-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@node Changing defaults
@chapter Changing defaults
@cindex Program reference
The controls available for tuning are described in a separate
-document, the @internalsref{Program reference} manual. That manual
+document, the
+@iftex
+Program reference manual.
+@end iftex
+@ifnottex
+@ref{Top,Program reference,,lilypond-internals}.
+@end ifnottex
+That manual
lists all different variables, functions and options available in
LilyPond. It is written as a HTML document, which is available
-@uref{http://@/lilypond@/.org/@/doc/@/Documentation/@/user/@/out@/-www/@/lilypond@/-internals/,on@/-line},
+@uref{http://@/lilypond@/.org/@/doc/@/v2.8/@/Documentation/@/user/@/
+lilypond@/-internals/,on@/-line},
but is also included with the LilyPond documentation package.
-There are three areas where the default settings may be changed:
+There are four areas where the default settings may be changed:
@itemize @bullet
+@item
+Automatic notation: changing the automatic creation of notation
+elements. For example, changing the beaming rules.
+
@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.
-
+notation. For example, giving each staff a separate time signature.
+
@item
Global layout: changing the appearance of the spacing, line
-breaks, and page dimensions.
+breaks, and page dimensions. These modifications are discussed
+in @ref{Global issues}.
@end itemize
-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, which requires Scheme input. Scheme elements are
@menu
+* Automatic notation::
* Interpretation contexts::
* The \override command::
-* Fonts::
-* Text markup::
-* Global layout::
-* File structure::
@end menu
-
+
+@node Automatic notation
+@section Automatic notation
+
+This section describes how to change the way that accidentals and
+beams are automatically displayed.
+
+@menu
+* Automatic accidentals::
+* Setting automatic beam behavior::
+@end menu
+
+@node Automatic accidentals
+@subsection Automatic accidentals
+@cindex Automatic accidentals
+
+Common rules for typesetting accidentals have been placed in a
+function. This function is called as follows
+
+@findex set-accidental-style
+@example
+#(set-accidental-style 'STYLE #('CONTEXT#))
+@end example
+
+The function can take two arguments: the name of the accidental style,
+and an optional argument that denotes the context that should be
+changed. If no context name is supplied, @code{Staff} is the default,
+but you may wish to apply the accidental style to a single @code{Voice}
+instead.
+
+@c TODO: we should create a very clear example, and show every
+@c accidental style on that example (with the example specially
+@c constructed so that it illustrates all the differences). -gp
+
+The following accidental styles are supported
+@table @code
+@item default
+This is the default typesetting behavior. It corresponds
+to 18th century common practice: Accidentals are
+remembered to the end of the measure in which they occur and
+only on their own octave.
+
+@item voice
+The normal behavior is to remember the accidentals on
+Staff-level. This variable, however, typesets accidentals
+individually for each voice. Apart from that, the rule is similar to
+@code{default}.
+
+As a result, accidentals from one voice do not get canceled in other
+voices, which is often an unwanted result
+
+@lilypond[quote,ragged-right,relative=1,fragment,verbatim]
+\new Staff <<
+ #(set-accidental-style 'voice)
+ <<
+ { es g } \\
+ { c, e }
+>> >>
+@end lilypond
+
+The @code{voice} option should be used if the voices
+are to be read solely by individual musicians. If the staff is to be
+used by one musician (e.g., a conductor) then
+@code{modern} or @code{modern-cautionary}
+should be used instead.
+
+@item modern
+@findex modern style accidentals
+This rule corresponds to the common practice in the 20th century. This rule
+prints the same accidentals as @code{default}, but temporary
+accidentals also are canceled in other octaves. Furthermore,
+in the same octave, they also get canceled in the following
+measure
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+#(set-accidental-style 'modern)
+cis' c'' cis'2 | c'' c'
+@end lilypond
+
+@item @code{modern-cautionary}
+@findex modern-cautionary
+This rule is similar to @code{modern}, but the ``extra'' accidentals
+(the ones not typeset by @code{default}) are typeset as cautionary
+accidentals. They are printed in reduced size or with parentheses
+@lilypond[quote,ragged-right,fragment,verbatim]
+#(set-accidental-style 'modern-cautionary)
+cis' c'' cis'2 | c'' c'
+@end lilypond
+
+@findex modern-voice
+@item modern-voice
+This rule is used for multivoice accidentals to be read both by musicians
+playing one voice and musicians playing all voices. Accidentals are
+typeset for each voice, but they @emph{are} canceled across voices in
+the same @internalsref{Staff}.
+
+@findex modern-voice-cautionary
+@item modern-voice-cautionary
+This rule is the same as @code{modern-voice}, but with the extra
+accidentals (the ones not typeset by @code{voice}) typeset
+as cautionaries. Even though all accidentals typeset by
+@code{default} @emph{are} typeset by this variable,
+some of them are typeset as cautionaries.
+
+@item piano
+@findex piano accidentals
+This rule reflects 20th century practice for piano notation. Very similar to
+@code{modern} but accidentals also get canceled
+across the staves in the same @internalsref{GrandStaff} or
+@internalsref{PianoStaff}.
+
+@item piano-cautionary
+@findex #(set-accidental-style 'piano-cautionary)
+Same as @code{#(set-accidental-style 'piano)} but with the extra
+accidentals typeset as cautionaries.
+
+@item no-reset
+@findex no-reset accidental style
+This is the same as @code{default} but with accidentals lasting
+``forever'' and not only until the next measure
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+#(set-accidental-style 'no-reset)
+c1 cis cis c
+@end lilypond
+
+@item forget
+This is sort of the opposite of @code{no-reset}: Accidentals
+are not remembered at all---and hence all accidentals are
+typeset relative to the key signature, regardless of what was
+before in the music
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+#(set-accidental-style 'forget)
+\key d\major c4 c cis cis d d dis dis
+@end lilypond
+@end table
+
+
+@seealso
+
+Program reference: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
+
+
+@refbugs
+
+Simultaneous notes are considered to be entered in sequential
+mode. This means that in a chord the accidentals are typeset as if the
+notes in the chord happen one at a time, in the order in which
+they appear in the input file. This is a problem when accidentals
+in a chord depend on each other,
+which does not happen for the default accidental style. The problem
+can be solved by manually inserting @code{!} and @code{?} for the
+problematic notes.
+
+
+@node Setting automatic beam behavior
+@subsection Setting automatic beam behavior
+
+@findex autoBeamSettings
+@findex (end * * * *)
+@findex (begin * * * *)
+@cindex automatic beams, tuning
+@cindex tuning automatic beaming
+
+@c [TODO: use \applyContext]
+
+In normal time signatures, automatic beams can start on any note but can
+only end in a few positions within the measure: beams can end on a beat,
+or at durations specified by the properties in
+@code{autoBeamSettings}. The properties in @code{autoBeamSettings}
+consist of a list of rules for where beams can begin and end. The
+default @code{autoBeamSettings} rules are defined in
+@file{scm/@/auto@/-beam@/.scm}.
+
+In order to add a rule to the list, use
+@example
+#(override-auto-beam-setting '(be p q n m) a b [context])
+@end example
+
+@itemize @bullet
+
+@item @code{be} is either "begin" or "end".
+
+@item @code{p/q} is the duration of the note for which you want
+to add a rule. A beam is considered to have the duration of its
+shortest note. Set @code{p} and @code{q} to @code{'*'} to
+have this apply to any beam.
+
+@item @code{n/m} is the time signature to which
+this rule should apply. Set @code{n} and @code{m} to @code{'*'}
+to have this apply in any time signature.
+
+@item @code{a/b} is the position in the bar at which the beam should
+begin/end.
+
+@item @code{context} is optional, and it specifies the context at which
+the change should be made. The default is @code{'Voice}.
+@code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
+@code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
+
+@end itemize
+
+For example, if automatic beams should always end on the first quarter
+note, use
+
+@example
+#(override-auto-beam-setting '(end * * * *) 1 4)
+@end example
+
+You can force the beam settings to only take effect on beams whose shortest
+note is a certain duration
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 2/4
+#(override-auto-beam-setting '(end 1 16 * *) 1 16)
+a16 a a a a a a a |
+a32 a a a a16 a a a a a |
+#(override-auto-beam-setting '(end 1 32 * *) 1 16)
+a32 a a a a16 a a a a a |
+@end lilypond
+
+You can force the beam settings to only take effect in certain time
+signatures
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 5/8
+#(override-auto-beam-setting '(end * * 5 8) 2 8)
+c8 c d d d
+\time 4/4
+e8 e f f e e d d
+\time 5/8
+c8 c d d d
+@end lilypond
+
+You can also remove a previously set beam-ending rule by using
+
+@example
+#(revert-auto-beam-setting '(be p q n m) a b [context])
+@end example
+
+@noindent
+be, p, q, n, m, a, b and context are the same as above. Note that the
+default rules are specified in @file{scm/@/auto@/-beam@/.scm},
+so you can revert rules that you did not explicitly create.
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 4/4
+a16 a a a a a a a a a a a a a a a
+#(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
+a16 a a a a a a a a a a a a a a a
+@end lilypond
+
+The rule in a revert-auto-beam-setting statement must exactly match the
+original rule. That is, no wildcard expansion is taken into account.
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\time 1/4
+#(override-auto-beam-setting '(end 1 16 1 4) 1 8)
+a16 a a a
+#(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
+a a a a
+#(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
+a a a a
+@end lilypond
+
+
+
+@c TODO: old material -- not covered by above stuff, I think.
+If automatic beams should end on every quarter in 5/4 time, specify
+all endings
+@example
+#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
+#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
+#(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
+@dots{}
+@end example
+
+The same syntax can be used to specify beam starting points. In this
+example, automatic beams can only end on a dotted quarter note
+@example
+#(override-auto-beam-setting '(end * * * *) 3 8)
+#(override-auto-beam-setting '(end * * * *) 1 2)
+#(override-auto-beam-setting '(end * * * *) 7 8)
+@end example
+In 4/4 time signature, this means that automatic beams could end only on
+3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
+3/8, has passed within the measure).
+
+@cindex automatic beam generation
+@cindex autobeam
+@findex autoBeaming
+@cindex lyrics
+
+If beams are used to indicate melismata in songs, then automatic
+beaming should be switched off with @code{\autoBeamOff}.
+
+
+@refcommands
+
+@findex \autoBeamOff
+@code{\autoBeamOff},
+@findex \autoBeamOn
+@code{\autoBeamOn}.
+
+
+@refbugs
+
+If a score ends while an automatic beam has not been ended and is
+still accepting notes, this last beam will not be typeset at all. The
+same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
+>>}. If a polyphonic voice ends while an automatic beam is still
+accepting notes, it is not typeset.
+
+
@node Interpretation contexts
@section Interpretation contexts
+This section describes what contexts are, and how to modify them.
+
+@menu
+* Contexts explained::
+* Creating contexts::
+* Changing context properties on the fly::
+* Modifying context plug-ins::
+* Layout tunings within contexts::
+* Changing context default settings::
+* Defining new contexts::
+@end menu
+
+
+@node Contexts explained
+@subsection Contexts explained
+
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:
+input. For example, compare the input and output of the following example:
@lilypond[quote,verbatim,relative=2,fragment]
cis4 cis2. g4
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 input, the program remembers where measure boundaries are, and what
-pitches need explicit accidentals. This information can be presented on
+order, similar to reading a score from left to right. While reading
+the input, the program remembers where measure boundaries are, and which
+pitches require 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},
+@emph{Contexts}. Some examples of contexts are @context{Voice},
@context{Staff}, and @context{Score}. They are hierarchical, for
-example, a @context{Staff} can contain many @context{Voice}s, and a
+example: a @context{Staff} can contain many @context{Voice}s, and a
@context{Score} can contain many @context{Staff} contexts.
+@quotation
+@image{context-example,5cm,,}
+@end quotation
+
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
+properties. For example, the @context{Voice} context 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.
+show or suppress the accidental for the remainder of the measure. The
+synchronization of bar lines is handled at @context{Score} context.
+
+However, in some music we may not want the bar lines to be
+synchronized -- consider a polymetric score in 4/4 and 3/4 time. In
+such cases, we must modify the default settings of the @context{Score}
+and @context{Staff} contexts.
-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
+For very simple scores, contexts are created implicitly, and you need
+not be aware of them. For larger pieces, such as anything with more
+than one staff, 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
@ifhtml
@internalsref{Contexts}.
@end ifhtml
-@ifnothtml
+@ifnothtml
Translation @arrow{} Context.
@end ifnothtml
@c [TODO: describe propagation]
-@menu
-* Creating contexts::
-* Changing context properties on the fly::
-* Modifying context plug-ins::
-* Layout tunings within contexts::
-* Changing context default settings::
-* Defining new contexts::
-@end menu
-
@node Creating contexts
@subsection Creating contexts
-For scores with only one voice and one staff, correct contexts are
+For scores with only one voice and one staff, contexts are
created automatically. For more complex scores, it is necessary to
create them by hand. There are three commands that do this.
+@itemize @bullet
+
+@item
The easiest command is @code{\new}, and it also the quickest to type.
It is prepended to a music expression, for example
-@cindex @code{\new}
+@findex \new
@cindex new contexts
@cindex Context, creating
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, is preceded with
+staves. Each part that should be on its own staff, is preceded with
@code{\new Staff}.
-@lilypond[quote,verbatim,relative=2,raggedright,fragment]
-<< \new Staff { c4 c }
- \new Staff { d4 d }
+@lilypond[quote,verbatim,relative=2,ragged-right,fragment]
+<<
+ \new Staff { c4 c }
+ \new Staff { d4 d }
>>
@end lilypond
-@cindex @code{\context}
+The @code{\new} command may also give a name to the context,
+
+@example
+\new @var{type} = @var{id} @var{music}
+@end example
+However, this user specified name is only used if there is no other
+context already earlier with the same name.
+
+@findex \context
+
+@item
Like @code{\new}, the @code{\context} command also directs a music
-expression to a context object, but gives the context an extra name. The
+expression to a context object, but gives the context an explicit name. The
syntax is
@example
@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 is referred to later on. For example, when
+called @var{id}. If that context does not exist yet, a new
+context with the specified name 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
so the texts can be properly aligned to its notes,
@example
-\new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
+\new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
@end example
@noindent
-Another possibility is funneling two different music expressions into
-one context. In the following example, articulations and notes are
-entered separately,
+Another possible use of named contexts is funneling two different
+music expressions into one context. In the following example,
+articulations and notes are entered separately,
@example
music = @{ c4 c4 @}
They are combined by sending both to the same @context{Voice} context,
@example
-<< \new Staff \context Voice = "A" \music
- \context Voice = "A" \arts
+<<
+ \new Staff \context Voice = "A" \music
+ \context Voice = "A" \arts
>>
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
music = { c4 c4 }
arts = { s4-. s4-> }
\relative c'' <<
edition), with the option to put several distinct articulations on the
same notes.
-@cindex @code{\context}
@cindex creating contexts
+@item
The third command for creating contexts is
@example
\context @var{type} @var{music}
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
+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{context} #@var{function} % apply to Voice
@end example
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 \applyOutput #'Score #@var{function}
+\context \applyOutput #'Staff #@var{function}
@end example
+@end itemize
+
@node Changing context properties on the fly
@subsection Changing context properties on the fly
@cindex properties
-@cindex @code{\set}
+@findex \set
@cindex changing properties
Each context can have different @emph{properties}, variables contained
For example,
@lilypond[quote,verbatim,relative=2,fragment]
-R1*2
+R1*2
\set Score.skipBars = ##t
R1*2
@end lilypond
@noindent
the @var{context} argument to @code{\set} is left out, so automatic
-beaming is switched off in the current @internalsref{Voice}.
+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 @context{Staff}, then the change would also apply to all
`on-the-fly', during the music, so that the setting only affects the
second group of eighth notes.
-@cindex @code{\unset}
+@findex \unset
There is also an @code{\unset} command,
@example
specified for a bottom context, so the two statements
@example
-\set Voice.autoBeaming = ##t
-\set autoBeaming = ##t
-@end example
+\set Voice.autoBeaming = ##t
+\set autoBeaming = ##t
+@end example
@noindent
are equivalent.
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.
@node Modifying context plug-ins
@subsection Modifying context plug-ins
-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
-@code{Note_head_engraver} and the Staff context contains a
+Notation contexts (like @code{Score} and @code{Staff}) not only
+store properties,
+they also contain plug-ins called ``engravers'' that create notation
+elements. For example, the @code{Voice} context contains a
+@code{Note_head_engraver} and the @code{Staff} context contains a
@code{Key_signature_engraver}.
-For a full a description of each plug-in, see
+For a full a description of each plug-in, see
@ifhtml
@internalsref{Engravers}.
@end ifhtml
@ifhtml
@internalsref{Contexts}
@end ifhtml
-@ifnothtml
+@ifnothtml
Program reference @arrow Translation @arrow{} Context.
@end ifnothtml
lists the engravers used for that context.
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 it like this,
+starting a new context with @code{\new} or @code{\context}, and
+modifying it,
+
+@findex \with
@example
\new @var{context} \with @{
\remove @dots{}
@emph{etc.}
@}
-@emph{..music..}
+@{
+ @emph{..music..}
+@}
@end example
@noindent
@code{Clef_engraver} from a @code{Staff} context,
@lilypond[quote,relative=1,verbatim,fragment]
-<< \new Staff {
+<<
+ \new Staff {
f2 g
}
\new Staff \with {
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
+the entire staff. This method also influences the spacing, which may or
+may not be desirable. 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 @code{Score} to @code{Staff}
-context, we can have a score where each staff has its own time
-signature.
+by the @code{Timing_translator} and @code{Default_bar_line_engraver}.
+This plug-in keeps an administration of time signature, location
+within the measure, etc. By moving thes 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[quote,relative=1,raggedright,verbatim,fragment]
+@lilypond[quote,relative=1,ragged-right,verbatim,fragment]
\new Score \with {
- \remove "Timing_engraver"
+ \remove "Timing_translator"
+ \remove "Default_bar_line_engraver"
} <<
\new Staff \with {
- \consists "Timing_engraver"
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
} {
\time 3/4
c4 c c c c c
}
\new Staff \with {
- \consists "Timing_engraver"
+ \consists "Timing_translator"
+ \consists "Default_bar_line_engraver"
} {
\time 2/4
c4 c c c c c
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
@example
The command
@verbatim
-\override Staff.Stem #'thickness = #4.0
+\override Staff.Stem #'thickness = #4.0
@end verbatim
@noindent
@lilypond[quote,verbatim,relative=2,fragment]
c4
-\override Staff.Stem #'thickness = #4.0
+\override Staff.Stem #'thickness = #4.0
c4
c4
c4
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
+the change during one timestep only
@lilypond[quote,fragment,verbatim,relative=2]
c4
-\once \override Stem #'thickness = #4.0
+\once \override Stem #'thickness = #4.0
+c4
c4
-c4
@end lilypond
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,
-
+started. Therefore, when altering @emph{Spanner} objects such as slurs
+or beams, the @code{\override} command must be executed at the moment
+when the object is created. In this example,
@lilypond[quote,fragment,verbatim,relative=2]
\override Slur #'thickness = #3.0
c8[( c
\override Beam #'thickness = #0.6
-c8 c])
+c8 c])
@end lilypond
@noindent
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.
+@code{Beam} comes after the Beam is started, so it has no effect.
Analogous to @code{\unset}, the @code{\revert} command for a context
undoes an @code{\override} command; like with @code{\unset}, it only
\revert Staff.Stem #'thickness
@end example
+Some tweakable options are called ``subproperties'' and reside inside
+properties. To tweak those, use commands of the form
+
+@c leave this as a long long
+@example
+\override @var{context}.@var{name} #'@var{property} #'@var{subproperty} = #@var{value}
+@end example
+
+@noindent
+such as
+@example
+\override Stem #'details #'beamed-lengths = #'(4 4 3)
+@end example
@seealso
Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
-@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
-@internalsref{All-layout-objects}.
+@internalsref{PropertySet}, @internalsref{Backend}, and
+@internalsref{All layout objects}.
@refbugs
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,
+from the music in the @code{\layout} block,
@example
\layout @{
@}
@end example
-Here
-@example
-\Staff
-@end example
-
-@noindent
-takes the existing definition for context @context{Staff} from the
-identifier @code{\Staff}.
+Here @code{\Staff} takes the existing definition for context @context{Staff} from the
+identifier @code{\Staff}.
The statements
@example
@end example
@noindent
-affect all staves in the score.
-
-Other contexts can be modified analogously.
+affect all staves in the score. Other contexts can be modified
+analogously.
The @code{\set} keyword is optional within the @code{\layout} block, so
@refbugs
-It is not possible to collect context changes in a variable, and apply
-them to one @code{\context} definition by referring to that variable.
+It is not possible to collect context changes in a variable and apply
+them to a @code{\context} definition by referring to that variable.
+
+The @code{\RemoveEmptyStaffContext} will overwrite your current
+@code{\Staff} settings. If you wish to change the defaults for a
+staff which uses @code{\RemoveEmptyStaffContext}, you must do so
+after calling @code{\RemoveemptyStaffContext}, ie
+
+@example
+\layout @{
+ \context @{
+ \RemoveEmptyStaffContext
+
+ \override Stem #'thickness = #4.0
+ @}
+@}
+@end example
@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.
+simple building blocks. It is possible to create new types of
+contexts with different combinations of engraver plug-ins.
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,
+@code{Voice}, but only prints centered slash noteheads. It can be used
+to indicate improvisation in jazz pieces,
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\layout { \context {
\name ImproVoice
- \type "Engraver_group_engraver"
+ \type "Engraver_group"
\consists "Note_heads_engraver"
\consists "Text_engraver"
\consists Pitch_squash_engraver
}}
\relative c'' {
- a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
- c4 c^"undress" c_"while playing :)" c }
- a1
+ a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+ c4 c^"undress" c_"while playing :)" c }
+ a1
}
@end lilypond
-These settings are again done within a @code{\context} block inside a
+These settings are defined within a @code{\context} block inside a
@code{\layout} block,
@example
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
+First the context's name is defined. Instead of @context{Voice} it
will be called @context{ImproVoice},
@example
position to the value of @code{squashedPosition}, in this case@tie{}@code{0},
the center line.
-The notes look like a slash, without a stem,
+The notes look like a slash, and have no stem,
@example
\override NoteHead #'style = #'slash
\override Stem #'transparent = ##t
@end example
-
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},
+This should always be @internalsref{Engraver_group},
@example
-\type "Engraver_group_engraver"
+\type "Engraver_group"
@end example
Put together, we get
@example
\context @{
\name ImproVoice
- \type "Engraver_group_engraver"
+ \type "Engraver_group"
\consists "Note_heads_engraver"
\consists "Text_engraver"
\consists Pitch_squash_engraver
@}
@end example
+@findex \accepts
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.}
-
-
+command,
@example
\context @{
\Staff
- \accepts ImproVoice
+ \accepts ImproVoice
@}
@end example
+@findex \denies
+The opposite of @code{\accepts} is @code{\denies},
+which is sometimes needed when reusing existing context definitions.
+
Putting both into a @code{\layout} block, like
@example
\relative c'' @{
a4 d8 bes8
\new ImproVoice @{
- c4^"ad lib" c
+ 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,
+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::
+* Objects connected to the input::
+* \set vs. \override::
* Difficult tweaks::
@end menu
-@node Common tweaks
-@subsection Common tweaks
-
-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
-@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 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
+Commands which change output generally look like
@example
\override Voice.Stem #'thickness = #3.0
@end example
@noindent
-means that we have to determine these bits of information:
+This means that we must 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
+@item the layout property: here @code{thickness}.
+@item a sensible value: here @code{3.0}.
+@end itemize
+
+Some tweakable options are called ``subproperties'' and reside inside
+properties. To tweak those, use commands in the form
+@example
+\override Stem #'details #'beamed-lengths = #'(4 4 3)
+@end example
@cindex internal documentation
@cindex finding graphical objects
-@cindex graphical object descriptions
+@cindex graphical object descriptions
@cindex tweaking
-@cindex @code{\override}
-@cindex @code{\set}
+@findex \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
@end lilypond
If you visit the documentation on fingering instructions (in
-@ref{Fingering instructions}), you will notice that there is written:
+@ref{Fingering instructions}), you will notice:
@quotation
@seealso
-Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
+Program reference: @internalsref{Fingering}.
@end quotation
-
+@c outdated info; probably will delete.
+@ignore
This fragment points to two parts of the program reference: a page
on @code{FingerEvent} and one on @code{Fingering}.
@quotation
Accepted by: @internalsref{Fingering_engraver},
-@end quotation
+@end quotation
@noindent
That link brings us to the documentation for the Engraver, the
In other words, once the @code{FingerEvent}s are interpreted, the
@code{Fingering_engraver} plug-in will process them.
+@end ignore
+
+@ignore
+@c I can't figure out what this is supposed to mean. -gp
+
The @code{Fingering_engraver} is also listed to create
@internalsref{Fingering} objects,
-
-Lo and behold, that is also the
+@c old info? it doesn't make any sense to me with our current docs.
+This 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:
+manual.
+@end ignore
+
+Follow the link to @internalsref{Fingering}. At the top of the
+page, you will see
+
+@quotation
+Fingering objects are created by: @internalsref{Fingering_engraver} and
+@internalsref{New_fingering_engraver}.
+@end quotation
+
+By clicking around in the program reference, we can follow the
+flow of information within the program, following links like this:
@itemize @bullet
@item @internalsref{Fingering}:
@internalsref{Fingering} objects are created by:
-@b{@internalsref{Fingering_engraver}}
+@internalsref{Fingering_engraver}
@item @internalsref{Fingering_engraver}:
-Music types accepted: @b{@internalsref{fingering-event}}
+Music types accepted: @internalsref{fingering-event}
@item @internalsref{fingering-event}:
Music event type @code{fingering-event} is in Music expressions named
-@b{@internalsref{FingerEvent}}
+@internalsref{FingerEvent}
@end itemize
This path goes against the flow of information in the program: it
-starts from the output, and ends at the input event.
+starts from the output, and ends at the input event. You could
+also start at an input event, and read with the flow of
+information, eventually ending up at the output object(s).
The program reference can also be browsed like a normal document. It
-contains a chapter on
+contains chapters on
@ifhtml
-@internalsref{Music-definitions},
+@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
+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
+@cindex grob
-The HTML page that we found in the previous section, describes the
+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
-which is short for Graphical Object.
-
+layout object is also called a @emph{Grob}, which is short for Graphical
+Object. For more details about Grobs, see @internalsref{grob-interface}.
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}
+
+@code{0.5}
@end quotation
@noindent
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.
+The vertical position is also coordinated with other superscript
+and subscript symbols.
@end itemize
Each of these aspects is captured in so-called @emph{interface}s,
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.
+can be modified.
We have been talking of @emph{the} @code{Fingering} object, but actually it
-does not amount to much. The initialization file
+does not amount to much. The initialization file (see
+@ref{Default files})
@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)
+ . ((padding . 0.5)
+ (avoid-slur . around)
+ (slur-padding . 0.2)
+ (staff-padding . 0.5)
(self-alignment-X . 0)
(self-alignment-Y . 0)
(script-priority . 100)
- (font-encoding . number)
- (font-size . -5)
- (meta . ((interfaces . (finger-interface font-interface
- text-script-interface text-interface
- side-position-interface
- self-alignment-interface
- item-interface))))))
+ (stencil . ,ly:text-interface::print)
+ (direction . ,ly:script-interface::calc-direction)
+ (font-encoding . fetaNumber)
+ (font-size . -5) ; don't overlap when next to heads.
+ (meta . ((class . Item)
+ (interfaces . (finger-interface
+ font-interface
+ text-script-interface
+ text-interface
+ side-position-interface
+ self-alignment-interface
+ item-interface))))))
@end example
@noindent
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
+Recall that we wanted to change the position of the @b{2} in
@lilypond[quote,fragment,relative=2,verbatim]
c-2
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
+done using @code{side-position-interface}. The page for this interface
says
@quotation
@cindex padding
@noindent
-below this description, the variable @code{padding} is described as
+Below this description, the variable @code{padding} is described as
@quotation
@table @code
@item padding
(dimension, in staff space)
-Add this much extra space between objects that are next to each other.
+Add this much extra space between objects that are next to each other.
@end table
@end quotation
-By increasing the value of @code{padding}, we can move away the
-fingering. The following command inserts 3 staff spaces of white
+By increasing the value of @code{padding}, we can move the
+fingering away from the notehead. The following command inserts
+3 staff spaces of white
between the note and the fingering:
@example
\once \override Voice.Fingering #'padding = #3
the @internalsref{Fingering_engraver} plug-in says
@quotation
-Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
+Fingering_engraver is part of contexts: @dots{} @internalsref{Voice}
@end quotation
-@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)
+@node Objects connected to the input
+@subsection Objects connected to the input
- ; is the Y coordinate right?
- (= pos position))
+@findex \tweak
- ; then do it.
- (set! (ly:grob-property grob 'font-size) size))))
+In some cases, it is possible to take a short-cut for tuning graphical
+objects. For objects that result directly from a piece of the input,
+you can use the @code{\tweak} function, for example
-\relative {
+@lilypond[relative=2,fragment,verbatim,ragged-right]
+<
c
- \applyoutput #(set-position-font-size -2 4)
- <c e g>
-}
+ \tweak #'color #red d
+ g
+ \tweak #'duration-log #1 a
+>4-\tweak #'padding #10 -.
@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.
+As you can see, properties are set directly in the objects directly,
+without mentioning the grob name or context where this should be
+applied.
-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.
+This technique only works for objects that are directly connected to
+an @internalsref{event} from the input, for example
-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}.
+@item note heads, caused by chord-pitch (i.e., notes inside a chord).
+@item articulation signs, caused by articulation instructions.
@end itemize
-This procedure is installed into @internalsref{Tie}, so the last part
-of the broken tie is translated up.
+It notably does not work for stems and accidentals (these are caused
+by note heads, not by music events) or clefs (these are not caused by
+music inputs, but rather by the change of a property value).
+There are very few objects which are @emph{directly} connected to
+output. A normal note (like @code{c4}) is not directly connected
+to output, so
-@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
-
-@menu
-* Selecting font sizes::
-* Font selection::
-@end menu
-
-
-
-@node Selecting font sizes
-@subsection Selecting font sizes
-
-
-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
-
-@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
-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. 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}. 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:
-
-@cindex @code{\tiny}
-@code{\tiny},
-@cindex @code{\small}
-@code{\small},
-@cindex @code{\normalsize}
-@code{\normalsize}.
-
-
-
-@cindex magnification
-@cindex cue notes
-
-
-@node Font selection
-@subsection Font selection
-
-
-
-@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{ec}
-for @TeX{} EC font encoding, @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}.
-
-@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}.
-
-@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}.
-
-@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.,
-@example
-\override Staff.TimeSignature
- #'font-name = #"cmr17"
-@end example
-
-@noindent
-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
-example, @code{2.0} blows up all letters by a factor 2 in both
-directions.
-
-@cindex font size
-@cindex font magnification
-
-
-
-@seealso
-
-Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
-fonts may be added to LilyPond.
-
-
-
-@node Text markup
-@section Text markup
-@cindex text markup
-@cindex markup text
-
-
-@cindex typeset text
-
-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[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} 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 @} @}
-@end example
-
-@noindent
-For clarity, you can also do this for single arguments, e.g.,
-
-@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. 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
-may be attached to notes, like
-@example
-allegro = \markup @{ \bold \large @{ Allegro @} @}
- @{ a^\allegro b c d @}
-@end example
-
-
-Some objects have alignment procedures of their own, which cancel out
-any effects of alignments applied to their markup arguments as a
-whole. For example, the @internalsref{RehearsalMark} is horizontally
-centered, so using @code{\mark \markup @{ \left-align .. @}} has no
-effect.
-
-Similarly, for moving whole texts over notes with
-@code{\raise}, use the following trick:
-@lilypond[quote,verbatim]
-{
- c'^\markup { \raise #0.5 not-raised }
- c'^\markup { "" \raise #0.5 raised }
-}
-@end lilypond
-
-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}.
-
-
-@refbugs
-
-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.
-
-
-@menu
-* Text encoding::
-* Nested scores::
-* Overview of text markup commands::
-* New dynamic marks::
-@end menu
-
-@node Text encoding
-@subsection Text encoding
-
-Texts can be entered in different encodings. The encoding of the
-file can be set with @code{\encoding}.
-
-@example
-\encoding "latin1"
-@end example
-
-This command may be placed anywhere in the input file. The current
-encoding is passed as an extra argument to @code{\markup} commands,
-and is passed similarly to lyric syllables.
-
-If no @code{\encoding} has been specified, then the encoding is taken
-from the @code{\layout} block (or @code{\paper}, if @code{\layout}
-does not specify encoding). The variable @code{inputencoding} may be
-set to a string or symbol specifying the encoding, e.g.,
-
-@example
-\layout @{
- inputencoding = "latin1"
-@}
-@end example
-
-Normal strings are unaffected by @code{\encoding}. This means that
-the following will usually not produce `Baßtuba' in the title.
-
-@example
-\header @{
- title = "Grazing cow"
- instrument = "Baßtuba"
-@}
-@end example
-
-@noindent
-Rather, you should say
-@example
-instrument = \markup @{ Baßtuba @}
-@end example
-
-@noindent
-or set @code{inputencoding} in the @code{\paper} block.
-
-There is a special encoding, called @code{TeX}. This encoding does not
-reencode text for the font used. Rather, it tries to guess the width
-of @TeX{} commands, such as @code{\"}. Strings encoded with @code{TeX}
-are passed to the output back-end verbatim.
-
-@cindex encoding
-@cindex @code{\encoding}
-@cindex inputencoding
-@cindex @TeX{} commands in strings
-
-
-@node Nested scores
-@subsection Nested scores
-
-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.
-
-@lilypond[quote,verbatim,raggedright]
-\relative {
- c4 d^\markup {
- \score {
- \relative { c4 d e f }
- \layout { }
- }
- }
- e f
-}
-@end lilypond
-
-
-
-@node Overview of text markup commands
-@subsection Overview of text markup commands
-
-The following commands can all be used inside @code{\markup @{ @}}.
-
-@include markup-commands.tely
-
-
-@node New dynamic marks
-@subsection New dynamic marks
-
-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.
-
-@cindex make-dynamic-script
-
-@lilypond[quote,verbatim,raggedright]
-sfzp = #(make-dynamic-script "sfzp")
-\relative c' {
- c4 c c\sfzp c
-}
-@end lilypond
-
-
-@node Global layout
-@section Global layout
-
-The global layout is 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.
-This influences where line breaks are chosen, and thus ultimately, how
-many pages a piece of music takes.
-
-Globally spoken, this procedure happens in three steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combinations 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.
-
-After spacing and linebreaking, the systems are distributed across
-pages, taking into account the size of the page, and the size of the
-titles.
-
-
-
-@menu
-* Setting global staff size::
-* Vertical spacing of piano staves::
-* Vertical spacing::
-* Horizontal spacing::
-* Line length::
-* Line breaking::
-* Multiple movements::
-* Creating titles::
-* Page breaking::
-* Paper size::
-* Page layout::
-@end menu
-
-
-@node Setting global staff size
-@subsection Setting global staff size
-
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{layout} file
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at a smaller size
-the font becomes heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@quotation
-@multitable @columnfractions .15 .2 .22 .2
-
-@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
-
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
-
-@item feta20
-@tab 20
-@tab 7.0
-@tab standard parts
-
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
-
-@item feta26
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material?
-
-@end multitable
-@end quotation
-
-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 the size for individual
-staves. The sizes of individual staves are relative to the global size,
-which can be set in the following manner:
-
-@example
-#(set-global-staff-size 14)
-@end example
-
-@noindent
-This sets the global default size to 14pt staff height and scales all
-fonts accordingly.
-
-@seealso
-
-This manual: @ref{Selecting font sizes}.
-
-
-
-
-@node Vertical spacing of piano staves
-@subsection Vertical spacing of piano staves
-
-The distance between staves of a @internalsref{PianoStaff} cannot be
-computed during formatting. Rather, to make cross-staff beaming work
-correctly, that distance has to be fixed beforehand.
-
-The distance of staves in a @code{PianoStaff} is set with the
-@code{forced-distance} property of the
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}.
-
-It can be adjusted as follows
-@example
-\new PianoStaff \with @{
- \override VerticalAlignment #'forced-distance = #7
-@} @{
- ...
-@}
-@end example
-
-@noindent
-This would bring the staves together at a distance of 7 staff spaces,
-measured from the center line of each staff.
-
-The difference is demonstrated in the following example,
-@lilypond[quote,verbatim]
-\relative <<
- \new PianoStaff \with {
- \override VerticalAlignment #'forced-distance = #7
- } <<
- \new Staff { c1 }
- \new Staff { c }
- >>
- \new PianoStaff <<
- \new Staff { c }
- \new Staff { c }
- >>
->>
-@end lilypond
-
-
-
-@refbugs
-
-@code{forced-distance} cannot be changed per system.
-
-@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. To prevent
-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 than its default, then you could set
-
-@example
-\set Staff.minimumVerticalExtent = #'(-4 . 4)
-@end example
+@example
+\tweak #'color #red c4
+@end example
@noindent
-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)}.
-
-
-@seealso
-
-Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object.
-
-@refbugs
-
-@code{minimumVerticalExtent} is syntactic sugar for setting
-@code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
-current context. It can only be changed score wide.
-
-
+will not change color. See @ref{Displaying music expressions} for
+details.
-@node Horizontal spacing
-@subsection Horizontal Spacing
-The spacing engine translates differences in durations into
-stretchable distances (``springs'') of differring 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.
+@node \set vs. \override
+@subsection \set vs. \override
-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.
+We have seen two methods of changing properties: @code{\set} and
+@code{\override}. There are actually two different kinds of
+properties.
-@lilypond[quote,fragment,verbatim,relative=1]
-c2 c4. c8 c4. c8 c4. c8 c8
-c8 c4 c4 c4
-@end lilypond
-
-Normally, @code{spacing-increment} is set to 1.2 staff space, which is
-approximately the width of a note head, and
-@code{shortest-duration-space} is set to 2.0, meaning that the
-shortest note gets 2.4 staff space (2.0 times the
-@code{spacing-increment}) of horizontal space. This space is 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
-32nd 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 rather
-the one which occurs most frequently.
-
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common shortest
-duration is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-an 8th note. The shortest duration is printed when you run
-@code{lilypond} with the @code{--verbose} option.
-
-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 an 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}
-
-Notes that are even shorter than the common shortest note 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[quote,fragment,verbatim,relative=2]
-c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-
-In the introduction (see @ref{Engraving}), it was explained that stem
-directions influence spacing. This is controlled with the
-@code{stem-spacing-correction} property in the
-@internalsref{NoteSpacing}, object. These are generated for every
-@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated in @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[quote,raggedright]
-{
- 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|
-}
-@end lilypond
+Contexts can have properties, which are usually named in
+@code{studlyCaps}. They mostly control the translation from
+music to notatino, eg. @code{localKeySignature} (for determining
+whether to print accidentals), @code{measurePosition} (for
+determining when to print a barline). Context properties can
+change value over time while interpreting a piece of music;
+@code{measurePosition} is an obvious example of
+this. Context properties are modified with @code{\set}.
+There is a special type of context property: the element
+description. These properties are named in @code{StudlyCaps}
+(starting with capital letters). They contain the
+``default settings'' for said graphical object as an
+association list. See @file{scm/@/define@/-grobs@/.scm}
+to see what kind of settings there are. Element descriptions
+may be modified with @code{\override}.
-@seealso
-
-Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
-@internalsref{SeparatingGroupSpanner}.
-
-@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.
+@code{\override} is actually a shorthand;
-There is no convenient mechanism to manually override spacing. The
-following work-around may be used to insert extra space into a score.
@example
- \once \override Score.SeparationItem #'padding = #1
-@end example
-
-No work-around exists for decreasing the amount of space.
-
-@node Line length
-@subsection Line length
-
-@cindex page breaks
-@cindex breaking pages
-
-@cindex @code{indent}
-@cindex @code{linewidth}
-
-@c Although linewidth can be set in \layout, it should be set in paper
-@c block, to get page layout right.
-@c Setting indent in \paper block makes not much sense, but it works.
-
-@c Bit verbose and vague, use examples?
-The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\layout} 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{\layout} block, then
-the lines are justified at their natural length. This is useful for
-short fragments, and for checking how tight the natural spacing is.
-
-@cindex page layout
-@cindex vertical spacing
-
-The option @code{raggedlast} is similar to @code{raggedright}, but
-only affects the last line of the piece. No restrictions are put on
-that line. The result is similar to formatting text paragraphs. In a
-paragraph, the last line simply takes its natural length.
-@c Note that for text there are several options for the last line.
-@c While Knuth TeX uses natural length, lead typesetters use the same
-@c stretch as the previous line. eTeX uses \lastlinefit to
-@c interpolate between both these solutions.
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen so
-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}
->>
+\override @var{context}.@var{name} #'@var{property} = #@var{value}
@end example
@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
-@refcommands
-
-@code{\break}, and @code{\noBreak}.
-@cindex @code{\break}
-@cindex @code{\noBreak}
-
-@seealso
-
-Internals: @internalsref{BreakEvent}.
-
-
-
-@node Multiple movements
-@subsection Multiple movements
-
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Engraved by LilyPond
-
-A document may contain multiple pieces of music. Examples of these
-are an etude book, or an orchestral part with multiple movements.
-Each movement is entered with a @code{\score} block,
-
-@example
-\score @{
- @var{..music..}
-@}
-@end example
-
-The movements are combined together in a @code{\book} block, like
+is more or less equivalent to
+@c leave this long line -gp
@example
-\book @{
- \score @{
- @var{..}
- @}
- \score @{
- @var{..}
- @}
-@}
-@end example
-
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement. The title for the entire book can be put inside the
-@code{\book}, but if it is not present, the @code{\header} which is at
-the top of the file is inserted.
-
-@cindex Engraved by LilyPond
-@cindex signature line
-
-@example
-\book @{
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- @}
- \score @{
- @dots{}
- \header @{ piece = "Romanze" @}
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
+\set @var{context}.@var{name} #'@var{property} = #(cons (cons '@var{property} @var{value}) <previous value of @var{context})
@end example
-@node Creating titles
-@subsection Creating titles
+The value of @code{context} (the alist) is used to initalize
+the properties of individual grobs. Grobs also have
+properties, named in scheme style, with
+@code{dashed-words}. The values of grob properties change
+during the formatting process: formatting basically amounts
+to computing properties using callback functions.
-Titles are created for each @code{\score} block, and over a
-@code{\book}.
+@code{fontSize} is a special property: it is equivalent to
+entering @code{\override ... #'font-size} for all pertinent
+objects. Since this is a common change, the special
+property (modified with @code{\set}) was created.
-The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
-@table @code
-@item title
-The title of the music. Centered on top of the first page.
-
-@item subtitle
-Subtitle, centered below the title.
-@item subsubtitle
-Subsubtitle, centered below the subtitle.
-
-@item poet
-Name of the poet, flush-left below the subtitle.
+@node Difficult tweaks
+@subsection Difficult tweaks
-@item composer
-Name of the composer, flush-right below the subtitle.
+There are a few classes of difficult adjustments.
-@item meter
-Meter string, flush-left below the poet.
+@itemize @bullet
-@item opus
-Name of the opus, flush-right below the composer.
-@item arranger
-Name of the arranger, flush-right below the opus.
+@item
+One type of 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.
-@item instrument
-Name of the instrument, centered below the arranger.
-@item dedication
-To whom the piece is dedicated.
+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 contains the Scheme procedure that
+is called after the line breaks have been determined, and layout
+objects have been split over different systems.
-@item piece
-Name of the piece, flush-left below the instrument.
+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
-@cindex page breaks, forcing
-@item breakbefore
- This forces the title to start on a new page.
-@end table
+This procedure is installed into @internalsref{Tie}, so the last part
+of the broken tie is translated up.
-Here is a demonstration of the fields available,
+@lilypond[quote,verbatim,ragged-right]
+#(define (my-callback grob)
+ (let* (
+ ; have we been split?
+ (orig (ly:grob-original grob))
-@lilypond[quote,verbatim,linewidth=11.0\cm]
-\paper {
- linewidth = 9.0\cm
- vsize = 10.0\cm
-}
+ ; if yes, get the split pieces (our siblings)
+ (siblings (if (ly:grob? orig)
+ (ly:spanner-broken-into orig) '() )))
-\book {
- \header {
- title = "Title,"
- subtitle = "the subtitle,"
- subsubtitle = "and the sub sub title"
- poet = "Poet"
- composer = "Composer"
- texttranslator = "Text Translator"
- meter = "Meter"
- arranger = "Arranger"
- instrument = "Instrument"
- piece = "Piece"
- }
+ (if (and (>= (length siblings) 2)
+ (eq? (car (last-pair siblings)) grob))
+ (ly:grob-set-property! grob 'extra-offset '(-2 . 5)))))
- \score {
- \header {
- piece = "piece1"
- opus = "opus1"
- }
- { c'1 }
- }
- \score {
- \header {
- piece = "piece2"
- opus = "opus2"
- }
- { c'1 }
- }
+\relative c'' {
+ \override Tie #'after-line-breaking =
+ #my-callback
+ c1 ~ \break c2 ~ c
}
@end lilypond
-Different fonts may be selected for each element by using
-@code{\markup}, e.g.,
-
-@example
-\header @{
- title = \markup @{ \italic @{ The italic title @} @}
-@}
-@end example
-
-A more advanced option is to change the definitions of the following
-variables in the @code{\paper} block. The init file
-@file{ly/titling-init.ly} lists the default layout.
-
-@table @code
-@item bookTitleMarkup
- This is the title put over an entire @code{\book} block. Typically,
- it has the composer and the title of the piece
-
-@item scoreTitleMarkup
- This is the title put over a @code{\score} block within a
-@code{\book}. Typically, it has the name of the movement (@code{piece}
-field).
-
-@item oddHeaderMarkup
- This is the page header for odd-numbered pages.
-
- @item evenHeaderMarkup
- This is the page header for even-numbered pages. If unspecified,
- the odd header is used instead.
-
- By default, headers are defined such that the page number is on the
- outside edge, and the instrument is centered.
-
-@item oddFooterMarkup
- This is the page footer for odd-numbered pages.
-
-@item evenFooterMarkup
- This is the page footer for even-numbered pages. If unspecified,
- the odd header is used instead.
-
- By default, the footer has the copyright notice on the first, and
- the tagline on the last page.
-@end table
-
-
-@cindex \paper
-@cindex header
-@cindex footer
-@cindex page layout
-@cindex titles
-
-The following definition will put the title flush left, and the
-composer flush right on a single line.
-
-@verbatim
-\paper {
- bookTitleMarkup = \markup {
- \fill-line @{
- \fromproperty #'header:title
- \fromproperty #'header:composer
- @}
- }
-}
-@end verbatim
-
-
-
-
-@node Page breaking
-@subsection Page breaking
-
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
-analogous to @code{\break} and @code{\noBreak}. They should be
-inserted with a bar line. These commands force and forbid a page-break
-from happening. Of course, the @code{\pageBreak} command also forces
-a line break.
-
-Page breaks are computed by the @code{page-breaking} function in the
-@code{\paper} block.
-
-@refcommands
-
-@cindex @code{\pageBreak}
-@code{\pageBreak}
-@cindex @code{\noPageBreak}
-@code{\noPageBreak}
-
-@node Paper size
-@subsection Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, there are two equal commands,
-@example
-#(set-default-paper-size "a4")
-\paper @{
- #(set-paper-size "a4")
-@}
-@end example
-
-The first command sets the size of all pages. The second command sets the size
-of the pages that the @code{\paper} block applies to -- if the @code{\paper}
-block is at the top of the file, then it will apply to all pages. If the
-@code{\paper} block is inside a @code{\score}, then the paper size will only
-apply to that score.
-
-The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
-@code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
-
-@cindex orientation
-@cindex landscape
-
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90 degrees,
-and wider line widths will be set correspondingly.
-
-@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-@node Page layout
-@subsection Page layout
-
-@cindex page layout
-@cindex margins
-@cindex header, page
-@cindex footer, page
-
-LilyPond will do page layout, set margins, and add headers and
-footers to each page.
-
-The default layout responds to the following settings in the
-@code{\paper} block.
-
-@cindex \paper
-
-@quotation
-@table @code
-@item firstpagenumber
-The value of the page number of the first page. Default is@tie{}1.
-
-@item printfirstpagenumber
-If set to true, will print the page number in the first page. Default is
-false.
-
-@item hsize
-The width of the page.
-
-@item vsize
-The height of the page.
-
-@item topmargin
-Margin between header and top of the page.
-
-@item bottommargin
-Margin between footer and bottom of the page.
-
-@item leftmargin
-Margin between the left side of the page and the beginning of the music.
-
-@item linewidth
-The length of the systems.
-
-@item headsep
-Distance between the top-most music system and the page header.
-
-@item footsep
-Distance between the bottom-most music system and the page footer.
-
-@item raggedbottom
-If set to true, systems will not be spread across the page.
-
-This should be set false for pieces that have only two or three
-systems per page, for example orchestral scores.
-
-@item raggedlastbottom
-If set to false, systems will be spread to fill the last page.
-
-Pieces that amply fill two pages or more should have this set to
-true.
-
-@item betweensystemspace
-This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system
-and the center of the top staff of the next system.
-
-Increasing this will provide a more even appearance of the page at the
-cost of using more vertical space.
-
-@item betweensystempadding
-This dimension is the minimum amount of white space that will always
-be present between the bottom-most symbol of one system, and the
-top-most of the next system.
-
-Increasing this will put systems whose bounding boxes almost touch
-farther apart.
-
-@item aftertitlespace
-Amount of space between the title and the first system.
-
-@item beforetitlespace
-Amount of space between the last system of the previous piece and the
-title of the next.
-
-@item betweentitlespace
-Amount of space between consecutive titles (e.g., the title of the
-book and the title of a piece).
-
-@end table
-@end quotation
-
-Example:
-
-@example
-\paper@{
- hsize = 2\cm
- topmargin = 3\cm
- bottommargin = 3\cm
- raggedlastbottom = ##t
-@}
-@end example
-
-You can also define these values in Scheme. In that case @code{mm},
-@code{in}, @code{pt}, and @code{cm} are variables defined in
-@file{paper-defaults.ly} with values in millimeters. That's why the
-value has to be multiplied in the example
-
-@example
-\paper @{
- #(define bottommargin (* 2 cm))
-@}
-@end example
-
-@cindex copyright
-@cindex tagline
-
-The default footer is empty, except for the first page, where the
-@code{copyright} field from @code{\header} is inserted, and the last
-page, where @code{tagline} from @code{\header} is added. The default
-tagline is ``Engraved by LilyPond (@var{version})''.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
-
-The header and footer are created by the functions @code{make-footer}
-and @code{make-header}, defined in @code{\paper}. The default
-implementations are in @file{scm/@/page@/-layout@/.scm}.
-
-The following settings influence the header and footer layout.
-
-@quotation
-@table @code
-@item printpagenumber
- this boolean controls whether a pagenumber is printed.
-@end table
-@end quotation
-
-The page layout itself is done by two functions in the
-@code{\paper} block, @code{page-music-height} and
-@code{page-make-stencil}. The former tells the line-breaking algorithm
-how much space can be spent on a page, the latter creates the actual
-page given the system to put on it.
-
-
-@seealso
-
-Examples: @inputfileref{input/@/test,page@/-breaks@/.ly}
-
-@refbugs
-
-The option rightmargin is defined but doesn't set the right margin
-yet. The value for the right margin has to be defined adjusting the
-values of the leftmargin and linewidth.
-
-The default page header puts the page number and the @code{instrument}
-field from the @code{\header} block on a line.
-
-
-
-@node File structure
-@section File structure
-
-The major part of this manual is concerned with entering various
-forms of music in LilyPond. However, many music expressions are not
-valid input on their own, for example, a @code{.ly} file containing
-only a note
-@example
-c'4
-@end example
-
@noindent
-will result in a parsing error. Instead, music should be inside other
-expressions, which may be put in a file by themselves. Such
-expressions are called toplevel expressions. This section enumerates
-them all.
-
-A @code{.ly} file contains any number of toplevel expressions, where a
-toplevel expression is one of the following
-
-@itemize @bullet
-@item
-An output definition, such as @code{\paper}, @code{\midi}, and
-@code{\layout}. Such a definition at the toplevel changes the default
-settings for the block entered.
+When applying this trick, the new @code{after-line-breaking} callback
+should also call the old one @code{after-line-breaking}, if there is
+one. For example, if using this with @code{Hairpin},
+@code{ly:hairpin::after-line-breaking} should also be called.
-@item
-A @code{\header} block. This sets the global header block. This
-is the block containing the definitions for book-wide settings, like
-composer, title, etc.
-
-@item
-An @code{\addquote} statement. See @ref{Quoting other voices}
-for more information.
-@item
-A @code{\score} block. This score will be collected with other
-toplevel scores, and combined as a single @code{\book}.
-
-This behavior can be changed by setting the variable
-@code{toplevel-score-handler} at toplevel. The default handler is
-defined in the init file @file{scm/@/lily@/.scm}.
-
-@item
-A @code{\book} block logically combines multiple movements
-(i.e., multiple @code{\score} blocks) in one document. A number of
-@code{\scores} creates a single output file, where all movement are
-concatenated.
+@item Some objects cannot be changed with @code{\override} for
+technical reasons. Examples of those are @code{NonMusicalPaperColumn}
+and @code{PaperColumn}. They can be changed with the
+@code{\outputProperty} function, which works similar to @code{\once
+\override}, but uses a different syntax,
-This behavior can be changed by setting the variable
-@code{toplevel-book-handler} at toplevel. The default handler is
-defined in the init file @file{scm/@/lily@/.scm}.
-
-@item A compound music expression, such as
@example
-@{ c'4 d' e'2 @}
+\outputProperty
+#"Score.NonMusicalPaperColumn" % Grob name
+#'line-break-system-details % Property name
+#'((next-padding . 20)) % Value
@end example
-This will add the piece in a @code{\score} and format it in a
-single book together with all other toplevel @code{\score}s and music
-expressions.
-
-This behavior can be changed by setting the variable
-@code{toplevel-music-handler} at toplevel. The default handler is
-defined in the init file @file{scm/@/lily@/.scm}.
-
@end itemize
-
-The following example shows three things that may be entered at
-toplevel
-
-@example
-\layout @{
- % movements are non-justified by default
- raggedright = ##t
-@}
-
-\header @{
- title = "Do-re-mi"
-@}
-
-@{ c'4 d' e2 @}
-@end example
-
-
-At any point in a file, any of the following lexical instructions can
-be entered:
-
-@itemize @bullet
-@item @code{\version}
-@item @code{\include}
-@item @code{\encoding}
-@item @code{\renameinput}
-@end itemize
projects / lilypond.git / blobdiff