@c A menu is needed before every deeper *section nesting of @node's; run
@c M-x texinfo-all-menus-update
-@c to automagically fill in these menus before saving changes
+@c to automatically fill in these menus before saving changes
@c
@c FIXME: singular vs. plural: Beams/Beam
* Ancient notation::
* Contemporary notation::
* Special notation::
-* Tuning output::
-* Text markup::
-* Global layout::
-* Sound::
@end menu
@c FIXME: Note entry vs Music entry at top level menu is confusing.
(`@code{,}') characters. Each @code{'} raises the pitch by one
octave; each @code{,} lowers the pitch by an octave:
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
c' c'' es' g' as' gisis' ais'
@end lilypond
lengths:
@cindex @code{.}
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
a' b' c''8 b' a'4 a'4. b'4.. c'8.
@end lilypond
@cindex @code{r}
slurs, which indicate articulation, or phrasing slurs, which indicate
musical phrasing. A tie is entered using the tilde symbol `@code{~}':
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
to the augmentation dot; in the following example there are two ways of
notating exactly the same concept:
@c
-@lilypond[fragment,raggedright,quote]
+@lilypond[fragment,raggedright]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
If you need to tie a lot of notes over bars, it may be easier to use automatic
Internals: @internalsref{TieEvent}, @internalsref{Tie}.
-Examples: if you want less ties created for a chord, see
-@inputfileref{input/test,tie-sparse.ly}.
-
For tying only a subset of the note heads of a pair of chords, see
@inputfileref{input/regression,tie-chord-partial.ly}.
notes have the length of 2, so the notes are 2/3 of their written
length:
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
@end lilypond
predecessor of the first note of @var{musicexpr}.
Here is the relative mode shown in action:
-@lilypond[fragment,raggedright,verbatim,center]
+@lilypond[fragment,raggedright,verbatim]
\relative c'' {
b c d c b c bes a
}
@end lilypond
Octave changing marks are used for intervals greater than a fourth:
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
\relative c'' {
c g c f, c' a, e'' }
@end lilypond
If the preceding item is a chord, the first note of the chord is used
to determine the first note of the next chord:
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
\relative c' {
c <c e g>
<c' e g>
The octave of a note following an octave check is determined with
respect to the note preceding it. In the next fragment, the last note
-is a @code{a'}, above central C. Hence, the @code{\octave} check may
+is a @code{a'}, above middle C. Hence, the @code{\octave} check may
be deleted without changing the meaning of the piece.
@lilypond[verbatim,fragment]
Long notes can be converted automatically to tied notes. This is done
by replacing the @internalsref{Note_heads_engraver} by the
@internalsref{Completion_heads_engraver}.
-In the following examples, notes crossing the barline are split and tied.
+In the following examples, notes crossing the bar line are split and tied.
@lilypond[noindent,verbatim,relative=1]
@refbugs
If a staff is ended halfway a piece, the staff symbol may not end
-exactly on the barline.
+exactly on the bar line.
@node Key signature
can be specified by setting this property directly.
Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the keysignature. The
+unaltered notes get natural signs depending on the key signature. The
tutorial explains why this is so in @ref{More about pitches}.
@refbugs
The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
(for 15ma) as arguments. Internally the function sets the properties
-@code{ottavation} (eg. to @code{"8va"}) and
+@code{ottavation} (e.g. to @code{"8va"}) and
@code{centralCPosition}. For overriding the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
Bar lines delimit measures, but are also used to indicate repeats.
Normally, they are inserted automatically. Line breaks may only
-happen on barlines.
+happen on bar lines.
@syntax
Special types
-of barlines can be forced with the @code{\bar} command:
+of bar lines can be forced with the @code{\bar} command:
@c
@lilypond[relative=1,fragment,verbatim]
c4 \bar "|:" c4
\bar "|." c
\bar ":" c
@end lilypond
-For allowing linebreaks, there is a special command,
+For allowing line breaks, there is a special command,
@example
\bar "empty"
@end example
-This will insert an invisible barline, and allow linebreaks at this
+This will insert an invisible bar line, and allow line breaks at this
point.
In scores with many staves, a @code{\bar} command in one staff is
@cindex bar lines at start of system
@cindex start of system
-The barlines at the start of each system are
+The bar lines at the start of each system are
@internalsref{SystemStartBar}, @internalsref{SystemStartBrace}, and
@internalsref{SystemStartBracket}. Only one of these types is created
in every context, and that type is determined by the property
@cindex @code{[}
In some cases it may be necessary to override the automatic beaming
-algorithm. For example, the auto beamer will not put beams over rests
+algorithm. For example, the autobeamer will not put beams over rests
or bar lines. Such beams are specified by manually: the begin and end
point are marked with @code{[} and @code{]}:
end at 3 eights; the third beam can only be corrected by specifying
manual beaming.
-@lilypond[raggedright,fragment,relative,noverbatim,quote]
+@lilypond[raggedright,fragment,relative,noverbatim]
#(override-auto-beam-setting '(end * * * *) 3 8)
% rather show case where it goes wrong
%\time 12/8 c'8 c c c16 c c c c c c[ c c c] c8[ c] c4
The following styles are supported:
@table @code
@item default
- This is the default typesetting behaviour. It should correspond
+ This is the default typesetting behavior. It should correspond
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
@c
- The normal behaviour is to remember the accidentals on
+ 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{code}.
This leads to some weird and often unwanted results
- because accidentals from one voice do not get cancelled in other
+ because accidentals from one voice do not get canceled in other
voices:
-@lilypond[raggedright,relative,fragment,verbatim,quote]
+@lilypond[raggedright,relative,fragment,verbatim]
\context Staff <<
#(set-accidental-style 'voice)
<<
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 cancelled in other octaves. Furthermore,
- in the same octave, they also get cancelled in the following
+ accidentals also are canceled in other octaves. Furthermore,
+ in the same octave, they also get canceled in the following
measure:
@lilypond[raggedright,fragment,verbatim]
@item modern-voice
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} cancelled across voices in
+typeset for each voice, but they @emph{are} canceled across voices in
the same @internalsref{Staff}.
@cindex @code{modern-voice-cautionary}
@item piano
@cindex @code{piano} accidentals
20th century practice for piano notation. Very similar to
- @code{modern} but accidentals also get cancelled
+ @code{modern} but accidentals also get canceled
across the staves in the same @internalsref{GrandStaff} or
@internalsref{PianoStaff}.
@item laziness
- Over how many barlines the accidental lasts.
+ Over how many bar lines the accidental lasts.
If @var{laziness} is @code{-1} then the accidental is forget
immediately, and if @var{laziness} is @code{#t} then the accidental
lasts forever.
@syntax
They are entered using parentheses:
-@lilypond[relative=1,fragment,verbatim,center]
+@lilypond[relative=1,fragment,verbatim]
f( g)( a) a8 b( a4 g2 f4)
<c e>2( <b d>2)
@end lilypond
indicate a musical sentence. It is started using @code{\(} and @code{\)}
respectively:
-@lilypond[fragment,verbatim,center,relative]
+@lilypond[fragment,verbatim,relative]
\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Metronome settings can be entered as follows:
@example
- \tempo @var{duration} = @var{perminute}
+ \tempo @var{duration} = @var{per-minute}
@end example
In the MIDI output, they are interpreted as a tempo change, and in the
Other symbols can be added using the syntax
@var{note}@code{\}@var{name}, e.g. @code{c4\fermata}. Again, they
can be forced up or down using @code{^} and @code{_},
-eg.
+e.g.
@lilypond[verbatim,fragment,relative=2]
c\fermata c^\fermata c_\fermata
note end up on different staves.
Grace note synchronization can also lead to surprises. Staff notation,
-such as key signatures, barlines, etc. are also synchronized. Take
+such as key signatures, bar lines, etc. are also synchronized. Take
care when you mix staves with grace notes and staves without, for example,
@lilypond[relative=2,verbatim,fragment]
with @code{\!}. Because these marks are bound to notes, if you must
use spacer notes if multiple marks during one note are needed:
-@lilypond[fragment,verbatim,center,quote]
+@lilypond[fragment,verbatim]
c''\< c''\! d''\decr e''\rced
<< f''1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
@item volta
This is the normal notation: Repeats are not written out, but
-alternative endings (voltas) are printed, left to right.
+alternative endings (volte) are printed, left to right.
@ignore
@item fold
In this manual: @ref{Tremolo subdivisions}, @ref{Repeats}.
Internals: tremolo beams are @internalsref{Beam} objects. Single stem
-tremolos are @internalsref{StemTremolo}s. The music expression is
+tremolos are @internalsref{StemTremolo} objects. The music expression is
@internalsref{TremoloEvent}.
Example files: @inputfileref{input/regression,chord-tremolo.ly},
length is omitted, then then the last value (stored in
@code{tremoloFlags}) is used:
-@lilypond[verbatim,fragment,center]
+@lilypond[verbatim,fragment]
c'2:8 c':32 | c': c': |
@end lilypond
@internalsref{DrumStaff} and @internalsref{DrumVoice} contexts:
@c
-@lilypond[raggedright,verbatim,quote]
+@lilypond[raggedright,verbatim]
up = \drums { crashcymbal4 hihat8 halfopenhihat hh hh hh openhihat }
down = \drums { bassdrum4 snare8 bd r bd sn4 }
\score {
Short polyphonic notation, @code{<< @dots{} \\ @dots{} >>}, does not
work for @internalsref{DrumVoices}.
-Because general MIDI does not contain rimshots the sidestick is used
+Because general MIDI does not contain rim shots, the sidestick is used
for this purpose instead.
@node Piano music
The two staffs of the piano staff must be named @code{up} and
@code{down}.
-The autochanger switches on basis of pitch (central C is the turning
+The autochanger switches on basis of pitch (middle C is the turning
point), and it looks ahead skipping over rests to switch in
advance. Here is a practical example:
-@lilypond[verbatim,raggedright,quote]
+@lilypond[verbatim,raggedright]
\score { \notes \context PianoStaff <<
\context Staff = "up" {
\autochange \new Voice \relative c' {
f'4 g'4 a'4\sustainUp
@end lilypond
-The default `*Ped' style for sustain and damper pedals corresponds to
+The default `*Ped.' style for sustain and damper pedals corresponds to
style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
default.
@end lilypond
The direction of the arpeggio is sometimes denoted by adding an
-arrowhead to the wiggly line. This can be typeset by setting
-@code{arpeggio-direction}:
+arrowhead to the wiggly line:
@lilypond[fragment,relative,verbatim]
\context Voice {
- \override Arpeggio #'arpeggio-direction = #1
+ \arpeggioUp
<c e g c>\arpeggio
- \override Arpeggio #'arpeggio-direction = #-1
+ \arpeggioDown
<c e g c>\arpeggio
}
@end lilypond
A square bracket on the left indicates that the player should not
-arpeggiate the chord. To draw these brackets, set the
-@code{print-function} property of @code{Arpeggio} or
-@code{PianoStaff.Arpeggio} objects to @code{\arpeggioBracket}, and use
-@code{\arpeggio} statements within the chords as before:
+arpeggiate the chord:
@lilypond[fragment,relative,verbatim]
- \override PianoStaff.Arpeggio
- #'print-function = \arpeggioBracket
- <c' e g c>\arpeggio
+ \arpeggioBracket
+ <c' e g c>\arpeggio
@end lilypond
@refcommands
-@cindex @code{\arpeggioBracket}
-@code{\arpeggioBracket},
@cindex @code{\arpeggio}
-@code{\arpeggio}.
+@code{\arpeggio},
+@cindex @code{\arpeggioUp}
+@code{\arpeggioUp},
+@cindex @code{\arpeggioDown}
+@code{\arpeggioUp},
+@cindex @code{\arpeggioBoth}
+@code{\arpeggioBoth},
+@cindex @code{\arpeggioBracket}
+@code{\arpeggioBracket}.
@seealso
The ambitus is typically notated on a per-voice basis at the very
beginning of a piece, e.g. nearby the initial clef or time signature of
-each staff. The range is graphically specified by two noteheads, that
+each staff. The range is graphically specified by two note heads, that
represent the minimum and maximum pitch. Some publishers use a textual
notation: they put the range in words in front of the corresponding
staff. LilyPond only supports the graphical ambitus notation.
You can change the tuning of the strings. A string tuning is given as
a Scheme list with one integer number for each string, the number
-being the pitch (measured in semitones relative to central C) of an
+being the pitch (measured in semitones relative to middle C) of an
open string. The numbers specified for @code{stringTuning} are the
numbers of semitones to subtract or add, starting the specified pitch
by default middle C, in string order. Thus, the notes are e, a, d, and
names. It is introduced by the keyword @code{\chords}.
In chords mode, a chord is entered by the root, which is entered
like a common pitch:
-@lilypond[fragment,verbatim,quote,relative=1]
+@lilypond[fragment,verbatim,relative=1]
\chords { es4. d8 c2 }
@end lilypond
@cindex chord entry
Other chords may be entered by suffixing a colon, and introducing a
modifier, and optionally, a number:
@c
-@lilypond[fragment,verbatim,quote]
+@lilypond[fragment,verbatim]
\chords { e1:m e1:7 e1:m7 }
@end lilypond
The first number following the root is taken to be the `type' of the
to a chord. Additions are added after the number following
the colon, and are separated by dots:
@c
-@lilypond[verbatim,fragment,quote]
+@lilypond[verbatim,fragment]
\chords { c:5.6 c:3.7.8 c:3.6.13 }
@end lilypond
Chord steps can be altered by suffixing a @code{-} or @code{+} sign
to the number:
-@lilypond[verbatim,fragment,quote]
+@lilypond[verbatim,fragment]
\chords { c:7+ c:5+.3- c:3-.5-.7- }
@end lilypond
Removals are specified similarly, and are introduced by a caret. They
An inversion (putting one pitch of the chord on the bottom), as well
as bass notes, can be specified by appending
@code{/}@var{pitch} to the chord:
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
\chords { c1 c/g c/f }
@end lilypond
@cindex @code{/+}
A bass note can be added instead of transposed out of the chord,
by using @code{/+}@var{pitch}.
-@lilypond[fragment,verbatim,center]
+@lilypond[fragment,verbatim]
\chords { c1 c/+g c/+f }
@end lilypond
function. Special note names (for example, the German ``H'' for a
B-chord) can be produced by storing a new function in this property.
-The pre-defined variables @code{\germanChords},
+The predefined variables @code{\germanChords},
@code{\semiGermanChords} set these variables.
@cindex bar lines, symbols on
The @code{\mark} command can also be used to put signs like coda,
-segno and fermatas on a barline. Use @code{\markup} to
+segno and fermatas on a bar line. Use @code{\markup} to
to access the appropriate symbol:
@lilypond[fragment,verbatim,relative=1]
@cindex fermatas
@cindex coda
@cindex segno
-@cindex barlines, putting symbols on
+@cindex bar lines, putting symbols on
@seealso
this piece is a little too low for its performer, it can be
transposed up to E major with
@example
- \tranpose d e @dots{}
+ \transpose d e @dots{}
@end example
Consider a part written for violin (a C instrument). If
@ref{Ancient note heads}, @ref{Ancient accidentals}, @ref{Ancient
rests}, @ref{Ancient clefs}, @ref{Ancient flags} and @ref{Ancient time
signatures}. By manipulating such a grob property, the typographical
-appearance of the affected graphical objects can be accomodated for a
-specific notation flavour without need for introducing any new
+appearance of the affected graphical objects can be accommodated for a
+specific notation flavor without need for introducing any new
notational concept.
notes and all smaller durations. Stems are centered on the note
heads. This style is in particular useful when transcribing mensural
music, e.g. for the incipit. The @code{mensural} style finally
-produces note heads that mimick the look of note heads in historic
+produces note heads that mimic the look of note heads in historic
printings of the 16th century.
The following example demonstrates the @code{neo_mensural} style:
from the @code{default} style only in that the quarter rest looks like
a horizontally mirrored 8th rest. The @code{neo_mensural} style suits
well for e.g. the incipit of a transcribed mensural piece of music.
-The @code{mensural} style finally mimicks the appearance of rests as
+The @code{mensural} style finally mimics the appearance of rests as
in historic prints of the 16th century.
The following example demonstrates the @code{neo_mensural} style:
@code{clefs-petrucci_c5}
@tab
-petrucci style mensural C clefs, for use on different stafflines
-(the examples shows the 2nd staffline C clef).
+petrucci style mensural C clefs, for use on different staff lines
+(the examples shows the 2nd staff line C clef).
@tab
@code{petrucci_c1}
@emph{Editio XXX style} means ``as is/was printed in Editio XXX''.
Petrucci used C clefs with differently balanced left-side vertical
-beams, depending on which staffline it is printed.
+beams, depending on which staff line it is printed.
@seealso
Note that the innermost flare of each mensural flag always is
vertically aligned with a staff line. If you do not like this
-behaviour, you can set the @code{adjust-if-on-staffline} property of
+behavior, you can set the @code{adjust-if-on-staffline} property of
grob @internalsref{Stem} to @code{##f}. Then, the vertical position
of the end of each flare is different between notes on staff lines and
notes between staff lines:
@end lilypond
There is no particular flag style for neo-mensural notation. Hence,
-when typesetting e.g. the incipit of a transcibed piece of mensural
+when typesetting e.g. the incipit of a transcribed piece of mensural
music, the default flag style should be used. There are no flags in
Gregorian Chant notation.
@code{neo_mensural} and @code{mensural}. The above table uses the
@code{neo_mensural} style. This style is appropriate e.g. for the
incipit of transcriptions of mensural pieces. The @code{mensural}
-style mimicks the look of historical printings of the 16th century.
+style mimics the look of historical printings of the 16th century.
@inputfileref{input/test,time.ly} gives an overview over all available
ancient and modern styles.
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; latin word for `guard') is a
+A @emph{custos} (plural: @emph{custodes}; Latin word for `guard') is a
symbol that appears at the end of a staff. It anticipates the pitch
of the first note(s) of the following line and thus helps the player
or singer to manage line breaks during performance, thus enhancing
century. Nowadays, they have survived only in a few particular forms
of musical notation such as contemporary editions of Gregorian chant
like the @emph{editio vaticana}. There are different custos glyphs
-used in different flavours of notational style.
+used in different flavors of notational style.
@syntax
If the boolean property @code{adjust-if-on-staffline} is set to
@code{#t} (which it is by default), lily typesets slightly different
variants of the custos glyph, depending on whether the custos, is
-typeset on or between stafflines. The glyph will
+typeset on or between staff lines. The glyph will
optically fit well into the staff, with the appendage on the right of
the custos always ending at the same vertical position between two
-stafflines regardless of the pitch. If you set
+staff lines regardless of the pitch. If you set
@code{adjust-if-on-staffline} to @code{#f}, then
a compromise between both forms is used.
-Just like stems can be attached to noteheads in two directions
+Just like stems can be attached to note heads in two directions
@emph{up} and @emph{down}, each custos glyph is available with its
appendage pointing either up or down. If the pitch of a custos is
above a selectable position, the appendage will point downwards; if
@cindex divisiones
@cindex finalis
-A @emph{divisio} (plural: @emph{divisiones}; latin word for
+A @emph{divisio} (plural: @emph{divisiones}; Latin word for
`division') is a staff context symbol that is used to structure
Gregorian music into phrases and sections. The musical meaning of
@emph{divisio minima}, @emph{divisio maior} and @emph{divisio maxima}
In musical terminology, a ligature is a coherent graphical symbol that
represents at least two distinct notes. Ligatures originally appeared
in the manuscripts of Gregorian chant notation roughly since the 9th
-century as an allusion to the accent symbols of greek lyric poetry to
+century as an allusion to the accent symbols of Greek lyric poetry to
denote ascending or descending sequences of notes. Both, the shape
and the exact meaning of ligatures changed tremendously during the
following centuries: In early notation, ligatures were used for
In musical terminology, a @emph{cluster} denotes a range of
simultaneously sounding pitches that may change over time. The set of
-available pitches to apply usually depends on the accoustic source.
-Thus, in piano music, a cluster typically consists of a continous range
+available pitches to apply usually depends on the acoustic source.
+Thus, in piano music, a cluster typically consists of a continuous range
of the semitones as provided by the piano's fixed set of a chromatic
scale. In choral music, each singer of the choir typically may sing an
arbitrary pitch within the cluster's range that is not bound to any
diatonic, chromatic or other scale. In electronic music, a cluster
(theoretically) may even cover a continuous range of pitches, thus
-resulting in coloured noise, such as pink noise.
+resulting in colored noise, such as pink noise.
Clusters can be denoted in the context of ordinary staff notation by
engraving simple geometrical shapes that replace ordinary notation of
the note symbol. In contrast, the shape of a cluster geometrically
describes the development of a range of pitches (vertical extent) over
time (horizontal extent). Still, the geometrical shape of a cluster
-covers the area in wich any single pitch contained in the cluster would
+covers the area in which any single pitch contained in the cluster would
be notated as an ordinary note. From this point of view, it is
reasonable to specify a cluster as the envelope of a set of notes.
the letters. Printing the PostScript file obtained does produce the
correct result.
-
-
-@node Tuning output
-@section Tuning output
-
-There are situations where default layout decisions are not
-sufficient. In this section we discuss ways to override these
-defaults.
-
-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.
-
-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.
-
-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
-
-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
-@end example
-
-@seealso
-
-The introduction of the @ref{Technical manual} gives a more in-depth
-treatment of the difference between translation and layout.
-
-@menu
-* Tuning objects::
-* Constructing a tweak::
-* Applyoutput::
-* Font selection::
-@end menu
-
-
-
-@node Tuning objects
-@subsection Tuning objects
-
-@cindex object description
-
-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}:
-
-@example
- (thickness . 1.3)
- (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
- (Y-extent-callback . ,Stem::height)
- @var{...}
-@end example
-
-
-Adding variables on top of this existing definition overrides the
-system default, and alters the resulting appearance of the layout
-object.
-
-@syntax
-
-
-Changing a variable for only one object is commonly achieved with
-@code{\once}:
-
-@example
-\once \override @var{context}.@var{objectname}
- @var{symbol} = @var{value}
-@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:
-@example
-\override @var{context}.@var{objectname} @var{symbol} = @var{value}
-@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
-@example
-\property @var{context}.@var{objectname} \revert @var{symbol}
-@end example
-@c
-
-Some examples:
-@lilypond[verbatim,quote]
-c'4 \override Stem #'thickness = #4.0
-c'4
-c'4 \revert Stem #'thickness
-c'4
-@end lilypond
-
-The following example gives exactly the same result as the previous
-one (assuming the system default for stem thickness is 1.3):
-@c
-@lilypond[verbatim,quote]
- c'4 \override Stem #'thickness = #4.0
- c'4
- c'4 \override Stem #'thickness = #1.3
- c'4
-@end lilypond
-
-Reverting a setting which was not set in the first place has no
-effect.
-
-
-@seealso
-
-Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
-@internalsref{PropertySet}, @internalsref{All-backend-properties}, and
-@internalsref{All-layout-objects}.
-
-
-@refbugs
-
-The backend is not very strict in type-checking object properties.
-Cyclic references in Scheme values for properties can cause hangs
-and/or crashes.
-
-@menu
-* Constructing a tweak::
-* Applyoutput::
-* Font selection::
-* Text markup::
-@end menu
-
-@node Constructing a tweak
-@subsection Constructing a tweak
-
-
-@cindex internal documentation
-@cindex finding graphical objects
-@cindex graphical object descriptions
-@cindex tweaking
-@cindex @code{\override}
-@cindex @code{\set}
-@cindex internal documentation
-
-
-
-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 generated documentation.
-
-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 click then
-``Program reference.'' It is advisable to bookmark the local HTML
-files. They will load faster than the ones on the web. If you use the
-version from the web, you must check whether the documentation matches
-the program version: it is generated from the definitions that the
-program uses, and therefore it is strongly tied to the LilyPond
-version.
-
-
-@c [TODO: revise for new site.]
-
-Suppose we want to move the fingering indication in the fragment below:
-
-@lilypond[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:
-
-@quotation
-@seealso
-
-Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
-
-@end quotation
-
-@separate
-
-@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}.
-
-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.
-
-
-
-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 next to other
-objects (@internalsref{side-position-interface}) vertically, 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)
-@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}:
-@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?)
-@end quotation
-
-@cindex padding
-@noindent
-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. Default value: @code{0.6}
-@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
-between the note and the fingering:
-@example
-\once \override Fingering #'padding = #3
-@end example
-
-Inserting this command before the Fingering object is created,
-i.e. before @code{c2}, yields the following result:
-
-@lilypond[relative=2,fragment,verbatim]
-\once \override 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
-@quotation
-Fingering grobs are created by: @internalsref{Fingering_engraver} @c
-@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
-
-Of course, the tweak may also done in a larger context than
-@code{Voice}, for example, @internalsref{Staff} or
-@internalsref{Score}.
-
-@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.
-
-
-@node Applyoutput
-@subsection Applyoutput
-
-The most versatile way of tuning an object is @code{\applyoutput}. Its
-syntax is
-@example
-\applyoutput @var{proc}
-@end example
-
-@noindent
-where @var{proc} is a Scheme function, taking three arguments.
-
-When interpreted, the function @var{proc} is called for every layout
-object found in the context, with the following arguments:
-@itemize @bullet
-@item the layout object itself,
-@item the context where the layout object was created, and
-@item the context where @code{\applyoutput} is processed.
-@end itemize
-
-
-In addition, the cause of the layout object, i.e. the music
-expression or object that was responsible for creating it, is in the
-object property @code{cause}. For example, for a note head, this is a
-@internalsref{NoteHead} event, and for a @internalsref{Stem} object,
-this is a @internalsref{NoteHead} object.
-
-Here is a simple example of @code{\applyoutput}; it blanks note-heads on the
-center-line:
-@example
-(define (blanker grob grob-origin context)
- (if (and (memq (ly:grob-property grob 'interfaces)
- note-head-interface)
- (eq? (ly:grob-property grob 'staff-position) 0))
-
- (ly:grob-set-property! grob 'transparent #t)))
-@end example
-
-
-
-@node Font selection
-@subsection Font selection
-
-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,quote]
- c4 c4 \set fontSize = #-1
- f4 g4
-@end lilypond
-This command will set @code{font-size} (see below), and does
-not change the size of variable symbols, such as beams or slurs.
-
-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 magnification
-@cindex cue notes
-
-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
-
-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}:
-
-
-@table @code
-@item font-family
- is a symbol indicating the general class of the typeface. Supported are
-@code{roman} (Computer Modern), @code{braces} (for piano staff
-braces), @code{music} (the standard music font, including ancient
-glyphs), @code{dynamic} (for dynamic signs) and @code{typewriter}.
-
-@item 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 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 table
-
-For any of these properties, the value @code{*} (i.e. the symbol
-@code{*}, entered as @code{#'*}), acts as a wildcard. This can be used
-to override default setting, which are always present. For example:
-@example
- \override Lyrics .LyricText #'font-series = #'bold
- \override Lyrics .LyricText #'font-family = #'typewriter
- \override Lyrics .LyricText #'font-shape = #'*
-@end example
-
-@cindex @code{font-style}
-
-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.
-
-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 @code{font-size} mechanism does not work for fonts selected
-through @code{font-name}. These may be scaled with
-@code{font-magnification}.
-
-@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}.
-
-@seealso
-
-Init files: @file{ly/declarations-init.ly} contains hints how new
-fonts may be added to LilyPond.
-
-@refbugs
-
-There is no style sheet provided for other fonts besides the @TeX{}
-Computer Modern family.
-
-@cindex font selection
-@cindex font magnification
-@cindex @code{font-interface}
-
-
-@node Text markup
-@section Text markup
-@cindex text markup
-@cindex markup text
-
-
-@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:
-@cindex markup
-
-@lilypond[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
-to more words:
-@example
- \markup @{ \bold @{ hi there @} @}
-@end example
-
-@noindent
-For clarity, you can also do this for single arguments, e.g.
-
-@verbatim
- \markup { is \italic { anyone } home }
-@end verbatim
-
-@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} aligns texts by
-their center lines:
-
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column < a bbbb c > }
- c1^\markup { \center < 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
-@verbatim
-allegro = \markup { \bold \large { Allegro } }
-\notes { a^\allegro b c d }
-@end verbatim
-
-
-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, whole texts over notes cannot be moved vertically
-with @code{\raise}. For moving and aligning complete objects, grob
-properties should be used.
-
-
-
-@seealso
-
-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.
-
-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
-* Overview of text markup commands::
-* Markup construction in scheme::
-* Markup command definition::
-@end menu
-
-@node Overview of text markup commands
-@subsection Overview of text markup commands
-
-@include markup-commands.tely
-
-@node Markup construction in scheme
-@subsection Markup construction in scheme
-
-@cindex defining markup commands
-
-The @code{markup} macro builds markup expressions in Scheme while
-providing a LilyPond-like syntax. For example,
-@example
-(markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
- #:bigger #:line ("foo" "bar" "baz")))
-@end example
-
-@noindent
-is equivalent to:
-@example
-\markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
- \bigger @{ foo bar baz @} >
-@end example
-
-@noindent
-This example exposes the main translation rules between regular
-LilyPond markup syntax and scheme markup syntax, which are summed up
-is this table:
-@multitable @columnfractions .5 .5
-@item @b{LilyPond} @tab @b{Scheme}
-@item @code{\command} @tab @code{#:command}
-@item @code{\variable} @tab @code{variable}
-@item @code{@{ ... @}} @tab @code{#:line ( ... )}
-@item @code{\center < ... >} @tab @code{#:center ( ... )}
-@item @code{string} @tab @code{"string"}
-@item @code{#scheme-arg} @tab @code{scheme-arg}
-@end multitable
-
-Besides, the whole scheme language is accessible inside the
-@code{markup} macro: thus, one may use function calls inside
-@code{markup} in order to manipulate character strings for
-instance. This proves useful when defining new markup commands (see
-@ref{Markup command definition}).
-
-@refbugs
-
-One can not feed the @code{#:line} (resp @code{#:center},
-@code{#:column}) command with a variable or the result of a function
-call. Eg:
-@lisp
-(markup #:line (fun-that-returns-markups))
-@end lisp
-is illegal. One should use the @code{make-line-markup} (resp
-@code{make-center-markup}, @code{make-column-markup}) function
-instead:
-@lisp
-(markup (make-line-markup (fun-that-returns-markups)))
-@end lisp
-
-@node Markup command definition
-@subsection Markup command definition
-
-New markup commands can be defined thanks to the @code{def-markup-command} scheme macro.
-@lisp
-(def-markup-command (@var{command-name} @var{paper} @var{props} @var{arg1} @var{arg2} ...)
- (@var{arg1-type?} @var{arg2-type?} ...)
- ..command body..)
-
- @var{argi}: i@var{th} command argument
- @var{argi-type?}: a type predicate for the i@var{th} argument
- @var{paper}: the `paper' definition
- @var{props}: a list of alists, containing all active properties.
-@end lisp
-
-As a simple example, we show how to add a @code{\smallcaps} command,
-which selects @TeX{}'s small caps font. Normally, we could select the
-small caps font as follows:
-
-@verbatim
- \markup { \override #'(font-shape . caps) Text-in-caps }
-@end verbatim
-
-This selects the caps font by setting the @code{font-shape} property to
-@code{#'caps} for interpreting @code{Text-in-caps}.
-
-To make the above available as @code{\smallcaps} command, we have to
-define a function using @code{def-markup-command}. The command should
-take a single argument, of markup type. Therefore, the start of the
-definition should read
-@example
- (def-markup-command (smallcaps paper props argument) (markup?)
-@end example
-
-@noindent
-
-What follows is the content of the command: we should interpret
-the @code{argument} as a markup, i.e.
-
-@example
- (interpret-markup paper @dots{} argument)
-@end example
-
-@noindent
-This interpretation should add @code{'(font-shape . caps)} to the active
-properties, so we substitute the the following for the @dots{} in the
-above example:
-
-@example
- (cons (list '(font-shape . caps) ) props)
-@end example
-
-@noindent
-The variable @code{props} is a list of alists, and we prepend to it by
-consing a list with the extra setting.
-
-However, suppose that we are using a font that does not have a
-small-caps variant. In that case, we have to fake the small caps font,
-by setting a string in upcase, with the first letter a little larger:
-
-@example
-#(def-markup-command (smallcaps paper props str) (string?)
- "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
- (interpret-markup paper props
- (make-line-markup
- (map (lambda (s)
- (if (= (string-length s) 0)
- s
- (markup #:large (string-upcase (substring s 0 1))
- #:translate (cons -0.6 0)
- #:tiny (string-upcase (substring s 1)))))
- (string-split str #\Space)))))
-@end example
-
-The @code{smallcaps} command first splits its string argument into
-tokens separated by spaces (@code{(string-split str #\Space)}); for
-each token, a markup is built with the first letter made large and
-upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
-second markup built with the following letters made tiny and upcased
-(@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
-introduces a space between markups on a line, the second markup is
-translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
-the markups built for each token are put in a line
-(@code{(make-line-markup ...)}). Finally, the resulting markup is
-passed to the @code{interpret-markup} function, with the @code{paper}
-and @code{props} arguments.
-
-Finally, suppose that we are typesetting a recitative in an opera, and
-we would like to define a command that will show character names in a
-custom manner. Names should be printed with small caps and translated a
-bit to the left and top. We will define a @code{\character} command
-that takes into account the needed translation, and uses the newly
-defined @code{\smallcaps} command:
-
-@verbatim
-#(def-markup-command (character paper props name) (string?)
- "Print the character name in small caps, translated to the left and
- top. Syntax: \\character #\"name\""
- (interpret-markup paper props
- (markup "" #:translate (cons -4 2) #:smallcaps name)))
-@end verbatim
-
-There is one complication that needs explanation: texts above and below
-the staff are moved vertically to be at a certain distance (the
-@code{padding} property) from the staff and the notes. To make sure
-that this mechanism does not annihilate the vertical effect of our
-@code{#:translate}, we add an empty string (@code{""}) before the
-translated text. Now the @code{""} will be put above the notes, and the
-@code{name} is moved in relation to that empty string. The net effect is
-that the text is moved to the upper left.
-
-The final result is as follows:
-@verbatim
-\score {
- \notes { \fatText
- c''^\markup \character #"Cleopatra"
- e'^\markup \character #"Giulio Cesare"
- }
-}
-@end verbatim
-
-@lilypond[raggedright]
-#(def-markup-command (smallcaps paper props str) (string?)
- "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
- (interpret-markup paper props
- (make-line-markup
- (map (lambda (s)
- (if (= (string-length s) 0)
- s
- (markup #:large (string-upcase (substring s 0 1))
- #:translate (cons -0.6 0)
- #:tiny (string-upcase (substring s 1)))))
- (string-split str #\Space)))))
-
-#(def-markup-command (character paper props name) (string?)
- "Print the character name in small caps, translated to the left and
- top. Syntax: \\character #\"name\""
- (interpret-markup paper props
- (markup "" #:translate (cons -4 0) #:smallcaps name)))
-
-\score {
- \notes { \fatText
- c''^\markup \character #"Cleopatra"
- e'^\markup \character #"Giulio Cesare"
- }
-}
-@end lilypond
-
-
-
-@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 staffs 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{\translator} block as follows:
-@example
- \paper @{
- \translator @{
- \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/barline 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 @{ \translator @{
- \ScoreContext
- SpacingSpanner \override #'spacing-increment = #3.0
-@} @}
-@end example
-
-
-@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.
-
-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 seven 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{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 12.60pt
-@tab 4.4mm
-@tab
-
-@item feta14
-@tab 14.14pt
-@tab 5.0mm
-@tab
-
-@item feta16
-@tab 15.87pt
-@tab 5.6mm
-@tab
-
-@item feta18
-@tab 17.82pt
-@tab 6.3mm
-@tab song books
-
-@item feta20
-@tab 17.82pt
-@tab 7.0mm
-@tab standard parts
-
-@item feta23
-@tab 22.45 pt
-@tab 7.9mm
-@tab
-
-@item feta20
-@tab 25.2 pt
-@tab 8.9mm
-@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
-staffs. The size of individual staffs are relative to the global size,
-which can be set in the following manner:
-
-@example
- #(set-global-staff-size 14)
-@end example
-
-This sets the global default size to 14pt staff height, and scales all
-fonts accordingly.
-
-
-
-@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 linebreaks 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 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
-variable @code{textheight} sets the total height of the music on each
-page. 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")
- @}
-@end example
-
-
-@refcommands
-
-@cindex @code{\newpage}
-@code{\newpage}.
-
-
-@seealso
-
-In this manual: @ref{Invoking lilypond}.
-
-Examples: @inputfileref{input/regression,between-systems.ly}.
-
-Internals: @internalsref{NonMusicalPaperColumn}.
-
-@refbugs
-
-LilyPond has no concept of page layout, which makes it difficult to
-reliably choose page breaks in longer pieces.
-
-
-
-
-@node Sound
-@section Sound
-@cindex Sound
-
-Entered music can also be converted to MIDI output. The performance
-is good enough for proof-hearing the music for errors.
-
-Ties, dynamics and tempo changes are interpreted. Dynamic marks,
-crescendi and decrescendi translate into MIDI volume levels. Dynamic
-marks translate to a fixed fraction of the available MIDI volume
-range, crescendi and decrescendi make the volume vary linearly between
-their two extremities. The fractions can be adjusted by
-@code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
-For each type of MIDI instrument, a volume range can be defined. This
-gives a basic equalizer control, which can enhance the quality of
-the MIDI output remarkably. The equalizer can be controlled by
-setting @code{instrumentEqualizer}.
-
-@refbugs
-
-Many musically interesting effects, such as swing, articulation,
-slurring, etc., are not translated to MIDI.
-
-Since slurs are not interpreted, @code{\lyricsto} and
-@code{\addlyrics} sections will be interpreted wrongly.
-
-The MIDI output allocates a channel for each Staff, and one for global
-settings. Hence, the MIDI file should not have more than 15 staves
-(or 14 if you do not use drums).
-
-
-@menu
-* MIDI block::
-* MIDI instrument names::
-@end menu
-
-
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition, and
- @item context definitions.
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-A number followed by a period is interpreted as a real number, so
-for setting the tempo for dotted notes, an extra space should be
-inserted, for example:
-
-@example
- \midi @{ \tempo 4 . = 120 @}
-@end example
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer-init.ly}.
-
-
-@node MIDI instrument names
-@subsection MIDI instrument names
-
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property. The instrument name should be chosen from the list in
-@ref{MIDI instruments}.
-
-@refbugs
-
-If the selected string does not exactly match, then the default is
-used, which is the Grand Piano.
-
projects / lilypond.git / blobdiff