version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.61"
+@c \version "2.12.0"
@node Tweaking output
@chapter Tweaking output
@menu
-* Tweaking basics::
-* The Internals Reference manual::
-* Appearance of objects::
-* Placement of objects::
-* Collisions of objects::
-* Further tweaking::
+* Tweaking basics::
+* The Internals Reference manual::
+* Appearance of objects::
+* Placement of objects::
+* Collisions of objects::
+* Further tweaking::
@end menu
@node Tweaking basics
@section Tweaking basics
@menu
-* Introduction to tweaks::
-* Objects and interfaces::
-* Naming conventions of objects and properties::
-* Tweaking methods::
+* Introduction to tweaks::
+* Objects and interfaces::
+* Naming conventions of objects and properties::
+* Tweaking methods::
@end menu
@node Introduction to tweaks
@q{Tweaking} is a LilyPond term for the various methods available
to the user for modifying the actions taken during interpretation
-of the input file and modifying the appearance of the printed
-output. Some tweaks are very easy to use; others are more
-complex. But taken together the methods available for tweaking
-permit almost any desired appearance of the printed music to be
+of the input file and modifying the appearance of the printed
+output. Some tweaks are very easy to use; others are more
+complex. But taken together the methods available for tweaking
+permit almost any desired appearance of the printed music to be
achieved.
In this section we cover the basic concepts required to understand
tweaking. Later we give a variety of ready-made commands which can
simply be copied to obtain the same effect in your own scores, and
-at the same time we show how these commands may be constructed so
+at the same time we show how these commands may be constructed so
that you may learn how to develop your own tweaks.
Before starting on this Chapter you may wish to review the section
Tweaking involves modifying the internal operation and structures
of the LilyPond program, so we must first introduce some terms
-which are used to describe those internal operations and
+which are used to describe those internal operations and
structures.
The term @q{Object} is a generic term used to refer to the
100 such interfaces. We shall see later why this is of interest and
use to the user.
-These, then, are the main terms relating to objects which we
+These, then, are the main terms relating to objects which we
shall use in this chapter.
@node Naming conventions of objects and properties
@cindex objects, naming conventions
@cindex properties, naming conventions
-We met some object naming conventions previously, in
+We met some object naming conventions previously, in
@ref{Contexts and engravers}. Here for reference is a list
-of the most common object and property types together with
-the conventions for naming them and a couple of examples of
+of the most common object and property types together with
+the conventions for naming them and a couple of examples of
some real names. We have used @q{A} to stand for any capitalized
alphabetic character and @q{aaa} to stand for any number of
lower-case alphabetic characters. Other characters are used
-verbatim.
+verbatim.
@multitable @columnfractions .33 .33 .33
-@headitem Object/property type
+@headitem Object/property type
@tab Naming convention
@tab Examples
@item Contexts
@tab Clef_engraver, Note_heads_engraver
@item Interfaces
@tab aaa-aaa-interface
- @tab grob-interface, break-aligned-interface
+ @tab grob-interface, break-aligned-interface
@item Context Properties
@tab aaa or aaaAaaaAaaa
@tab alignAboveContext, skipBars
@tab direction, beam-thickness
@end multitable
-As we shall see shortly, the properties of different types of
+As we shall see shortly, the properties of different types of
object are modified by different commands, so it is useful to
be able to recognize the type of object from the names of its
properties.
We have already met the commands @code{\set} and @code{\with}, used to
change the properties of @strong{contexts} and to remove and add
@strong{engravers}, in @ref{Modifying context properties}, and
-@ref{Adding and removing engravers}. We now must meet some more
+@ref{Adding and removing engravers}. We must now introduce some more
important commands.
The command to change the properties of @strong{layout objects} is
@code{\override}. Because this command has to modify
internal properties deep within LilyPond its syntax is not
-as simple as the commands you have met so far. It needs to
+as simple as the commands you have used so far. It needs to
know precisely which property of which object in which context
has to be modified, and what its new value is to be. Let's see
how this is done.
used. Here is a simple example to change the color of the
note head:
+@cindex color property, example
+@cindex NoteHead, example of overriding
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
c d
\override NoteHead #'color = #red
in many of the following examples. Here we revert the color
of the note head to the default value for the final two notes:
+@cindex color property, example
+@cindex NoteHead, example of overriding
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
c d
\override NoteHead #'color = #red
back to its default value. Using the same example, we can
change the color of a single note like this:
+@cindex color property, example
+@cindex NoteHead, example of overriding
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
c d
\once \override NoteHead #'color = #red
middle note head (the E) in a C major chord. Let's first see what
@code{\once \override} would do:
+@cindex font-size property, example
+@cindex NoteHead, example of overriding
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
<c e g>4
\once \override NoteHead #'font-size = #-3
So to return to our example, the size of the middle note of
a chord would be changed in this way:
+@cindex font-size property, example
+@cindex @code{\tweak}, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
<c e g>4
<c \tweak #'font-size #-3 e g>4
of the @code{\override} command. Neither the context nor the
layout object should be specified; in fact, it would generate
an error to do so. These are both implied by the following
-item in the input stream. So the general syntax of the
+item in the input stream. Note also that an equals sign should
+not be present. So the general syntax of the
@code{\tweak} command is simply
@example
-\tweak #'@var{layout-property} = #@var{value}
+\tweak #'@var{layout-property} #@var{value}
@end example
A @code{\tweak} command can also be used to modify just one in
a series of articulations, as shown here:
+@cindex color property, example
+@cindex @code{\tweak}, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
a ^Black
-\tweak #'color #red ^Red
@cindex tuplets, nested
@cindex triplets, nested
@cindex bracket, tuplet
+@cindex bracket, triplet
@cindex tuplet bracket
@cindex triplet bracket
@funindex TupletBracket
-The @code{\tweak} command must also be used to change the
-appearance of one of a set of nested tuplets which begin at the
+The @code{\tweak} command must also be used to change the
+appearance of one of a set of nested tuplets which begin at the
same musical moment. In the following example, the long tuplet
bracket and the first of the three short brackets begin at the
same musical moment, so any @code{\override} command would apply
notes and the second one specifies that the tuplet number is to be
printed in red on the first short tuplet bracket.
+@cindex @code{\tweak}, example
+@cindex direction property, example
+@cindex color property, example
+
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\tweak #'direction #up
\times 4/3 {
appearance may be modified in the usual way with
@code{\override} commands:
+@cindex text property, example
+@cindex tuplet-number function, example
+@cindex transparent property, example
+@cindex TupletNumber, example of overriding
+
@c NOTE Tuplet brackets collide if notes are high on staff
@c See issue 509
@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
}
@end lilypond
-@seealso
+@seealso
Notation Reference:
@ruser{The tweak command}.
@cindex Internals Reference
@menu
-* Properties of layout objects::
-* Properties found in interfaces::
-* Types of properties::
+* Properties of layout objects::
+* Properties found in interfaces::
+* Types of properties::
@end menu
@node Properties of layout objects
earlier about the flexibility of LilyPond that such a thing
should be possible, and you would probably guess that an
@code{\override} command would be needed. But is there a
-heaviness property for a slur, and if there is, how might it
+heaviness property for a slur, and if there is, how might it
be modified? This is where the Internals Reference manual
comes in. It contains all the information you might need to
construct this and all other @code{\override} commands.
@cindex override example
@cindex Internals Reference, example of using
+@cindex @code{\addlyrics} example
Let's use a concrete example with a simple fragment of real
music:
The man who feels love's sweet e -- mo -- tion
}
}
-@end lilypond
+@end lilypond
Suppose now that we decide we would like the slurs to be a
little heavier. Is this possible? The slur is certainly a
Under the heading @strong{Top} you will see five links. Select
the link to the @emph{Backend}, which is where information about
-layout objects is to be found. There, under the heading
+layout objects is to be found. There, under the heading
@strong{Backend}, select the link to @emph{All layout objects}.
The page that appears lists all the layout objects used in your
version of LilyPond, in alphabetic order. Select the link to
As we said earlier, there are few to no explanations in the IR,
but we already have enough information to try changing the
-slur thickness. We see that the name of the layout object
+slur thickness. We see that the name of the layout object
is @code{Slur}, that the name of the property to change is
@code{thickness} and that the new value should be a number
somewhat larger than 1.2 if we are to make slurs thicker.
We can now construct the @code{\override} command by simply
substituting the values we have found for the names, omitting
-the context. Let's use a very large value for the thickness
+the context. Let's use a very large value for the thickness
at first, so we can be sure the command is working. We get:
@example
\override Slur #'thickness = #5.0
-@end example
+@end example
Don't forget the @code{#'} preceding the
-property name and and @code{#} preceding the new value!
+property name and a @code{#} preceding the new value!
The final question is, @q{Where should this command be
-placed?} While you are unsure and learning, the best
+placed?} While you are unsure and learning, the best
answer is, @q{Within the music, before the first slur and
close to it.} Let's do that:
+@cindex Slur example of overriding
+@cindex thickness property, example
+
@lilypond[quote,verbatim,relative=2]
{
\time 6/8
The man who feels love's sweet e -- mo -- tion
}
}
-@end lilypond
+@end lilypond
@noindent
and we see that the slur is indeed heavier.
@cindex context, finding
@cindex context, identifying correct
-But first, what if we had needed to specify the Context?
+But first, what if we had needed to specify the Context?
What should it be? We could guess that slurs are in
the Voice context, as they are clearly closely associated
with individual lines of music, but can we be sure? To
us that @code{Slur_engraver} is part of five Voice contexts,
including the standard voice context, @code{Voice}, so our
guess was correct. And because @code{Voice} is one of the
-lowest level contexts which is implied unambiguously by
-the fact that we are entering notes, we can omit it in this
+lowest level contexts which is implied unambiguously by
+the fact that we are entering notes, we can omit it in this
location.
@subheading Overriding once only
is simply discarded. So the command with @code{\once} must be
repositioned as follows:
+@cindex Slur, example of overriding
+@cindex thickness property, example
+
@lilypond[quote,verbatim,relative=2]
{
\time 6/8
The man who feels love's sweet e -- mo -- tion
}
}
-@end lilypond
+@end lilypond
@noindent
Now only the first slur is made heavier.
@code{\once} placed immediately before each of the notes where
the slurs begin:
+@cindex Slur, example of overriding
+@cindex thickness property, example
+
@lilypond[quote,verbatim,relative=2]
{
\time 6/8
The man who feels love's sweet e -- mo -- tion
}
}
-@end lilypond
+@end lilypond
@noindent
or we could omit the @code{\once} command and use the @code{\revert}
command to return the @code{thickness} property to its default value
after the second slur:
+@cindex Slur, example of overriding
+@cindex thickness property, example
+
@lilypond[quote,verbatim,relative=2]
{
\time 6/8
That concludes our introduction to the IR, and the basic
method of tweaking. Several examples follow in the later
sections of this Chapter, partly to introduce you to some of the
-additional features of the IR, and partly to give you more
+additional features of the IR, and partly to give you more
practice in extracting information from it. These examples will
-contain progressively fewer words of guidance and explanation.
+contain progressively fewer words of guidance and explanation.
@node Properties found in interfaces
string"}; for more details about symbols and strings, see @ref{Scheme
tutorial}.
-Ok, so the @code{\override} command we need to print the lyrics
-in italics should be
+So we see that the @code{\override} command needed to print the lyrics
+in italics is:
@example
\override LyricText #'font-shape = #'italic
@end example
@noindent
-and this should be placed just in front of and close to the
-lyrics which it should affect, like this:
+This should be placed just in front of the lyrics we wish to affect,
+like so:
+
+@cindex font-shape property, example
+@cindex italic, example
+@cindex LyricText, example of overriding
+@cindex @code{\addlyrics}, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
@cindex context, specifying in lyric mode
@cindex lyric mode, specifying context
-In the case of lyrics, if you try specifying the context in the
+In the case of lyrics, if you try specifying the context in the
format given earlier the command will fail. A syllable
entered in lyricmode is terminated by either a space,
-a newline or a digit. All other characters are included
+a newline or a digit. All other characters are included
as part of the syllable. For this reason a space or newline
must appear before the terminating @code{@}} to prevent it being
included as part of the final syllable. Similarly,
@warning{In overrides in lyrics always place spaces around
the dot between the context name and the object name.}
-@seealso
+@seealso
Learning Manual: @ref{Scheme tutorial}.
@code{symbol}. To be valid, the value given to a property
must be of the correct type and obey the rules for that type.
The type of property is always shown in brackets after the
-property name in the IR. Here is a list of the types you may
+property name in the IR. Here is a list of the types you may
need, together with the rules for that type, and some examples.
You must always add a hash symbol, @code{#}, of course,
-to the front of these values when they are entered in the
+to the front of these values when they are entered in the
@code{\override} command.
@multitable @columnfractions .2 .45 .35
-@headitem Property type
+@headitem Property type
@tab Rules
@tab Examples
@item Boolean
@tab Any valid markup
@tab @code{\markup @{ \italic "cresc." @}}
@item Moment
- @tab A fraction of a whole note constructed with the
+ @tab A fraction of a whole note constructed with the
make-moment function
@tab @code{(ly:make-moment 1 4)},
@code{(ly:make-moment 3 8)}
@tab @code{'#(#t #t #f)}
@end multitable
-@seealso
+@seealso
Learning Manual: @ref{Scheme tutorial}.
@section Appearance of objects
Let us now put what we have learned into practice with a few
-examples which show how tweaks may be used to change the
+examples which show how tweaks may be used to change the
appearance of the printed music.
@menu
-* Visibility and color of objects::
-* Size of objects::
-* Length and thickness of objects::
+* Visibility and color of objects::
+* Size of objects::
+* Length and thickness of objects::
@end menu
@node Visibility and color of objects
In the educational use of music we might wish to print a score
with certain elements omitted as an exercise for the student,
who is required to supply them. As a simple example,
-let us suppose the exercise is to supply the missing bar lines
+let us suppose the exercise is to supply the missing bar lines
in a piece of music. But the bar lines are normally inserted
automatically. How do we prevent them printing?
This property controls the appearance of the bar lines by specifying
the symbol (glyph) which should be printed. In common
-with many other properties, it can be set to print nothing by
+with many other properties, it can be set to print nothing by
setting its value to @code{#f}. Let's try it, as before, omitting
the implied Context, @code{Voice}:
+@cindex BarLine, example of overriding
+@cindex stencil property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
them are of the type @code{Staff}, so the reason the @code{\override}
command failed to work as expected is because @code{Barline} is not in
the default @code{Voice} context. If the context is specified
-wrongly, the command simply does not work. No error message is
+incorrectly, the command simply does not work. No error message is
produced, and nothing is logged in the log file. Let's try correcting
it by adding the correct context:
+@cindex BarLine, example of overriding
+@cindex stencil property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
Now the bar lines have vanished.
+Note, though, that setting the @code{stencil} property to @code{#f}
+will cause errors when the dimensions of the object are required for
+correct processing. For example, errors will be generated if the
+@code{stencil} property of the @code{NoteHead} object is set to
+@code{#f}. If this is the case, you can instead use the
+@code{point-stencil} function, which sets the stencil to a object
+with zero size:
+
+@lilypond[quote,verbatim,relative=2]
+{
+ c c
+ \once \override NoteHead #'stencil = #point-stencil
+ c c
+}
+@end lilypond
+
@subheading break-visibility
@cindex break-visibility property
required, as always, to precede the value itself in the
@code{\override} command.
+@cindex BarLine, example of overriding
+@cindex break-visibility property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
@code{grob-interface}. So the command to make the time signature
transparent is:
+@cindex TimeSignature, example of overriding
+@cindex transparent property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
stencil for the time signature should be set to @code{#f}
instead:
+@cindex TimeSignature, example of overriding
+@cindex stencil property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
@ruser{List of colors}. To set the bar lines to white
we write:
+@cindex BarLine, example of overriding
+@cindex color property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
converts X11 color names into the list of internal values,
@code{x11-color}, like this:
+@cindex BarLine, example of overriding
+@cindex color property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
set the color to red the value should be @code{(rgb-color 1 0 0)}
and to white it should be @code{(rgb-color 1 1 1)}:
+@cindex BarLine, example of overriding
+@cindex color property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
this by setting all the layout objects in our example to
various shades of grey:
+@cindex StaffSymbol, example of overriding
+@cindex TimeSignature, example of overriding
+@cindex Clef, example of overriding
+@cindex NoteHead, example of overriding
+@cindex Stem, example of overriding
+@cindex BarLine, example of overriding
+@cindex color property, example
+@cindex x11-color, example of using
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
engraver is placed. The default context for engravers can be
found by starting from the layout object, going from there to
the engraver which produces it, and on the engraver page in the
-IR it tells you in which context the engraver will normally be
-found.
+IR it tells you in which context the engraver will normally be
+found.
@node Size of objects
@cindex objects, size of
@cindex objects, changing size of
-Let us begin by looking again at the earlier example
+Let us begin by looking again at the earlier example
see @ref{Nesting music expressions}) which showed
how to introduce a new temporary staff, as in an @rglos{ossia}.
+@cindex alignAboveContext property, example
+@cindex @code{\with}, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
<<
{ f c c }
\new Staff \with {
- alignAboveContext = "main" }
+ alignAboveContext = #"main" }
{ f8 f c }
>>
r4 |
already know now how to remove the clef and time signature --
we simply set the stencil of each to @code{#f}, as follows:
+@cindex alignAboveContext property, example
+@cindex @code{\with}, example
+@cindex stencil property, example
+@cindex Clef, example of overriding
+@cindex TimeSignature, example of overriding
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
<<
{ f c c }
\new Staff \with {
- alignAboveContext = "main"
+ alignAboveContext = #"main"
}
{
\override Staff.Clef #'stencil = ##f
required to ensure the enclosed overrides and music are applied
to the ossia staff.
-But what is the difference between modifying the staff context by
+But what is the difference between modifying the staff context by
using @code{\with} and modifying the stencils of the clef and the
-time signature with \override? The main difference is that
+time signature with \override? The main difference is that
changes made in a @code{\with} clause are made at the time the
context is created, and remain in force as the @strong{default}
values for the duration of that context, whereas
music are dynamic -- they make changes synchronized with
a particular point in the music. If changes are unset or
reverted using @code{\unset} or @code{\revert} they return to
-their default values, which will be the ones set in the
+their default values, which will be the ones set in the
@code{\with} clause, or if none have been set there, the normal
default values.
So we could replace the example above with
+@cindex alignAboveContext property, example
+@cindex @code{\with}, example
+@cindex Clef, example of overriding
+@cindex TimeSignature, example of overriding
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
<<
{ f c c }
\new Staff \with {
- alignAboveContext = "main"
+ alignAboveContext = #"main"
% Don't print clefs in this staff
\override Clef #'stencil = ##f
% Don't print time signatures in this staff
Let's try it in our ossia example:
+@cindex alignAboveContext property, example
+@cindex @code{\with}, example
+@cindex Clef, example of overriding
+@cindex TimeSignature, example of overriding
+@cindex fontSize property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
<<
{ f c c }
\new Staff \with {
- alignAboveContext = "main"
+ alignAboveContext = #"main"
\override Clef #'stencil = ##f
\override TimeSignature #'stencil = ##f
% Reduce all font sizes by ~24%
}
@end lilypond
-This is still not quite right. The note heads and flags are
+This is still not quite right. The note heads and flags are
smaller, but the stems are too long in proportion and the
staff lines are spaced too widely apart. These need to be
scaled down in proportion to the font reduction. The next
and returns a scaling factor suitable for reducing other
objects in proportion. It is used like this:
+@cindex alignAboveContext property, example
+@cindex @code{\with}, example
+@cindex Clef, example of overriding
+@cindex TimeSignature, example of overriding
+@cindex fontSize property, example
+@cindex StaffSymbol, example of overriding
+@cindex magstep function, example of using
+@cindex staff-space property, example
+@cindex stencil property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
\relative g' {
<<
{ f c c }
\new Staff \with {
- alignAboveContext = "main"
+ alignAboveContext = #"main"
\override Clef #'stencil = ##f
\override TimeSignature #'stencil = ##f
fontSize = #-2
For small changes in scale, as in the example above, the
thickness of the various drawn lines such as bar lines,
-beams, hairpins, slurs, etc does not usually require global
+beams, hairpins, slurs, etc does not usually require global
adjustment. If the thickness of any particular layout object
needs to be adjusted this can be best achieved by overriding its
@code{thickness} property. An example of changing the thickness
of slurs was shown above in @ref{Properties of layout objects}.
The thickness of all drawn objects (i.e., those not produced
-from a font) may be changed in the same way.
+from a font) may be changed in the same way.
@node Placement of objects
@section Placement of objects
@menu
-* Automatic behavior::
-* Within-staff objects::
-* Outside-staff objects::
+* Automatic behavior::
+* Within-staff objects::
+* Outside-staff objects::
@end menu
@cindex objects, outside-staff
There are some objects in musical notation that belong to
-the staff and there are other objects that should be
+the staff and there are other objects that should be
placed outside the staff. These are called within-staff
objects and outside-staff objects respectively.
Within-staff objects are those that are located on the staff
-- note heads, stems, accidentals, etc. The positions of
these are usually fixed by the music itself -- they are
-vertically positioned on specific lines of the staff or are
+vertically positioned on specific lines of the staff or are
tied to other objects that are so positioned. Collisions of
note heads, stems and accidentals in closely set chords are
normally avoided automatically. There are commands and
which the objects should be placed, as follows.
First, LilyPond places all the within-staff objects.
-Then it sorts the outside-staff objects according to their
+Then it sorts the outside-staff objects according to their
@code{outside-staff-priority}. The outside-staff objects are
taken one by one, beginning with the object with the lowest
@code{outside-staff-priority}, and placed so that they do not
-collide with any objects that have already been placed. That is,
-if two outside-staff grobs are competing for the same space, the
+collide with any objects that have already been placed. That is,
+if two outside-staff grobs are competing for the same space, the
one with the lower @code{outside-staff-priority} will be placed
closer to the staff. If two objects have the same
@code{outside-staff-priority} the one encountered first will be
placed closer to the staff.
-In the following example all the markup texts have the same
+In the following example all the markup texts have the same
priority (since it is not explicitly set). Note that @q{Text3}
is automatically positioned close to the staff again, nestling
under @q{Text2}.
+@cindex markup example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
c^"Text2"
\relative c'''' { c a, }
}
>>
-@end lilypond
+@end lilypond
@node Within-staff objects
@subsection Within-staff objects
We have already seen how the commands @code{\voiceXXX} affect
-the direction of slurs, ties, fingering and
+the direction of slurs, ties, fingering and
everything else which depends on the direction of the stems.
These commands are essential when writing polyphonic music to
permit interweaving melodic lines to be distinguished.
ready-made commands which avoid your having to code explicit
overrides for the more common modifications.
-Some layout objects like slurs and ties curve, bend or point
+Some layout objects like slurs and ties curve, bend or point
either up or down; others like stems and flags also move to
right or left when they point up or down. This is controlled
automatically when @code{direction} is set.
all stems forced up, and finally four notes reverted back to the
default behavior.
+@cindex Stem, example of overriding
+@cindex direction property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
a4 g c a
\override Stem #'direction = #DOWN
preceded by @code{\once}. If you wish to limit the
effect to a single note you must either use the equivalent
@code{\once \override} command or use the predefined command
-followed after the affected note by the corresponding
+followed after the affected note by the corresponding
@code{\xxxNeutral} command.
@subheading Fingering
behaviour, and the following two bars shows the effect of
specifying @code{DOWN} and @code{UP}:
+@cindex Fingering, example of overriding
+@cindex direction property, example
+
@lilypond[quote,verbatim,relative=2]
c-5 a-3 f-1 c'-5
\override Fingering #'direction = #DOWN
the fingering number is usually preferable. Here is the previous
example using this method:
+@cindex fingering example
+
@lilypond[quote,verbatim,relative=2]
c-5 a-3 f-1 c'-5
c_5 a_3 f_1 c'_5
the fingering is automatically placed both above and below the
notes of a chord, as shown:
+@cindex fingering example
+
@lilypond[quote,verbatim,relative=2]
<c-5 g-3>
<c-5 g-3 e-2>
@end lilypond
@noindent
-but this may be overriden to manually force all or any of the
+but this may be overridden to manually force all or any of the
individual fingering numbers above or below:
+@cindex fingering example
+
@lilypond[quote,verbatim,relative=2]
<c-5 g-3 e-2 c-1>
<c^5 g_3 e_2 c_1>
Here are a few examples:
+@cindex fingering example
+@cindex @code{\set}, example of using
+@cindex fingeringOrientations property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
\set fingeringOrientations = #'(left)
<f-2>
@code{Staff} or @code{Voice} contexts.
@multitable @columnfractions .3 .3 .3
-@headitem Layout Object
- @tab Priority
+@headitem Layout Object
+ @tab Priority
@tab Controls position of:
@item @code{MultiMeasureRestText}
@tab @code{450}
@funindex \stopTextSpan
@funindex stopTextSpan
+@cindex TextSpanner, example of overriding
+@cindex bound-details property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
% Set details for later Text Spanner
-\override TextSpanner #'bound-details #'left #'text
+\override TextSpanner #'(bound-details left text)
= \markup { \small \bold Slower }
% Place dynamics above staff
\dynamicUp
@code{TextSpanner}, remembering that @code{OttavaBracket} is created
in the @code{Staff} context:
+@cindex TextSpanner, example of overriding
+@cindex bound-details property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
% Set details for later Text Spanner
-\override TextSpanner #'bound-details #'left #'text
+\override TextSpanner #'(bound-details left text)
= \markup { \small \bold Slower }
% Place dynamics above staff
\dynamicUp
c, c c c
@end lilypond
+@cindex slurs and outside-staff-priority
+@cindex slurs and articulations
+@cindex articulations and slurs
+
+Slurs by default are classed as within-staff objects, but
+they often appear above the staff if the notes to
+which they are attached are high on the staff. This can push
+outside-staff objects such as articulations too high, as the slur
+will be placed first. The @code{avoid-slur} property of the
+articulation can be set to @code{'inside} to bring the articulation
+inside the slur, but the @code{avoid-slur} property is effective
+only if the @code{outside-staff-priority} is also set to @code{#f}.
+Alternatively, the @code{outside-staff-priority} of the slur
+can be set to a numerical value to cause it to be placed along with
+other outside-staff objects according to that value. Here's an
+example showing the effect of the two methods:
+
+@lilypond[quote,verbatim,relative=2]
+c4( c^\markup\tiny\sharp d4.) c8
+c4(
+\once \override TextScript #'avoid-slur = #'inside
+\once \override TextScript #'outside-staff-priority = ##f
+c^\markup\tiny\sharp d4.) c8
+\once \override Slur #'outside-staff-priority = #500
+c4( c^\markup\tiny\sharp d4.) c8
+@end lilypond
+
Changing the @code{outside-staff-priority} can also be used to
control the vertical placement of individual objects, although
the results may not always be desirable. Suppose we would
in the IR or in the tables above, and increase the priority of
@qq{Text3} to a higher value:
+@cindex TextScript, example of overriding
+@cindex outside-staff-priority property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c2^"Text1"
c^"Text2"
c^"Text2"
c^"Text3"
c^"Text4"
-@end lilypond
+@end lilypond
-The command to revert to the default behavior is
+The command to revert to the default behavior is
@code{\textLengthOff}. Remember @code{\once} only works with
@code{\override}, @code{\set}, @code{\revert} or @code{unset},
so cannot be used with @code{\textLengthOn}.
be turned off by setting the priority to @code{#f}. Here's an
example to show how markup text interacts with such notes.
+@cindex TextScript, example of overriding
+@cindex outside-staff-priority property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
% This markup is short enough to fit without collision
c2^"Tex"
However, if the notes and attached dynamics are close
together the automatic placement will avoid collisions
-by displacing later dynamic markings further away, but this may
+by displacing later dynamic markings further away, but this may
not be the optimum placement, as this rather artificial example
shows:
were able to do this for markup text by using the @code{\textLengthOn}
command, but there is no equivalent command for dynamic marks. So we
shall have to work out how to do this using @code{\override} commands.
-@c START HERE
+
@subheading Grob sizing
@cindex grob sizing
@cindex sizing grobs
-@cindex @code{X-offset}
-@cindex @code{Y-offset}
-@cindex @code{X-extent}
-@cindex @code{Y-extent}
First we must learn how grobs are sized. All grobs have a
-reference point defined within them which is used to position
+reference point defined within them which is used to position
them relative to their parent object. This point in the grob
is then positioned at a horizontal distance, @code{X-offset},
and at a vertical distance, @code{Y-offset}, from its parent.
numbers, @code{X-extent}, which say where the left and right
edges are relative to the reference point. The vertical extent
is similarly defined by a pair of numbers, @code{Y-extent}.
-These are properties of all grobs which support the
+These are properties of all grobs which support the
@code{grob-interface}.
@cindex @code{extra-spacing-width}
By default, outside-staff objects are given a width of zero so
that they may overlap in the horizontal direction. This is done
-by the trick of adding infinity to the leftmost extent and
-minus infinity to the rightmost extent by setting the
+by the trick of adding infinity to the leftmost extent and
+minus infinity to the rightmost extent by setting the
@code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So
to ensure they do not overlap in the horizontal direction we
must override this value of @code{extra-spacing-width} to
@noindent
Let's see if this works in our previous example:
+@cindex DynamicText, example of overriding
+@cindex extra-spacing-width property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
\override DynamicText #'extra-spacing-width = #'(0 . 0)
lines, so moving the left edge half a unit to the left and the
right edge half a unit to the right should do it:
+@cindex DynamicText, example of overriding
+@cindex extra-spacing-width property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
% Extend width by 1 staff space
@section Collisions of objects
@menu
-* Moving objects::
-* Fixing overlapping notation::
-* Real music example::
+* Moving objects::
+* Fixing overlapping notation::
+* Real music example::
@end menu
@node Moving objects
@subsection Moving objects
+@cindex moving overlapping objects
+@cindex moving colliding objects
+@cindex moving colliding grobs
+@cindex objects, moving colliding
+@cindex grobs, moving colliding
+
This may come as a surprise, but LilyPond is not perfect. Some
notation elements can overlap. This is unfortunate, but in fact
rather rare. Usually the need to move objects is for clarity or
suitable.
@item
-The @strong{object properties}, which LilyPond uses
-when positioning layout objects, may be modified using
-@code{\override}. The advantages
-of making changes to this type of property are (a) that some
-other objects will be moved automatically if necessary to make
-room and (b) the single override can apply to all instances of
-the same type of object. Such properties include:
+The @strong{object properties}, which LilyPond uses when positioning
+layout objects, may be modified using @code{\override}. The
+advantages of making changes to this type of property are (a) that
+some other objects will be moved automatically if necessary to make
+room and (b) the single override can apply to all instances of the
+same type of object. Such properties include:
@itemize
@code{padding}, @code{left-padding},
@code{right-padding}, @code{staff-padding}
+@cindex padding
@cindex left-padding property
@cindex padding property
@cindex right-padding property
@cindex staff-padding property
+
As an object is being positioned the value of its @code{padding}
-property specifies the gap that must be left between itself and
-the nearest edge of the object against which it is being
-positioned. Note that it is the @code{padding} value of the object
-@strong{being placed} that is used;
-the @code{padding} value of the object which is already placed is
-ignored. Gaps specified by @code{padding} can be applied
-to all objects which support the @code{side-position-interface}.
+property specifies the gap that must be left between itself and the
+nearest edge of the object against which it is being positioned. Note
+that it is the @code{padding} value of the object @strong{being
+placed} that is used; the @code{padding} value of the object which is
+already placed is ignored. Gaps specified by @code{padding} can be
+applied to all objects which support the
+@code{side-position-interface}.
Instead of @code{padding}, the placement of groups of accidentals
is controlled by @code{left-padding} and @code{right-padding}.
of the accidentals.
The @code{staff-padding} property is closely related to the
-@code{padding} property: @code{padding}
-controls the minimum amount of space between any object which
-supports the @code{side-position-interface} and the nearest
-other object (generally the note or the staff lines);
-@code{staff-padding} applies only to those objects which are always
-set outside the staff -- it controls the minimum amount of space
-that should be inserted between that object and the staff. Note
-that @code{staff-padding} has no effect on objects which are
-positioned relative to the note rather than the staff, even though
-it may be overridden without error for such objects -- it is simply
-ignored.
-
-To discover which padding property is required for the object
-you wish to reposition, you
-need to return to the IR and look up the object's properties.
-Be aware that the padding properties might not be located in the
-obvious object, so look in objects that appear to be related.
+@code{padding} property: @code{padding} controls the minimum amount of
+space between any object which supports the
+@code{side-position-interface} and the nearest other object (generally
+the note or the staff lines); @code{staff-padding} applies only to
+those objects which are always set outside the staff -- it controls
+the minimum amount of space that should be inserted between that
+object and the staff. Note that @code{staff-padding} has no effect on
+objects which are positioned relative to the note rather than the
+staff, even though it may be overridden without error for such objects
+-- it is simply ignored.
+
+To discover which padding property is required for the object you wish
+to reposition, you need to return to the IR and look up the object's
+properties. Be aware that the padding properties might not be located
+in the obvious object, so look in objects that appear to be related.
All padding values are measured in staff spaces. For most
objects, this value is set by default to be around 1.0 or less
@code{self-alignment-X}
@cindex self-alignment-X property
+
This property can be used to align the object to the left, to
-the right, or to center it with respect to the parent object's
+the right, or to center it with respect to the parent object's
reference point. It may be used with all objects which support
the @code{self-alignment-interface}. In general these are objects
that contain text. The values are @code{LEFT}, @code{RIGHT}
-or @code{CENTER}. Alternatively, a numerical value between
-@code{-1} and @code{+1} may be specified, where @code{-1} is
-left-aligned, @code{+1} is right-aligned, and numbers in between
+or @code{CENTER}. Alternatively, a numerical value between
+@code{-1} and @code{+1} may be specified, where @code{-1} is
+left-aligned, @code{+1} is right-aligned, and numbers in between
move the text progressively from left-aligned to right-aligned.
Numerical values greater than @code{1} may be specified to move
the text even further to the left, or less than @code{-1} to
@code{extra-spacing-width}
@cindex extra-spacing-width property
+
This property is available for all objects which support the
@code{item-interface}. It takes two numbers, the first is added
to the leftmost extent and the second is added to the rightmost
@code{staff-position}
@cindex staff-position property
+
@code{staff-position} is a property of the
@code{staff-symbol-referencer-interface}, which is supported by
objects which are positioned relative to the staff. It specifies
note columns, and an object called @code{NoteColumn} is created
to lay out the notes in that column.
-The @code{force-hshift}
-property is a property of a @code{NoteColumn} (actually of the
-@code{note-column-interface}). Changing it permits a note column
-to be moved in units appropriate to a note column, viz. the note
-head width of the first voice note. It should be used in
-complex situations where the normal @code{\shiftOn} commands (see
-@ref{Explicitly instantiating voices}) do
-not resolve the note conflict. It is preferable to the
-@code{extra-offset} property for this purpose as there is no need
-to work out the distance in staff-spaces, and moving the notes
-into or out of a @code{NoteColumn} affects other actions such as
-merging note heads.
+The @code{force-hshift} property is a property of a @code{NoteColumn}
+(actually of the @code{note-column-interface}). Changing it permits a
+note column to be moved in units appropriate to a note column,
+viz. the note head width of the first voice note. It should be used
+in complex situations where the normal @code{\shiftOn} commands (see
+@ref{Explicitly instantiating voices}) do not resolve the note
+conflict. It is preferable to the @code{extra-offset} property for
+this purpose as there is no need to work out the distance in
+staff-spaces, and moving the notes into or out of a @code{NoteColumn}
+affects other actions such as merging note heads.
@end itemize
@item
Finally, when all else fails, objects may be manually repositioned
-relative to the staff center line vertically, or by
-displacing them by any distance to a new position. The
-disadvantages are that the correct values for the repositioning
-have to be worked out, often by trial and error, for every object
-individually, and, because the movement is done after LilyPond has
-placed all other objects, the user is responsible for avoiding any
-collisions that might ensue. But the main difficulty with this
-approach is that the repositioning values may need to be reworked
-if the music is later modified. The properties that can be used
-for this type of manual repositioning are:
+relative to the staff center line vertically, or by displacing them by
+any distance to a new position. The disadvantages are that the
+correct values for the repositioning have to be worked out, often by
+trial and error, for every object individually, and, because the
+movement is done after LilyPond has placed all other objects, the user
+is responsible for avoiding any collisions that might ensue. But the
+main difficulty with this approach is that the repositioning values
+may need to be reworked if the music is later modified. The
+properties that can be used for this type of manual repositioning are:
@table @code
@item extra-offset
+
@cindex extra-offset property
-This property applies to any layout object
-supporting the @code{grob-interface}. It takes a pair of
-numbers which specify the extra displacement in the horizontal and
-vertical directions. Negative numbers move the object to
-the left or down. The units are staff-spaces. The extra
-displacement is made after the typesetting of objects is
-finished, so an object may be repositioned anywhere without
+
+This property applies to any layout object supporting the
+@code{grob-interface}. It takes a pair of numbers which specify the
+extra displacement in the horizontal and vertical directions.
+Negative numbers move the object to the left or down. The units are
+staff-spaces. The extra displacement is made after the typesetting of
+objects is finished, so an object may be repositioned anywhere without
affecting anything else.
@item positions
+
@cindex positions property
+
This is most useful for manually adjusting the slope and height
of beams, slurs, and tuplets. It takes a pair of numbers
giving the position of the left and right ends of the beam, slur,
help to resolve overlapping notation.
@subheading padding property
-@cindex padding property
+
+@cindex padding
+@cindex fixing overlapping notation
+@cindex overlapping notation
The @code{padding} property can be set to increase
(or decrease) the distance between symbols that are printed
above or below notes.
+@cindex Script, example of overriding
+@cindex padding property, example
+
@lilypond[quote,fragment,relative=1,verbatim]
c2\fermata
\override Script #'padding = #3
b2\fermata
@end lilypond
+@cindex MetronomeMark, example of overriding
+@cindex padding property, example
+
@lilypond[quote,fragment,relative=1,verbatim]
% This will not work, see below:
\override MetronomeMark #'padding = #3
Note in the second example how important it is to figure out what
context handles a certain object. Since the @code{MetronomeMark}
-object
-is handled in the @code{Score} context, property changes in the
+object is handled in the @code{Score} context, property changes in the
@code{Voice} context will not be noticed. For more details, see
@ruser{Modifying properties}.
@subheading left-padding and right-padding
+
@cindex left-padding property
@cindex right-padding property
with a markup containing the natural and flat symbols in the
order we would like, like this:
+@cindex Accidental, example of overriding
+@cindex text property, example
+@cindex stencil property, example
+@cindex AccidentalPlacement, example of overriding
+@cindex right-padding property, example
+
@lilypond[quote,ragged-right,verbatim]
naturalplusflat = \markup { \natural \flat }
\relative c'' {
This necessarily uses an override for the accidental stencil which
will not be covered until later. The stencil type must be a
procedure, here changed to print the contents of the @code{text}
-property of @code{Accidental}, which itself is set to be a natural
-sign followed by a flat sign. These are then moved further away
+property of @code{Accidental}, which itself is set to be a natural
+sign followed by a flat sign. These are then moved further away
from the note head by overriding @code{right-padding}.
@noindent
@subheading staff-padding property
-@cindex staff-padding property
+
+@cindex aligning objects on a baseline
+@cindex objects, aligning on a baseline
@code{staff-padding} can be used to align objects such as dynamics
-along a baseline at a fixed height above the staff, rather than
-at a height dependent on the position of the note to which they
-are attached. It is not a property of
-@code{DynamicText} but of @code{DynamicLineSpanner}.
-This is because the baseline should apply equally to @strong{all}
-dynamics, including those created as extended spanners.
-So this is the way to align the dynamic marks in the example
-taken from the previous section:
+along a baseline at a fixed height above the staff, rather than at a
+height dependent on the position of the note to which they are
+attached. It is not a property of @code{DynamicText} but of
+@code{DynamicLineSpanner}. This is because the baseline should apply
+equally to @strong{all} dynamics, including those created as extended
+spanners. So this is the way to align the dynamic marks in the
+example taken from the previous section:
+
+@cindex DynamicText, example of overriding
+@cindex extra-spacing-width property, example
+@cindex DynamicLineSpanner, example of overriding
+@cindex staff-padding property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
@subheading self-alignment-X property
-@cindex self-alignment-X property
The following example shows how this can resolve the collision
of a string fingering object with a note's stem by aligning the
right edge with the reference point of the parent note:
+@cindex StringNumber, example of overriding
+@cindex self-alignment-X property, example
+
@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
\voiceOne
< a \2 >
@end lilypond
@subheading staff-position property
-@cindex staff-position property
+
+@cindex object collision within a staff
Multimeasure rests in one voice can collide with notes in another.
Since these rests are typeset centered between the bar lines, it
<< {c c c c} \\ {R1} >>
@end lilypond
-The best solution here is to move the multimeasure rest down,
-since the rest is in voice two.
-The default in @code{\voiceTwo} (i.e. in the second voice of a
-@code{<<@{...@} \\ @{...@}>>} construct)
-is that @code{staff-position} is set to -4 for MultiMeasureRest,
-so we need to move it, say, four half-staff spaces down to
-@code{-8}.
+The best solution here is to move the multimeasure rest down, since
+the rest is in voice two. The default in @code{\voiceTwo} (i.e. in
+the second voice of a @code{<<@{...@} \\ @{...@}>>} construct) is that
+@code{staff-position} is set to -4 for MultiMeasureRest, so we need to
+move it, say, four half-staff spaces down to @code{-8}.
+
+@cindex MultiMeasureRest, example of overriding
+@cindex staff-position property, example
@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
<<
because the ledger line above the rest is inserted automatically.
@subheading extra-offset property
-@cindex extra-offset property
+
+@cindex positioning objects
+@cindex positioning grobs
+@cindex objects, positioning
+@cindex grobs, positioning
The @code{extra-offset} property provides complete control over the
positioning of an object both horizontally and vertically.
In the following example, the second fingering is moved a little to
the left, and 1.8 staff space downwards:
+@cindex Fingering, example of overriding
+@cindex extra-offset property, example
+
@lilypond[quote,fragment,relative=1,verbatim]
\stemUp
f-5
@subheading positions property
-@cindex positions property
+
+@cindex controlling tuplets, slurs, phrasing slurs, and beams manually
+@cindex manually controlling tuplets, slurs, phrasing slurs, and beams
+@cindex tuplet beams, controlling manually
+@cindex slurs, controlling manually
+@cindex phrasing slurs, controlling manually
+@cindex beams, controlling manually
The @code{positions} property allows the position and slope of
- tuplets, slurs, phrasing slurs and beams to be controlled
-manually. Here's an example which has an ugly phrasing slur
-due to its trying to avoid the slur on the acciaccatura.
+tuplets, slurs, phrasing slurs and beams to be controlled manually.
+Here's an example which has an ugly phrasing slur due to its trying to
+avoid the slur on the acciaccatura.
@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
r4 \acciaccatura e8\( d8 c ~c d c d\)
@end lilypond
@noindent
-but if there were some reason why this could not be done the
+But if there were some reason why this could not be done the
other alternative would be to move the left end of the phrasing
slur down a little using the @code{positions} property. This
also resolves the rather nasty shape.
+@cindex PhrasingSlur, example of overriding
+@cindex positions property, example
+
@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
r4
\once \override PhrasingSlur #'positions = #'(-4 . -3)
up from their position at 2 staff-spaces above the center line to,
say, 3:
+@cindex Beam, example of overriding
+@cindex positions property, example
+
@lilypond[quote,verbatim,fragment,ragged-right]
{
\clef "bass"
second voice.
@subheading force-hshift property
-@cindex force-hshift property
+
@c FIXME: formatting stuff (ie not important right now IMO)
@c @a nchor Chopin finally corrected TODOgp
@end lilypond
@noindent
-The lower two notes of the first chord (i.e,
-those in the third voice) should not be shifted away from the
-note column of the higher two notes. To correct this we set
-@code{force-hshift}, which is a property of
-@code{NoteColumn}, of these notes to zero.
-The lower note of the second chord is best placed just to the
-right of the higher notes. We achieve this by setting
-@code{force-hshift} of this note to 0.5, ie half a note head's
-width to the right of the note column of the higher notes.
+The lower two notes of the first chord (i.e, those in the third voice)
+should not be shifted away from the note column of the higher two
+notes. To correct this we set @code{force-hshift}, which is a
+property of @code{NoteColumn}, of these notes to zero. The lower note
+of the second chord is best placed just to the right of the higher
+notes. We achieve this by setting @code{force-hshift} of this note to
+0.5, ie half a note head's width to the right of the note column of
+the higher notes.
Here's the final result:
+@cindex NoteColumn, example of overriding
+@cindex force-hshift property, example
+
@lilypond[quote,verbatim,fragment,ragged-right]
\new Staff \relative c'' {
\key aes \major
dynamics, fingering and pedalling.
@c The following should appear as music without code
+@c This example should not be indexed
@lilypond[quote,ragged-right]
rhMusic = \relative c'' {
r2
}
@end lilypond
-All the notes are right, but the appearance is far from
-satisfactory. The tie clashes with the change in time signature,
-the beaming in the third bar is wrong, the notes are not
-merged together, and several notation elements are missing.
-Let's first deal with the easier things.
-We can correct the beaming by inserting a beam
-manually, and we can easily add the left hand slur and the right
-hand phrasing slur, since these were all covered in the Tutorial.
-Doing this gives:
+All the notes are right, but the appearance is far from satisfactory.
+The tie clashes with the change in time signature, the beaming in the
+third bar is wrong, the notes are not merged together, and several
+notation elements are missing. Let's first deal with the easier
+things. We can correct the beaming by inserting a beam manually, and
+we can easily add the left hand slur and the right hand phrasing slur,
+since these were all covered in the Tutorial. Doing this gives:
@lilypond[quote,verbatim,ragged-right]
rhMusic = \relative c'' {
}
@end lilypond
-The first bar is now correct. The second bar contains an arpeggio
-and is terminated by a double bar line. How do we do these, as they
-have not been mentioned in this Learning Manual? This is where
-we need to turn to the Notation Reference. Looking up @q{arpeggio}
-and @q{bar line} in the
-index quickly shows us that an arpeggio is produced by appending
-@code{\arpeggio} to a chord, and a double bar line is produced by
-the @code{\bar "||"} command. That's easily done. We next need
-to correct the collision of the tie with the time signature. This
-is best done by moving the tie upwards. Moving objects was covered
-earlier in @ref{Moving objects}, which says that objects positioned
-relative to the staff can be moved by overriding their
+The first bar is now correct. The second bar contains an arpeggio and
+is terminated by a double bar line. How do we do these, as they have
+not been mentioned in this Learning Manual? This is where we need to
+turn to the Notation Reference. Looking up @q{arpeggio} and @q{bar
+line} in the index quickly shows us that an arpeggio is produced by
+appending @code{\arpeggio} to a chord, and a double bar line is
+produced by the @code{\bar "||"} command. That's easily done. We
+next need to correct the collision of the tie with the time signature.
+This is best done by moving the tie upwards. Moving objects was
+covered earlier in @ref{Moving objects}, which says that objects
+positioned relative to the staff can be moved by overriding their
@code{staff-position} property, which is specified in half staff
spaces relative to the center line of the staff. So the following
-override placed just before the first tied note would move the tie
-up to 3.5 half staff spaces above the center line:
+override placed just before the first tied note would move the tie up
+to 3.5 half staff spaces above the center line:
@code{\once \override Tie #'staff-position = #3.5}
}
@end lilypond
-On to bar three and the start of the Moderato section. The
-tutorial showed how to add embolded text with the @code{\markup}
-command, so adding @q{Moderato} in bold is easy.
-But how do we merge notes in different voices together? This is
-where we need to turn to the Notation Reference for help. A search
-for @qq{merge} in the Notation Reference index quickly leads us to
-the commands for merging differently headed and differently
-dotted notes in @ruser{Collision resolution}. In our
-example we need to merge both types of note for the duration
-of the polyphonic section in bar 3, so using the information
-we find in the Notation Reference we add
+On to bar three and the start of the Moderato section. The tutorial
+showed how to add embolded text with the @code{\markup} command, so
+adding @q{Moderato} in bold is easy. But how do we merge notes in
+different voices together? This is where we need to turn to the
+Notation Reference for help. A search for @qq{merge} in the Notation
+Reference index quickly leads us to the commands for merging
+differently headed and differently dotted notes in @ruser{Collision
+resolution}. In our example we need to merge both types of note for
+the duration of the polyphonic section in bar 3, so using the
+information we find in the Notation Reference we add
@example
\mergeDifferentlyHeadedOn
using @code{\shiftOnn} to avoid it interfering with the two D's.
Applying these changes gives:
+@cindex Tie, example of overriding
+@cindex staff-position property, example
+
@lilypond[quote,verbatim,ragged-right]
rhMusic = \relative c'' {
r2 c4.\( g8 |
earlier tweaks: we make the stem transparent, and move the C with
the @code{force-hshift} property. Here's the final result:
+@cindex NoteColumn, example of overriding
+@cindex force-hshift property, example
+@cindex Stem, example of overriding
+@cindex transparent property, example
+
@lilypond[quote,verbatim,ragged-right]
rhMusic = \relative c'' {
r2
* Using variables for tweaks::
* Other sources of information::
* Avoiding tweaks with slower processing::
-* Advanced tweaks with Scheme::
+* Advanced tweaks with Scheme::
@end menu
@node Other uses for tweaks
@cindex removing objects
@cindex objects, removing
@cindex hiding objects
+@cindex objects, hiding
@cindex invisible objects
+@cindex objects, invisible
@cindex tying notes across voices
@subheading Tying notes across voices
and blanking the first up-stem in that voice, the tie appears to
cross voices:
+@cindex Stem, example of overriding
+@cindex transparent property, example
+
@lilypond[quote,fragment,relative=2,verbatim]
<<
{
its @code{stencil} property to @code{#f} would be the best way.
We show here the effect of the two methods:
+@cindex MetronomeMark, example of overriding
+@cindex transparent property, example
+
@lilypond[quote,verbatim,ragged-right]
\score {
\relative c'' {
}
@end lilypond
+@cindex MetronomeMark, example of overriding
+@cindex stencil property, example
+
@lilypond[quote,verbatim,ragged-right]
\score {
\relative c'' {
@noindent
Both methods remove the metronome mark which lengthens the fermata
-from the printed output, and both affect the MIDI timing as
+from the printed output, and both affect the MIDI timing as
required, but the transparent metronome mark in the first line
forces the following tempo indication too high while the
second (with the stencil removed) does not.
@node Using variables for tweaks
@subsection Using variables for tweaks
+@cindex variables, using for tweaks
+@cindex using variables for tweaks
+@cindex tweaks, using variables for
+
Override commands are often long and tedious to type, and they
have to be absolutely correct. If the same overrides are to be
used many times it may be worth defining variables to hold them.
+
Suppose we wish to emphasize certain words in lyrics by printing
them in bold italics. The @code{\italic} and @code{\bold}
-commands only work within lyrics if they are also embedded in
-@code{\markup}, which makes them tedious to enter, so as an
-alternative can we instead use the @code{\override} and
-@code{\revert} commands?
+commands only work within lyrics if they are embedded, together with
+the word or words to be modified, within a @code{\markup} block,
+which makes them tedious to enter. The need to embed the words
+themselves prevents their use in simple variables. As an
+alternative can we use @code{\override} and @code{\revert} commands?
@example
@code{\override Lyrics . LyricText #'font-shape = #'italic}
@end example
These would also be extremely tedious to enter if there were many
-words requiring emphasis. So instead we define these as two
-variables, and use them as follows, although normally we would
-perhaps choose shorter names for the variables to make them
-quicker to type:
+words requiring emphasis. But we @emph{can} define these as two
+variables and use those to bracket the words to be emphasized.
+Another advantage of using variables for these overrides is that
+the spaces around the dot are not necessary, since they are not
+being interpreted in @code{\lyricmode} directly. Here's an example
+of this, although in practice we would choose shorter names
+for the variables to make them quicker to type:
+
+@cindex LyricText, example of overriding
+@cindex font-shape property, example
+@cindex font-series property, example
@lilypond[quote,verbatim]
emphasize = {
- \override Lyrics . LyricText #'font-shape = #'italic
- \override Lyrics . LyricText #'font-series = #'bold
+ \override Lyrics.LyricText #'font-shape = #'italic
+ \override Lyrics.LyricText #'font-series = #'bold
}
normal = {
- \revert Lyrics . LyricText #'font-shape
- \revert Lyrics . LyricText #'font-series
+ \revert Lyrics.LyricText #'font-shape
+ \revert Lyrics.LyricText #'font-series
}
global = { \time 4/4 \partial 4 \key c \major}
by downloading a precompiled binary from lilypond.org
or whether you installed it from a package manager (i.e.
distributed with Linux, or installed under fink or cygwin) or
-compiled it from source, and (b) on which operating system it is
+compiled it from source, and (b) on which operating system it is
being used:
@strong{Downloaded from lilypond.org}
Let's begin by looking at some files in @file{ly/}.
Open @file{ly/property-init.ly} in a text editor. The one
you normally use for @code{.ly} files will be fine. This file
-contains the definitions of all the standard LilyPond built-in
+contains the definitions of all the standard LilyPond predefined
commands, such as @code{\stemUp} and @code{\slurDotted}. You will
see that these are nothing more than definitions of variables
containing one or a group of @code{\override} commands. For
@}
@end example
-If you do not like the default values these built-in commands can
+If you do not like the default values these predefined commands can
be redefined easily, just like any other variable, at the
head of your input file.
@tab Contents
@item @file{ly/engraver-init.ly}
@tab Definitions of engraver Contexts
-@item @file{ly/paper-defaults.ly}
+@item @file{ly/paper-defaults-init.ly}
@tab Specifications of paper-related defaults
@item @file{ly/performer-init.ly}
@tab Definitions of performer Contexts
@item @file{ly/property-init.ly}
- @tab Definitions of all common built-in commands
+ @tab Definitions of all common predefined commands
+@item @file{ly/spanner-init.ly}
+ @tab Definitions of spanner-related predefined commands
@end multitable
Other settings (such as the definitions of markup commands) are
example we color the note head in accordance with its position on
the staff.
+@cindex x11-color function, example of using
+@cindex NoteHead, example of overriding
+@cindex color property, setting to Scheme procedure
+
@lilypond[quote,verbatim,ragged-right]
#(define (color-notehead grob)
"Color the notehead according to its position on the staff."
\relative c' {
% Arrange to obtain color from color-notehead procedure
\override NoteHead #'color = #color-notehead
- c2 c' |
- b4 g8 a b4 c |
- c,2 a' |
+ c2 c' |
+ b4 g8 a b4 c |
+ c,2 a' |
g1 |
}
\addlyrics {
projects / lilypond.git / blobdiff