingering_engraver} plug-in will process them.
+The @code{Fingering_engraver} is also listed to create
+@internalsref{Fingering} objects,
+
+
+Lo and behold, that is also the
+second bit of information listed under @b{See also} in the Notation
+manual. By clicking around in the program reference, we can follow the
+flow of information within the program, either forward (like we did
+here), or backwards, following links like this:
+
+@itemize @bullet
+
+@item @internalsref{Fingering}:
+@internalsref{Fingering} objects are created by:
+@b{@internalsref{Fingering_engraver}}
+
+@item @internalsref{Fingering_engraver}:
+Music types accepted: @b{@internalsref{fingering-event}}
+
+@item @internalsref{fingering-event}:
+Music event type @code{fingering-event} is in Music expressions named
+@b{@internalsref{FingerEvent}}
+@end itemize
-The Fingering object has a number of different functions, and each of
-those is captured in an interface. The interfaces are listed under
-@internalsref{Fingering} in the program reference.
+This path goes against the flow of information in the program: it
+starts from the output, and ends at the input event.
+The program reference can also be browsed like a normal document. It
+contains a chapter on
+@ifhtml
+@internalsref{Music definitions},
+@end ifhtml
+@ifnothtml
+@code{Music definitions}
+@end ifnothtml
+on @internalsref{Translation}, and the @internalsref{Backend}. Every
+chapter lists all the definitions used, and all properties that may be
+tuned.
+
+@node Layout interfaces
+@subsection Layout interfaces
+
+@cindex interface, layout
+@cindex layout interface
-The @code{Fingering} object has a fixed size
-(@internalsref{item-interface}), the symbol is a piece of text
-(@internalsref{text-interface}), whose font can be set
-(@internalsref{font-interface}). It is centered horizontally
-(@internalsref{self-alignment-interface}), it is placed vertically
-next to other objects (@internalsref{side-position-interface}), and
-its placement is coordinated with other scripts
-(@internalsref{text-script-interface}). It also has the standard
-@internalsref{grob-interface} (grob stands for Graphical object)
+The HTML page that we found in the previous section, describes the
+layout object called @internalsref{Fingering}. Such an object is a
+symbol within the score. It has properties that store numbers (like
+thicknesses and directions), but also pointers to related objects. A
+layout object is also called @emph{grob},
@cindex grob
-@cindex graphical object
-@cindex layout object
-@cindex object, layout
-with all the variables that come with
-it. Finally, it denotes a fingering instruction, so it has
-@internalsref{finger-interface}.
-
-For the vertical placement, we have to look under
-@code{side-position-interface}:
+which is short for Graphical Object.
+
+
+The page for @code{Fingering} lists the definitions for the
+@code{Fingering} object. For example, the page says
+
+@quotation
+@code{padding} (dimension, in staff space):
+
+@code{0.6}
+@end quotation
+
+@noindent
+which means that the number will be kept at a distance of at least 0.6
+of the note head.
+
+
+Each layout object may have several functions as a notational or
+typographical element. For example, the Fingering object
+has the following aspects
+
+@itemize @bullet
+@item
+Its size is independent of the horizontal spacing, unlike slurs or beams.
+
+@item
+It is a piece of text. Granted, it is usually a very short text.
+
+@item
+That piece of text is typeset with a font, unlike slurs or beams.
+
+@item
+Horizontally, the center of the symbol should be aligned to the
+center of the notehead.
+
+@item
+Vertically, the symbol is placed next to the note and the staff.
+
+@item
+The vertical position is also coordinated with other super- and subscript
+symbols.
+@end itemize
+
+Each of these aspects is captured in so-called @emph{interface}s,
+which are listed on the @internalsref{Fingering} page at the bottom
+
+@quotation
+This object supports the following interfaces:
+@internalsref{item-interface},
+@internalsref{self-alignment-interface},
+@internalsref{side-position-interface}, @internalsref{text-interface},
+@internalsref{text-script-interface}, @internalsref{font-interface},
+@internalsref{finger-interface}, and @internalsref{grob-interface}.
+@end quotation
+
+Clicking any of the links will take you to the page of the respective
+object interface. Each interface has a number of properties. Some of
+them are not user-serviceable (``Internal properties''), but others
+are.
+
+We have been talking of @emph{the} @code{Fingering} object, but actually it
+does not amount to much. The initialization file
+@file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
+
+@example
+(Fingering
+ . ((print-function . ,Text_interface::print)
+ (padding . 0.6)
+ (staff-padding . 0.6)
+ (self-alignment-X . 0)
+ (self-alignment-Y . 0)
+ (script-priority . 100)
+ (font-size . -5)
+ (meta . ((interfaces . (finger-interface font-interface
+ text-script-interface text-interface
+ side-position-interface
+ self-alignment-interface
+ item-interface))))))
+@end example
+
+@noindent
+As you can see, the @code{Fingering} object is nothing more than a
+bunch of variable settings, and the webpage in the Program Reference
+is directly generated from this definition.
+
+@node Determining the grob property
+@subsection Determining the grob property
+
+
+Recall that we wanted to change the position of the @b{2} in
+
+@lilypond[quote,fragment,relative=2,verbatim]
+c-2
+\stemUp
+f
+@end lilypond
+
+Since the @b{2} is vertically positioned next to its note, we have to
+meddle with the interface associated with this positioning. This is
+done using @code{side-position-interface}. The page for this interface
+says
+
@quotation
@code{side-position-interface}
- Position a victim object (this one) next to other objects (the
- support). In this case, the property @code{direction} signifies where to put the
- victim object relative to the support (left or right, up or down?)
+Position a victim object (this one) next to other objects (the
+support). The property @code{direction} signifies where to put the
+victim object relative to the support (left or right, up or down?)
@end quotation
@cindex padding
@noindent
below this description, the variable @code{padding} is described as
+
@quotation
@table @code
@item padding
- (dimension, in staff space)
+(dimension, in staff space)
- add this much extra space between objects that are next to each
-other. Default value: @code{0.6}
+Add this much extra space between objects that are next to each other.
@end table
@end quotation
fingering. The following command inserts 3 staff spaces of white
between the note and the fingering:
@example
-\once \override Fingering #'padding = #3
+\once \override Voice.Fingering #'padding = #3
@end example
Inserting this command before the Fingering object is created,
-i.e. before @code{c2}, yields the following result:
+i.e., before @code{c2}, yields the following result:
-@lilypond[relative=2,fragment,verbatim]
-\once \override Fingering
- #'padding = #3
+@lilypond[quote,relative=2,fragment,verbatim]
+\once \override Voice.Fingering #'padding = #3
c-2
\stemUp
f
@end lilypond
-The context name @code{Voice} in the example above can be determined
-as follows. In the documentation for @internalsref{Fingering}, it says
+
+In this case, the context for this tweak is @context{Voice}. This
+fact can also be deduced from the program reference, for the page for
+the @internalsref{Fingering_engraver} plug-in says
+
@quotation
-Fingering grobs are created by: @internalsref{Fingering_engraver} @c
+Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
@end quotation
-Clicking @code{Fingering_engraver} shows the documentation of
-the module responsible for interpreting the fingering instructions and
-translating them to a @code{Fingering} object. Such a module is called
-an @emph{engraver}. The documentation of the @code{Fingering_engraver}
-says
-@example
-Fingering_engraver is part of contexts: Voice
-@end example
-so tuning the settings for Fingering should be done with
-@example
- \override Fingering @dots{}
-@end example
+@node Difficult tweaks
+@subsection Difficult tweaks
+
+There are two classes of difficult adjustments. First, when there are
+several of the same objects at one point, and you want to adjust only
+one. For example, if you want to change only one note head in a chord.
+
+In this case, the @code{\applyoutput} function must be used. The
+next example defines a Scheme function @code{set-position-font-size}
+that sets the @code{font-size} property, but only
+on objects that have @internalsref{note-head-interface} and are at the
+right Y-position.
+
+@lilypond[quote,verbatim]
+#(define ((set-position-font-size pos size) grob origin current)
+ (let*
+ ((interfaces (ly:grob-property grob 'interfaces))
+ (position (ly:grob-property grob 'staff-position)))
+ (if (and
+ ; is this a note head?
+ (memq 'note-head-interface interfaces)
+
+ ; is the Y coordinate right?
+ (= pos position))
+
+ ; then do it.
+ (set! (ly:grob-property grob 'font-size) size))))
+
+\relative {
+ c
+ \applyoutput #(set-position-font-size -2 4)
+ <c e g>
+}
+@end lilypond
+
+@noindent
+A similar technique can be used for accidentals. In that case, the
+function should check for @code{accidental-interface}.
+
+Another difficult adjustment is the appearance of spanner objects,
+such as slur and tie. Initially, only one of these objects is created,
+and they can be adjusted with the normal mechanism. However, in some
+cases the spanners cross line breaks. If this happens, these objects
+are cloned. A separate object is created for every system that it is
+in. These are clones of the original object and inherit all
+properties, including @code{\override}s.
+
+In other words, an @code{\override} always affects all pieces of a
+broken spanner. To change only one part of a spanner at a line break,
+it is necessary to hook into the formatting process. The
+@code{after-line-breaking-callback} property contains the Scheme procedure
+that is called after the line breaks have been determined, and layout
+objects have been split over different systems.
+
+In the following example, we define a procedure
+@code{my-callback}. This procedure
+
+@itemize @bullet
+@item
+determines if we have been split across line breaks
+@item
+if yes, retrieves all the split objects
+@item
+checks if we are the last of the split objects
+@item
+if yes, it sets @code{extra-offset}.
+@end itemize
-Of course, the tweak may also done in a larger context than
-@code{Voice}, for example, @internalsref{Staff} or
-@internalsref{Score}.
+This procedure is installed into @internalsref{Tie}, so the last part
+of the broken tie is translated up.
-@seealso
-Internals: the program reference also contains alphabetical lists of
-@internalsref{Contexts}, @internalsref{All-layout-objects} and
-@internalsref{Music-expressions}, so you can also find which objects
-to tweak by browsing the internals document.
+@lilypond[quote,verbatim,raggedright]
+#(define (my-callback grob)
+ (let* (
+ ; have we been split?
+ (orig (ly:grob-original grob))
+
+ ; if yes, get the split pieces (our siblings)
+ (siblings (if (ly:grob? orig)
+ (ly:spanner-broken-into orig) '() )))
+
+ (if (and (>= (length siblings) 2)
+ (eq? (car (last-pair siblings)) grob))
+ (ly:grob-set-property! grob 'extra-offset '(-2 . 5)))))
+
+\relative c'' {
+ \override Tie #'after-line-breaking-callback =
+ #my-callback
+ c1 ~ \break c2 ~ c
+}
+@end lilypond
+
+@noindent
+When applying this trick, the new @code{after-line-breaking-callback}
+should also call the old @code{after-line-breaking-callback}, if there
+is one. For example, if using this with @code{Slur},
+@code{Slur::after_line_breaking} should also be called.
+
+@node Fonts
+@section Fonts
+
+This section details the ways that the font can be changed.
+
+@menu
+* Selecting font sizes::
+* Font selection::
+@end menu
+
@node Selecting font sizes
@subsection Selecting font sizes
-The most common thing to change about the appearance of fonts is their
-size. The font size of any context can be easily changed by setting
-the @code{fontSize} property for that context. Its value is a number:
-negative numbers make the font smaller, positive numbers larger. An
-example is given below:
-@c
-@lilypond[fragment,relative=1,verbatim]
- c4 c4 \set fontSize = #-3
- f4 g4
+
+The easiest method of setting the font size of any context, is by
+setting the @code{fontSize} property.
+
+@lilypond[quote,fragment,relative=1,verbatim]
+c8
+\set fontSize = #-4
+c f
+\set fontSize = #3
+g
@end lilypond
-This command will set @code{font-size} (see below) in all layout
-objects in the current context. It does not change the size of
-variable symbols, such as beams or slurs.
-The font size is set by modifying the @code{font-size} property. Its
-value is a number indicating the size relative to the standard size.
-Each step up is an increase of approximately 12% of the font size. Six
-steps is exactly a factor two. The Scheme function @code{magstep}
-converts a @code{font-size} number to a scaling factor.
+@noindent
+It does not change the size of variable symbols, such as beams or
+slurs.
+
+Internally, the @code{fontSize} context property will cause the
+@code{font-size} property to be set in all layout objects. The value
+of @code{font-size} is a number indicating the size relative to the
+standard size for the current staff height. Each step up is an
+increase of approximately 12% of the font size. Six steps is exactly a
+factor two. The Scheme function @code{magstep} converts a
+@code{font-size} number to a scaling factor.
+
+@lilypond[quote,fragment,relative=1,verbatim]
+c8
+\override NoteHead #'font-size = #-4
+c f
+\override NoteHead #'font-size = #3
+g
+@end lilypond
-LilyPond has fonts in different design sizes: the music fonts for
+LilyPond has fonts in different design sizes. The music fonts for
smaller sizes are chubbier, while the text fonts are relatively wider.
Font size changes are achieved by scaling the design size that is
-closest to the desired size.
+closest to the desired size. The standard font size (for
+@code{font-size} equals 0), depends on the standard staff height. For
+a 20pt staff, a 10pt font is selected.
The @code{font-size} mechanism does not work for fonts selected
-through @code{font-name}. These may be scaled with
-@code{font-magnification}.
-
-
-One of the uses of @code{fontSize} is to get smaller symbols for cue
-notes. An elaborate example of those is in
-@inputfileref{input/test,cue-notes.ly}.
-
-@cindex @code{font-style}
+through @code{font-name}. These may be scaled with
+@code{font-magnification}. The @code{font-size} property can only be
+set on layout objects that use fonts; these are the ones supporting
+the @internalsref{font-interface} layout interface.
@refcommands
-The following commands set @code{fontSize} for the current voice.
+The following commands set @code{fontSize} for the current voice:
@cindex @code{\tiny}
@code{\tiny},
@node Font selection
@subsection Font selection
-Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
-can also be adjusted with a more fine-grained mechanism. By setting
-the object properties described below, you can select a different font;
-all three mechanisms work for every object that supports
-@code{font-interface}:
+
+
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
+
+By setting the object properties described below, you can select a
+font from the preconfigured font families. LilyPond has default
+support for the feta music fonts and @TeX{}'s Computer Modern text
+fonts.
@itemize @bullet
@item @code{font-encoding}
-is a symbol that sets layout of the glyphs. Choices include
-@code{text} for normal text, @code{braces} (for piano staff braces),
-@code{music} (the standard music font, including ancient glyphs),
-@code{dynamic} (for dynamic signs) and @code{number} for the number
-font.
+is a symbol that sets layout of the glyphs. This should only be set to
+select different types of non-text fonts, eg.
+@code{fetaBraces} for piano staff braces, @code{fetaMusic} the
+standard music font, including ancient glyphs, @code{fetaDynamic} for
+dynamic signs and @code{fetaNumber} for the number font.
@item @code{font-family}
- is a symbol indicating the general class of the typeface. Supported are
-@code{roman} (Computer Modern), @code{sans} and @code{typewriter}
+is a symbol indicating the general class of the typeface. Supported are
+@code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
@item @code{font-shape}
- is a symbol indicating the shape of the font, there are typically
-several font shapes available for each font family. Choices are
-@code{italic}, @code{caps} and @code{upright}.
+is a symbol indicating the shape of the font. There are typically
+several font shapes available for each font family. Choices are
+@code{italic}, @code{caps}, and @code{upright}.
@item @code{font-series}
-is a symbol indicating the series of the font. There are typically several
-font series for each font family and shape. Choices are @code{medium}
-and @code{bold}.
+is a symbol indicating the series of the font. There are typically
+several font series for each font family and shape. Choices are
+@code{medium} and @code{bold}.
@end itemize
Fonts selected in the way sketched above come from a predefined style
sheet.
- The font used for printing a object can be selected by setting
-@code{font-name}, e.g.
+The font used for printing a object can be selected by setting
+@code{font-name}, e.g.,
@example
- \override Staff.TimeSignature
- #'font-name = #"cmr17"
+\override Staff.TimeSignature
+ #'font-name = #"cmr17"
@end example
@noindent
-Any font can be used, as long as it is available to @TeX{}. Possible
+Any font can be used, as long as it is available to @TeX{}. Possible
fonts include foreign fonts or fonts that do not belong to the
Computer Modern font family. The size of fonts selected in this way
can be changed with the @code{font-magnification} property. For
@seealso
-Init files: @file{ly/declarations-init.ly} contains hints how new
+Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
fonts may be added to LilyPond.
-@refbugs
-
-No style sheet is provided for other fonts besides the @TeX{}
-Computer Modern family.
-
-@cindex font selection
-@cindex font magnification
-@cindex @code{font-interface}
@node Text markup
@cindex typeset text
-LilyPond has an internal mechanism to typeset texts. You can access it
-with the keyword @code{\markup}. Within markup mode, you can enter texts
-similar to lyrics: simply enter them, surrounded by spaces:
+The internal mechanism to typeset texts is accessed with the keyword
+@code{\markup}. Within markup mode, you can enter texts similar to
+lyrics. They are simply entered, while commands use the backslash @code{\}.
@cindex markup
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { hello }
- c1_\markup { hi there }
- c1^\markup { hi \bold there, is \italic anyone home? }
+@lilypond[quote,verbatim,fragment,relative=1]
+c1^\markup { hello }
+c1_\markup { hi there }
+c1^\markup { hi \bold there, is \italic anyone home? }
@end lilypond
@cindex font switching
The markup in the example demonstrates font switching commands. The
-command @code{\bold} and @code{\italic} only apply to the first
-following word; enclose a set of texts with braces to apply a command
+command @code{\bold} and @code{\italic} apply to the first following
+word only; enclose a set of texts with braces to apply a command
to more words:
@example
- \markup @{ \bold @{ hi there @} @}
+\markup @{ \bold @{ hi there @} @}
@end example
@noindent
-For clarity, you can also do this for single arguments, e.g.
+For clarity, you can also do this for single arguments, e.g.,
-@verbatim
- \markup { is \italic { anyone } home }
-@end verbatim
+@example
+\markup @{ is \italic @{ anyone @} home @}
+@end example
@cindex font size, texts
In markup mode you can compose expressions, similar to mathematical
-expressions, XML documents and music expressions. The braces group
-notes into horizontal lines. Other types of lists also exist: you can
-stack expressions grouped with @code{<}, and @code{>} vertically with
-the command @code{\column}. Similarly, @code{\center-align} aligns
-texts by their center lines:
-
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column < a bbbb c > }
- c1^\markup { \center-align < a bbbb c > }
- c1^\markup { \line < a b c > }
+expressions, XML documents, and music expressions. You can stack
+expressions grouped vertically with the command @code{\column}.
+Similarly, @code{\center-align} aligns texts by their center lines:
+
+@lilypond[quote,verbatim,fragment,relative=1]
+c1^\markup { \column { a bbbb \line { c d } } }
+c1^\markup { \center-align { a bbbb c } }
+c1^\markup { \line { a b c } }
@end lilypond
-Markups can be stored in variables, and these variables
+Markups can be stored in variables and these variables
may be attached to notes, like
-@verbatim
-allegro = \markup { \bold \large { Allegro } }
-\notes { a^\allegro b c d }
-@end verbatim
+@example
+allegro = \markup @{ \bold \large @{ Allegro @} @}
+ @{ a^\allegro b c d @}
+@end example
Some objects have alignment procedures of their own, which cancel out
Similarly, for moving whole texts over notes with
@code{\raise}, use the following trick:
-@example
- "" \raise #0.5 raised
-@end example
+@lilypond[quote,verbatim]
+{
+ c'^\markup { \raise #0.5 not-raised }
+ c'^\markup { "" \raise #0.5 raised }
+}
+@end lilypond
-The text @code{raised} is now raised relative to the empty string
-@code{""} which is not visible. Alternatively, complete objects can
-be moved with layout properties such as @code{padding} and
+On the second note, the text @code{raised} is moved relative to the
+empty string @code{""} which is not visible. Alternatively, complete
+objects can be moved with layout properties such as @code{padding} and
@code{extra-offset}.
+
@seealso
-Init files: @file{scm/new-markup.scm}.
+Init files: @file{scm/@/new@/-markup@/.scm}.
@refbugs
-Text layout is ultimately done by @TeX{}, which does kerning of
-letters. LilyPond does not account for kerning, so texts will be
-spaced slightly too wide.
+Kerning or generation of ligatures is only done when the @TeX{}
+backend is used. In this case, LilyPond does not account for them so
+texts will be spaced slightly too wide.
Syntax errors for markup mode are confusing.
-Markup texts cannot be used in the titling of the @code{\header}
-field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
-for formatting.
-
-
@menu
+* Text encoding::
+* Nested scores::
* Overview of text markup commands::
+* New dynamic marks::
@end menu
-@node Overview of text markup commands
-@subsection Overview of text markup commands
-
-@include markup-commands.tely
-
-
-@node Global layout
-@section Global layout
-
-The global layout determined by three factors: the page layout, the
-line breaks and the spacing. These all influence each other. The
-choice of spacing determines how densely each system of music is set,
-which influences where line breaks breaks are chosen, and thus
-ultimately how many pages a piece of music takes. This section
-explains how to tune the algorithm for spacing.
-
-Globally spoken, this procedure happens in three steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combination are tried, and the one with the
-best results---a layout that has uniform density and requires as
-little stretching or cramping as possible---is chosen. When the score
-is processed by @TeX{}, each page is filled with systems, and page breaks
-are chosen whenever the page gets full.
-
-
-
-@menu
-* Vertical spacing::
-* Horizontal spacing::
-* Font Size::
-* Line breaking::
-* Page layout::
-@end menu
-
-
-@node Vertical spacing
-@subsection Vertical spacing
-
-@cindex vertical spacing
-@cindex distance between staves
-@cindex staff distance
-@cindex between staves, distance
-@cindex staves per page
-@cindex space between staves
-
-The height of each system is determined automatically by LilyPond, to
-keep systems from bumping into each other, some minimum distances are
-set. By changing these, you can put staves closer together, and thus
-put more systems onto one page.
-
-Normally staves are stacked vertically. To make
-staves maintain a distance, their vertical size is padded. This is
-done with the property @code{minimumVerticalExtent}. It takes a pair
-of numbers, so if you want to make it smaller from its, then you could
-set
-@example
- \set Staff.minimumVerticalExtent = #'(-4 . 4)
-@end example
-This sets the vertical size of the current staff to 4 staff spaces on
-either side of the center staff line. The argument of
-@code{minimumVerticalExtent} is interpreted as an interval, where the
-center line is the 0, so the first number is generally negative. The
-staff can be made larger at the bottom by setting it to @code{(-6
-. 4)}.
-
-The piano staves are handled a little differently: to make cross-staff
-beaming work correctly, it is necessary that the distance between staves
-is fixed beforehand. This is also done with a
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}. In this object the distance between the
-staves is fixed by setting @code{forced-distance}. If you want to
-override this, use a @code{\context} block as follows:
-@example
- \paper @{
- \context @{
- \PianoStaffContext
- \override VerticalAlignment #'forced-distance = #9
- @}
- @dots{}
- @}
-@end example
-This would bring the staves together at a distance of 9 staff spaces,
-measured from the center line of each staff.
-
-@seealso
-
-Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object.
-
-
-
-
-@node Horizontal spacing
-@subsection Horizontal Spacing
-
-The spacing engine translates differences in durations into
-stretchable distances (``springs'') of differing lengths. Longer
-durations get more space, shorter durations get less. The shortest
-durations get a fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
-The longer the duration, the more space it gets: doubling a
-duration adds a fixed amount (this amount is controlled by
-@code{spacing-increment}) of space to the note.
-
-For example, the following piece contains lots of half, quarter and
-8th notes, the eighth note is followed by 1 note head width (NHW).
-The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
-@lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
-c8 c4 c4 c4
-@end lilypond
-
-Normally, @code{shortest-duration-space} is set to 1.2, which is the
-width of a note head, and @code{shortest-duration-space} is set to
-2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
-@code{shortest-duration-space}) of space. For normal notes, this space
-is always counted from the left edge of the symbol, so the shortest
-notes are generally followed by one NHW of space.
-
-If one would follow the above procedure exactly, then adding a single
-32th note to a score that uses 8th and 16th notes, would widen up the
-entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 1 NHW to every note. To prevent this, the
-shortest duration for spacing is not the shortest note in the score,
-but the most commonly found shortest note. Notes that are even
-shorter this are followed by a space that is proportional to their
-duration relative to the common shortest note. So if we were to add
-only a few 16th notes to the example above, they would be followed by
-half a NHW:
-
-@lilypond[fragment,verbatim,relative=2]
- c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common short
-duration, is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-1/8th note. The shortest duration is printed when you run lilypond
-with @code{--verbose}. These durations may also be customized. If you
-set the @code{common-shortest-duration} in
-@internalsref{SpacingSpanner}, then this sets the base duration for
-spacing. The maximum duration for this base (normally 1/8th), is set
-through @code{base-shortest-duration}.
-
-@cindex @code{common-shortest-duration}
-@cindex @code{base-shortest-duration}
-@cindex @code{stem-spacing-correction}
-@cindex @code{spacing}
-
-In the introduction it was explained that stem directions influence
-spacing. This is controlled with @code{stem-spacing-correction}
-property in @internalsref{NoteSpacing}, which are generated for every
-@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated at @internalsref{Staff} context) contains the same property
-for controlling the stem/bar line spacing. The following example
-shows these corrections, once with default settings, and once with
-exaggerated corrections:
-
-@lilypond
- \score { \notes {
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- \override Staff.NoteSpacing #'stem-spacing-correction
- = #1.5
- \override Staff.StaffSpacing #'stem-spacing-correction
- = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- }
- \paper { raggedright = ##t } }
-@end lilypond
-
-@cindex SpacingSpanner, overriding properties
-
-Properties of the @internalsref{SpacingSpanner} must be overridden
-from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
-created before any property commands are interpreted.
-@example
-\paper @{ \context @{
- \ScoreContext
- SpacingSpanner \override #'spacing-increment = #3.0
-@} @}
-@end example
-
-
-@seealso
-
-Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
-@internalsref{SeparatingGroupSpanner}.
+@node Text encoding
+@subsection Text encoding
-@refbugs
-
-Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) halfway during the
-score, the part containing the longer durations will be spaced too
-widely.
-
-There is no convenient mechanism to manually override spacing.
-
-
-
-@node Font Size
-@subsection Font size
-
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{paper} file
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at smaller sizes
-the font gets heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@multitable @columnfractions .25 .25 .25 .25
-
-@item @b{font name}
-@tab @b{staff height (pt)}
-@tab @b{staff height (mm)}
-@tab @b{use}
-
-@item feta11
-@tab 11.22
-@tab 3.9
-@tab pocket scores
-
-@item feta13
-@tab 12.60
-@tab 4.4
-@tab
-
-@item feta14
-@tab 14.14
-@tab 5.0
-@tab
-
-@item feta16
-@tab 15.87
-@tab 5.6
-@tab
+LilyPond uses the Pango library to format multi-lingual texts, and
+does not perform any input-encoding conversions. This means that any
+text, be it title, lyric text, or musical instruction containing
+non-ASCII characters, must be utf-8. Easiest to enter such texts is
+by using a Unicode-aware editor, and save using utf-8 encoding. Most
+popular modern editors have utf-8 support, for example, vim, Emacs,
+jEdit, and GEdit do.
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
+Depending on the fonts installed, the following fragment shows Hebrew
+and Cyrillic lyrics,
-@item feta20
-@tab 17.82
-@tab 7.0
-@tab standard parts
+@cindex Cyrillic
+@cindex Hebrew
+@cindex ASCII, non
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
+@lilypondfile[fontload]{utf8.ly}
-@item feta20
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material ?
-@end multitable
-
-These fonts are available in any sizes. The context property
-@code{fontSize} and the layout property @code{staff-space} (in
-@internalsref{StaffSymbol}) can be used to tune size for individual
-staves. The size of individual staves are relative to the global size,
-which can be set in the following manner:
+The @TeX{} backend does not handle encoding specially at all. Strings
+in the input are put in the output as-is. Extents of text items in the
+@TeX{} backend, are determined by reading a file created via the
+@file{texstr} backend,
@example
- #(set-global-staff-size 14)
+lilypond -b texstr input/les-nereides.ly
+latex les-nereides.texstr
@end example
-This sets the global default size to 14pt staff height, and scales all
-fonts accordingly.
-
-@seealso
-
-This manual: @ref{Selecting font sizes}.
-
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
-
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
-
-
-@cindex regular line breaks
-@cindex four bar music.
-
-For line breaks at regular intervals use @code{\break} separated by
-skips and repeated with @code{\repeat}:
-@example
-<< \repeat unfold 7 @{
- s1 \noBreak s1 \noBreak
- s1 \noBreak s1 \break @}
- @emph{the real music}
->>
-@end example
-
-@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
-@refcommands
-
-@code{\break}, @code{\noBreak}
-@cindex @code{\break}
-@cindex @code{\noBreak}
-
-@seealso
-
-Internals: @internalsref{BreakEvent}.
-
-
-@node Page layout
-@subsection Page layout
-
-@cindex page breaks
-@cindex breaking pages
-
-@cindex @code{indent}
-@cindex @code{linewidth}
-
-The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\paper} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
-
-If @code{raggedright} is set to true in the @code{\paper}
-block, then the lines are justified at their natural length. This
-useful for short fragments, and for checking how tight the natural
-spacing is.
-
-@cindex page layout
-@cindex vertical spacing
+The last command produces @file{les-nereides.textmetrics}, which is
+read when you execute
-The page layout process happens outside the LilyPond formatting
-engine: variables controlling page layout are passed to the output,
-and are further interpreted by @code{lilypond} wrapper program. It
-responds to the following variables in the @code{\paper} block. The
-spacing between systems is controlled with @code{interscoreline}, its
-default is 16pt. The distance between the score lines will stretch in
-order to fill the full page @code{interscorelinefill} is set to a
-positive number. In that case @code{interscoreline} specifies the
-minimum spacing.
-
-@cindex @code{textheight}
-@cindex @code{interscoreline}
-@cindex @code{interscorelinefill}
-
-If the variable @code{lastpagefill} is defined,
-@c fixme: this should only be done if lastpagefill= #t
-systems are evenly distributed vertically on the last page. This
-might produce ugly results in case there are not enough systems on the
-last page. The @command{lilypond-book} command ignores
-@code{lastpagefill}. See @ref{lilypond-book manual} for more
-information.
-
-@cindex @code{lastpagefill}
-
-Page breaks are normally computed by @TeX{}, so they are not under
-direct control of LilyPond. However, you can insert a commands into
-the @file{.tex} output to instruct @TeX{} where to break pages. This
-is done by setting the @code{between-systems-strings} on the
-@internalsref{NonMusicalPaperColumn} where the system is broken.
-An example is shown in @inputfileref{input/regression,between-systems.ly}.
-The predefined command @code{\newpage} also does this.
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, use the following Scheme code:
@example
- \paper@{
- #(set-paper-size "a4")
- @}
+lilypond -b tex input/les-nereides.ly
@end example
-
-@refcommands
-
-@cindex @code{\newpage}
-@code{\newpage}.
-
+Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
+suitable LaTeX wrappers to load appropriate La@TeX{} packages for
+interpreting non-ASCII strings.
@seealso
-In this manual: @ref{Invoking lilypond}.
-
-Examples: @inputfileref{input/regression,between-systems.ly}.
-
-Internals: @internalsref{NonMusicalPaperColumn}.
-
-@refbugs
+@inputfileref{input/regression,utf8.ly}
-LilyPond has no concept of page layout, which makes it difficult to
-reliably choose page breaks in longer pieces.
+@node Nested scores
+@subsection Nested scores
-@node Interpretation context
-@section Interpretation context
+It is possible to nest music inside markups, by adding a @code{\score}
+block to a markup expression. Such a score must contain a @code{\layout}
+block.
-@menu
-* Context properties::
-* Defining contexts::
-* Changing contexts locally::
-* Engravers and performers::
-* Defining new contexts::
-@end menu
-
-
-Interpretation contexts are objects that only exist during program
-run. During the interpretation phase (when @code{interpreting music}
-is printed on the standard output), the music expression in a
-@code{\score} block is interpreted in time order, the same order in
-which we hear and play the music. During this phase, the interpretation
-context holds the state for the current point within the music, for
-example:
-@itemize @bullet
-@item What notes are playing at this point?
-
-@item What symbols will be printed at this point?
-
-@item What is the current key signature, time signature, point within
-the measure, etc.?
-@end itemize
-
-Contexts are grouped hierarchically: A @internalsref{Voice} context is
-contained in a @internalsref{Staff} context (because a staff can contain
-multiple voices at any point), a @internalsref{Staff} context is contained in
-@internalsref{Score}, @internalsref{StaffGroup}, or
-@internalsref{ChoirStaff} context.
-
-Contexts associated with sheet music output are called @emph{notation
-contexts}, those for sound output are called @emph{performance
-contexts}. The default definitions of the standard notation and
-performance contexts can be found in @file{ly/engraver-init.ly} and
-@file{ly/performer-init.ly}, respectively.
-
-
-
-@node Context properties
-@subsection Context properties
-
-Contexts have properties. These properties are set from the @file{.ly}
-file using the following expression:
-@cindex context properties
-@cindex properties, context
-
-@example
-\set @var{contextname}.@var{propname} = @var{value}
-@end example
-
-@noindent
-Sets the @var{propname} property of the context @var{contextname} to
-the specified Scheme expression @var{value}. Both @var{propname} and
-@var{contextname} are strings, which can often be written unquoted.
-
-@cindex inheriting
-Properties that are set in one context are inherited by all of the
-contained contexts. This means that a property valid for the
-@internalsref{Voice} context can be set in the @internalsref{Score} context
-(for example) and thus take effect in all @internalsref{Voice} contexts.
-
-Properties can be unset using the following statement.
-@example
-\unset @var{contextname}.@var{propname}
-@end example
-
-@cindex properties, unsetting
-@cindex @code{\unset}
-
-@noindent
-This removes the definition of @var{propname} in @var{contextname}. If
-@var{propname} was not defined in @var{contextname} (but was inherited
-from a higher context), then this has no effect.
-
-If @var{contextname} is left out, then it defaults to the current
-``bottom'' context: this is a context like @internalsref{Voice} that
-cannot contain any other contexts.
-
-
-@node Defining contexts
-@subsection Defining contexts
-
-@cindex context definition
-@cindex translator definition
-
-The most common way to create a new context definition is by extending
-an existing one. An existing context from the paper block is copied
-by referencing a context identifier:
-
-@example
-\paper @{
- \context @{
- @var{context-identifier}
- @}
-@}
-@end example
-
-@noindent
-Every predefined context has a standard identifier. For example, the
-@code{Staff} context can be referred to as @code{\StaffContext}.
-
-The context can then be modified by setting or changing properties,
-e.g.
-@example
-\context @{
- \StaffContext
- Stem \set #'thickness = #2.0
- defaultBarType = #"||"
-@}
-@end example
-These assignments happen before interpretation starts, so a property
-command will override any predefined settings.
-
-@cindex engraver
-
-@refbugs
-
-It is not possible to collect multiple property assignments in a
-variable, and apply to one @code{\context} definition by
-referencing that variable.
-
-@node Changing contexts locally
-@subsection Changing contexts locally
-
-
-Extending an existing context can also be done locally. A piece of
-music can be interpreted in a changed context by using the following syntax
-
-@example
- \with @{
- @var{context modifications}
- @}
-@end example
-
-These statements comes between @code{\new} or @code{\context} and the
-music to be interpreted. The @var{context modifications} property
-settings and @code{\remove}, @code{\consists} and @code{\consistsend}
-commands. The syntax is similar to the @code{\context} block.
-
-The following example shows how a staff is created with bigger spaces,
-and without a @code{Clef_engraver}.
-
-@lilypond[relative=1,fragment,verbatim]
-<<
- \new Staff { c4 es4 g2 }
- \new Staff \with {
- \override StaffSymbol #'staff-space = #(magstep 1.5)
- fontSize = #1.5
- \remove "Clef_engraver"
- } {
- c4 es4 g2
- } >>
-@end lilypond
-
-@refbugs
-
-The command @code{\with} has no effect on contexts that already
-exist.
-
-
-@node Engravers and performers
-@subsection Engravers and performers
-
-
-Each context is composed of a number of building blocks, or plug-ins
-called engravers. An engraver is a specialized C++ class that is
-compiled into the executable. Typically, an engraver is responsible
-for one function: the @code{Slur_engraver} creates only @code{Slur}
-objects, and the @code{Skip_event_swallow_translator} only swallows
-(silently gobbles) @code{SkipEvent}s.
-
-
-
-@cindex engraver
-@cindex plug-in
-
-An existing context definition can be changed by adding or removing an
-engraver. The syntax for these operations is
-@example
-\consists @var{engravername}
-\remove @var{engravername}
-@end example
-
-@cindex @code{\consists}
-@cindex @code{\remove}
-
-@noindent
-Here @var{engravername} is a string, the name of an engraver in the
-system. In the following example, the @code{Clef_engraver} is removed
-from the Staff context. The result is a staff without a clef, where
-the middle C is at its default position, the center line:
-
-@lilypond[verbatim,raggedright]
-\score {
- \notes {
- c'4 f'4
- }
- \paper {
- \context {
- \StaffContext
- \remove Clef_engraver
+@lilypond[quote,verbatim,raggedright]
+\relative {
+ c4 d^\markup {
+ \score {
+ \relative { c4 d e f }
+ \layout { }
}
}
+ e f
}
@end lilypond
+
-A list of all engravers is in the internal documentation,
-see @internalsref{Engravers}.
-
-@node Defining new contexts
-@subsection Defining new contexts
-
-
-It is also possible to define new contexts from scratch. To do this,
-you must define give the new context a name. In the following
-example, a very simple Staff context is created: one that will put
-note heads on a staff symbol.
-
-@example
-\context @{
- \type "Engraver_group_engraver"
- \name "SimpleStaff"
- \alias "Staff"
- \consists "Staff_symbol_engraver"
- \consists "Note_head_engraver"
- \consistsend "Axis_group_engraver"
-@}
-@end example
-
-@noindent
-The argument of @code{\type} is the name for a special engraver that
-handles cooperation between simple engravers such as
-@code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
-should always be @code{Engraver_group_engraver} (unless you are
-defining a Score context from scratch, in which case
-@code{Score_engraver} must be used).
-
-The complete list of context modifiers is the following:
-@itemize @bullet
-@item @code{\alias} @var{alternate-name}:
-This specifies a different name. In the above example,
-@code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
-
-@item @code{\consistsend} @var{engravername}:
-Analogous to @code{\consists}, but makes sure that
-@var{engravername} is always added to the end of the list of
-engravers.
-
-Engravers that group context objects into axis groups or alignments
-need to be at the end of the list. @code{\consistsend} insures that
-engravers stay at the end even if a user adds or removes engravers.
-
-@item @code{\accepts} @var{contextname}:
-This context can contains @var{contextname} contexts. The first
-@code{\accepts} is created as a default context when events (e.g. notes
-or rests) are encountered.
-
-@item @code{\denies}:
-The opposite of @code{\accepts}.
-
-@item @code{\name} @var{contextname}:
-This sets the type name of the context, e.g. @code{Staff},
-@code{Voice}. If the name is not specified, the translator will not
-do anything.
-@end itemize
-
-@c EOF
-
-
-
-
-@node Output details
-@section Output details
-The default output format is La@TeX{}, which should be run
-through La@TeX{}. Using the option @option{-f}
-(or @option{--format}) other output formats can be selected also, but
- none of them work reliably.
+@node Overview of text markup commands
+@subsection Overview of text markup commands
-Now the music is output system by system (a `system' consists of all
-staves belonging together). From @TeX{}'s point of view, a system is an
-@code{\hbox} which contains a lowered @code{\vbox} so that it is centered
-vertically on the baseline of the text. Between systems,
-@code{\interscoreline} is inserted vertically to have stretchable space.
-The horizontal dimension of the @code{\hbox} is given by the
-@code{linewidth} parameter from LilyPond's @code{\paper} block.
+The following commands can all be used inside @code{\markup @{ @}}.
-After the last system LilyPond emits a stronger variant of
-@code{\interscoreline} only if the macro
-@code{\lilypondpaperlastpagefill} is not defined (flushing the systems
-to the top of the page). You can avoid that by setting the variable
-@code{lastpagefill} in LilyPond's @code{\paper} block.
+@include markup-commands.tely
-It is possible to fine-tune the vertical offset further by defining the
-macro @code{\lilypondscoreshift}:
-@example
-\def\lilypondscoreshift@{0.25\baselineskip@}
-@end example
+@node New dynamic marks
+@subsection New dynamic marks
-@noindent
-where @code{\baselineskip} is the distance from one text line to the next.
+It is possible to print new dynamic marks or text that should be aligned
+with dynamics. Use @code{make-dynamic-script} to create these marks.
-Here an example how to embed a small LilyPond file @code{foo.ly} into
-running La@TeX{} text without using the @code{lilypond-book} script
-(@pxref{lilypond-book manual}):
+@cindex make-dynamic-script
-@example
-\documentclass@{article@}
+@lilypond[quote,verbatim,raggedright]
+sfzp = #(make-dynamic-script "sfzp")
+\relative c' {
+ c4 c c\sfzp c
+}
+@end lilypond
-\def\lilypondpaperlastpagefill@{@}
-\lineskip 5pt
-\def\lilypondscoreshift@{0.25\baselineskip@}
+@cindex Dynamics, editorial
+@cindex Dynamics, parenthesis
-\begin@{document@}
-This is running text which includes an example music file
-\input@{foo.tex@}
-right here.
-\end@{document@}
-@end example
+It is also possible to print dynamics in round parenthesis or square
+brackets. These are often used for adding editorial dynamics.
-The file @file{foo.tex} has been simply produced with
+@lilypond[quote,verbatim,raggedright]
+\version "2.4.2"
+rndf = \markup{ \center-align {\line { \bold{\italic (}
+ \dynamic f \bold{\italic )} }} }
+boxf = \markup{ \bracket { \dynamic f } }
+{ c'1_\rndf c'1_\boxf }
+@end lilypond
-@example
- lilypond-bin foo.ly
-@end example
-The call to @code{\lineskip} assures that there is enough vertical space
-between the LilyPond box and the surrounding text lines.
projects / lilypond.git / blobdiff