This chapter discusses how to modify output. LilyPond is extremely
configurable; virtually every fragment of output may be changed.
-NB: This chapter is still under development and this version is
-somewhat experimental; nothing is fixed. Don't translate yet!
-
-
@menu
* Tweaking basics::
* The Internals Reference manual::
* Appearance of objects::
-* Common tweaks::
-* TODO other name::
+* Placement of objects::
+* Collisions of objects::
+* Further tweaking::
@end menu
@node Tweaking basics
achieved.
In this section we cover the basic concepts required to understand
-tweaking. Later we give a variety of potted commands which can
+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
that you may learn how to develop your own tweaks.
Before starting on this Chapter you may wish to review the section
-@ref{Contexts and engravers}, as Contexts, Engravers, and the
+@ref{Contexts and engravers}, as Contexts, Engravers, and the
Properties contained within them are fundamental to understanding
and constructing Tweaks.
properties associated with that particular staff, for example, its
name and its key signature, together with details of the engravers
which have been assigned to operate within that staff's context.
-Similarly, there are @code{Voice} objects, @code{Score} objects,
-@code{Lyric} objects, and objects to represent barlines,
-noteheads, ties, dynamics, etc, each with their own set of
-properties.
+Similarly, there are objects to hold the properties of all other
+contexts, such as @code{Voice} objects, @code{Score} objects,
+@code{Lyrics} objects, as well as objects to represent all
+notational elements such as bar lines,
+note heads, ties, dynamics, etc. Every object has its own set of
+property values.
Some types of object are given special names. Objects which
represent items of notation on the printed output such as
-noteheads, stems, slurs, ties, fingering, clefs, etc are called
+ note heads, stems, slurs, ties, fingering, clefs, etc are called
@q{Layout objects}, often known as @q{Graphical Objects}, or
@q{Grobs} for short. These are still objects in the generic sense
above, and so they too all have properties associated with them,
the conventions for naming them and a couple of examples of
some real names. We have used A to stand for any capitalised
alphabetic character and aaa to stand for any number of
-lower-case alphabetic characters. Other charaters are used
+lower-case alphabetic characters. Other characters are used
verbatim.
@multitable @columnfractions .33 .33 .33
@headitem Object/property type
@tab Naming convention
@tab Example
-@item Contexts, Layout Objects
+@item Contexts
+ @tab Aaaa or AaaaAaaaAaaa
+ @tab Staff, GrandStaff
+@item Layout Objects
@tab Aaaa or AaaaAaaaAaaa
- @tab Staff, GrandStaff,
+ @tab Slur, NoteHead
@item Engravers
@tab Aaaa_aaa_engraver
@tab Clef_engraver, Note_heads_engraver
@node Tweaking methods
@subsection Tweaking methods
+@strong{\override command}
+
+@cindex override command
+@funindex \override
+
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
+and add @strong{engravers}, in
@ref{Modifying context properties} and @ref{Adding
-and removing engravers}. We now must meet one more command.
+and removing engravers}. We now must meet one more important
+command.
The command to change the properties of @strong{layout objects} is
@code{\override}. Because this command has to modify
@noindent
This will set the property with the name @emph{layout_property}
-of the layout object with the name
+of the layout object with the name
@emph{layout_object}, which is a member of the @emph{context}
context, to the value @emph{value}.
-The @emph{context} can be omitted (and usually is) when the
+The @emph{context} can be omitted (and usually is) when the
required context is unambiguously implied and is one of lowest
-level contexts, i.e., @code{Voice} or @code{Lyrics}, and we shall
-omit it in the following examples. Later we shall see when it
-must be specified.
+level contexts, i.e., @code{Voice}, @code{ChordNames} or
+@code{Lyrics}, and we shall omit it in many of the following
+examples. We shall see later when it must be specified.
For now, don't worry about the @code{#'}, which must precede the
layout property, and the @code{#}, which must precede the value.
\revert @emph{context}.@emph{layout_object} #'@emph{layout_property}
@end example
-Again, the @emph{context} will be omitted for now.
+Again, just like @emph{context} in the @code{\override} command,
+@emph{context} is often not needed. It will be omitted
+in many of the following examples.
+
+@strong{\overrideProperty command}
-There is another form of the override command,
-@code{\overrideProperty}, which is occasionally required.
-We mention it here for completeness, but for details see
+@cindex overrideProperty command
+@funindex \overrideProperty
+
+There is another form of the override command,
+@code{\overrideProperty}, which is occasionally required.
+We mention it here for completeness, but for details see
@ruser{Difficult tweaks}.
@c Maybe explain in a later iteration -td
+@strong{\tweak command}
+
+@cindex tweak command
+@funindex \tweak
+
The final tweaking command which is available is @code{\tweak}.
-It is not really a new command but a shorthand for an
-@code{\override} command which must be used in a few special
-circumstances. Again, we shall not discuss or use it here.
-You may find the details in
+This should be used to change the properties of objects which
+occur at the same musical moment, such as the notes within a
+chord. Using @code{\override} would affect all the notes
+within a chord, whereas @code{\tweak} affects just the following
+item in the input stream.
+
+Here's an example. Suppose we wish to change the size of the
+middle note (the E) in a C major chord. Let's first see what
+@code{\once \override} would do:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+ <c e g>4
+ \once \override NoteHead #'font-size = #-3
+ <c e g>4
+@end lilypond
+
+We see the override affects @emph{all} the notes in the chord.
+This is because all the notes of a chord occur at the same
+@emph{musical moment}, and the action of @code{\once} is to
+apply the override to all layout objects of the type specified
+which occur at the same musical moment as the @code{\override}
+command itself.
+
+The @code{\tweak} command operates in a different way. It acts
+on the immediately following item in the input stream. However,
+it is effective only on objects which are created directly from
+the input stream, essentially note heads and articulations.
+(Objects such as stems and accidentals are created later and
+cannot be tweaked in this way). Furthermore, when it is applied
+to note heads these must be within a chord, i.e., within single
+angle brackets, so to tweak a single note the @code{\tweak}
+command must be placed inside single angle brackets with the
+note.
+
+So to return to our example, the size of the middle note of
+a chord would be changed in this way:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+ <c e g>4
+ <c \tweak #'font-size #-3 e g>4
+@end lilypond
+
+Note that the syntax of @code{\tweak} is different from that
+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
+@code{\tweak} command is simply:
+
+@example
+\tweak #'@emph{layout_property} = #@emph{value}
+@end example
+
+A @code{\tweak} command can also be used to modify just one in
+a series of articulations, as shown here:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+a ^Black
+ -\tweak #'color #red ^Red
+ -\tweak #'color #green _Green
+@end lilypond
+
+Note that the @code{\tweak} command must be preceded by an
+articulation mark as if it were an articulation itself.
+
+You can find more details of the @code{\tweak} command in
@ruser{Objects connected to the input}.
-@c Maybe explain in a later iteration -td
+
@node The Internals Reference manual
@section The Internals Reference manual
@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
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 6/8
- {
+ {
r4 b8 b[( g]) g |
g[( e]) e d[( f]) a |
a g
}
- \addlyrics {
+ \addlyrics {
The man who feels love's sweet e -- mo -- tion
}
}
this we must look in the Internals Reference, or IR for short.
The IR for the version of LilyPond you are using may be found
-on the LilyPond website at http://lilypond.org. Go to the
+on the LilyPond website at @uref{http://lilypond.org}. Go to the
documentation page and click on the Internals Reference link.
For learning purposes you should use the standard html version,
not the @q{one big page} or the PDF. For the next few
at first, so we can be sure the command is working. We get:
@example
- \override Slur #'thickness = #5.0
+\override Slur #'thickness = #5.0
@end example
Don't forget the @code{#'} preceding the
The final question is, @q{Where should this command be
placed?} While you are unsure and learning, the best
-answer is, @q{Within the music, before the first slur and
+answer is, @q{Within the music, before the first slur and
close to it.} Let's do that:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 6/8
- {
+ {
% Increase thickness of all following slurs from 1.2 to 5.0
\override Slur #'thickness = #5.0
r4 b8 b[( g]) g |
still need some practice. This is provided in the examples
which follow.
-But first, what if we had needed to specifiy the Context?
+@subheading Finding the context
+@cindex context, finding
+
+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
the @code{Slur_engraver} is in. Follow the link to the
@code{Slur_engraver} page. At the very bottom it tells
us that @code{Slur_engraver} is part of five Voice contexts,
-including the standard voice context, @code{Voice}, so our
+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
location.
-@heading Overriding once only
+@subheading Overriding once only
@cindex overriding once only
@cindex once override
@funindex \once
-As you can see, @emph{all} the slurs are thicker in the
+As you can see, @emph{all} the slurs are thicker in the
final example above. But what if we
wanted just the first slur to be thicker? This is achieved
with the @code{\once} command. Placed immediately before
the @code{\override} command it causes it to change only the
-slur on the @strong{immediately following} note. If the
-immediately following note does not have a slur the command
+slur which begins on the @strong{immediately following} note.
+If the
+immediately following note does not begin a slur the command
has no effect at all -- it is not remembered until a slur
is encountered, it is simply discarded. So the command with
-@code{\once} must be
+@code{\once} must be
repositioned as follows:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 6/8
- {
+ {
r4 b8
% Increase thickness of immediately following slur only
\once \override Slur #'thickness = #5.0
g[( e]) e d[( f]) a |
a g
}
- \addlyrics {
+ \addlyrics {
The man who feels love's sweet e -- mo -- tion
}
}
@noindent
Now only the first slur is made heavier.
+
+The @code{\once} command can also be used before @code{\set}
+and @code{\unset}, and before the command to be introduced
+in the following section -- @code{revert}.
-@heading Reverting
+@subheading Reverting
+
+@cindex revert
+@cindex default properties, reverting
+@funindex \revert
Finally, what if we wanted just the first two slurs to be
heavier? Well, we could use two commands, each preceded by
g[( e]) e d[( f]) a |
a g
}
- \addlyrics {
+ \addlyrics {
The man who feels love's sweet e -- mo -- tion
}
}
@end lilypond
-@cindex revert
-@funindex \revert
-
@noindent
-or we could omit the @code{\once} command and use the
+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:
e d[( f]) a |
a g
}
- \addlyrics {
+ \addlyrics {
The man who feels love's sweet e -- mo -- tion
}
}
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
-practice in extracting information from it. These example will
+practice in extracting information from it. These examples will
contain progressively fewer words of guidance and explanation.
@node Properties found in interfaces
@cindex properties in interfaces
Suppose now that we wish to print the lyrics in italics. What
-@code{\override} command do we need to do this?
+form of @code{\override} command do we need to do this?
We first look in the IR page listing @q{All layout objects}, as
-before, and look for an object that might print lyrics. We
+before, and look for an object that might control lyrics. We
find @code{LyricText}, which looks right. Clicking on this shows
the settable properties for lyric text. These include the
@code{font-series} and @code{font-size}, but nothing that might
This is because the shape property is one that is common to all
font objects, so, rather than including it in every layout
object, it is grouped together with other similar common
-properties and placed in an @strong{Interface}, the
+properties and placed in an @strong{Interface}, the
@code{font-interface}.
So now we need to learn how to find the properties of interfaces,
Look again at the IR page which describes LyricText. At the
bottom of the page is a list of clickable (in the html versions
of the IR) interfaces which LyricText supports. The list has
-seven items, including @code{font-interface}.
+seven items, including @code{font-interface}.
Clicking on this brings up the properties associated
with this interface, which are also properties of all the objects
which support it, including LyricText.
are also listed there.
This immediately raises the question: Why are the common font
properties @code{font-series} and @code{font-size} listed under
-@code{LyricText} as well as under the interface
+@code{LyricText} as well as under the interface
@code{font-interface} but @code{font-shape} is not? The answer
is that @code{font-series} and @code{font-size} are changed
from their global default values when a @code{LyricText} object
-is created, but @code{font-shape} is not. The entries in
+is created, but @code{font-shape} is not. The entries in
@code{LyricText} then tell you the values for those two
properties which apply to @code{LyricText}. Other objects
which support @code{font-interface} will set these
Let's see if we can now construct the @code{\override} command
to change the lyrics to italics. The object is @code{LyricText},
-the property is @code{'font-shape} and the value is
-@code{'italic}. As before, we'll omit the context.
+the property is @code{font-shape} and the value is
+@code{italic}. As before, we'll omit the context.
As an aside, although it is an important one, note that because
the values of
-@code{'font-shape} are symbols they must be introduced with a
+@code{font-shape} are symbols they must be introduced with a
single apostrophe, @code{'}. That is why apostrophes
-are needed before @code{'thickness} in the earlier example
-and @code{'font-shape}. These are both symbols too.
+are needed before @code{thickness} in the earlier example
+and @code{font-shape}. These are both symbols too.
Symbols are special names which are known internally to
LilyPond. Some of them are the names of properties,
-like @code{'thickness} or @code{'font-shape}, others are in
+like @code{thickness} or @code{font-shape}, others are in
effect special values that can be given to properties, like
-@code{'italic}. Note the distinction from arbitary
+@code{italic}. Note the distinction from arbitary
text strings, which would appear as @code{"a text string"}.
Ok, so the @code{\override} command we need to print the lyrics
in italics should be
@example
- \override LyricText #'font-shape = #'italic
+\override LyricText #'font-shape = #'italic
@end example
@noindent
@noindent
and the lyrics are all printed in italics.
+@subheading Specifying context in lyric mode
+@cindex context, specifying in lyric mode
+
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,
the interpreter cannot recognise them. So the command should be:
@example
- \override Lyrics . LyricText #'font-shape = #'italic
+\override Lyrics . LyricText #'font-shape = #'italic
@end example
@warning{In lyrics always leave whitespace between the final
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
need, together with the rules for that type, and some examples.
-You must always add a hash symbol, @code{#}, of course,
+You must always add a hash symbol, @code{#}, of course,
to the front of these values when they are entered in the
@code{\override} command.
@tab @code{#t}, @code{#f}
@item Dimension (in staff space)
@tab A positive decimal number (in units of staff space)
- @tab 2.5, 0.34
+ @tab @code{2.5}, @code{0.34}
@item Direction
@tab A valid direction constant or its numerical equivalent
- @tab @code{#LEFT}, @code{#CENTER}, @code{#UP}, 1, -1
+ @tab @code{#LEFT}, @code{#CENTER}, @code{#UP},
+ @code{1}, @code{-1}
@item Integer
@tab A positive whole number
- @tab 3, 1
+ @tab @code{3}, @code{1}
@item List
@tab A bracketed set of items separated by spaces,
preceded by an apostrophe
- @tab '(left-edge staff-bar), '(1), '(1.0 0.25 0.5)
+ @tab @code{'(left-edge staff-bar)}, @code{'(1)},
+ @code{'(1.0 0.25 0.5)}
@item Markup
@tab Any valid markup
@tab @code{\markup @{ \italic "cresc." @}}
@item Moment
@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{(ly:make-moment 1 4)},
+ @code{(ly:make-moment 3 8)}
@item Number
@tab Any positive or negative decimal value
- @tab 3.5, -2.45
+ @tab @code{3.5}, @code{-2.45}
@item Pair (of numbers)
@tab Two numbers separated by a @q{space . space} and enclosed
in brackets preceded by an apostrophe
- @tab '(2 . 3.5), '(0.1 . -3.2)
+ @tab @code{'(2 . 3.5)}, @code{'(0.1 . -3.2)}
@item Symbol
@tab Any of the set of permitted symbols for that property,
preceded by an apostrophe
@tab @code{'italic}, @code{'inside}
@item Unknown
- @tab A procedure or #f (to cause no action)
- @tab @code{bend::print}, @code{ly:text-interface::print}, #f
+ @tab A procedure or @code{#f} (to cause no action)
+ @tab @code{bend::print}, @code{ly:text-interface::print},
+ @code{#f}
@item Vector
@tab A list of three items enclosed in brackets and preceded
-by a hash, @code{#}, sign
- @tab @code{#(#t #t #f)}
+by a hash sign, @code{#}.
+ @tab @code{#(#t #t #f)}
@end multitable
@node Appearance of objects
@menu
* Visibility and color of objects::
* Size of objects::
+* Length and thickness of objects::
@end menu
@node Visibility and color of objects
@subsection 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 where the student is
-required to fill in the missing elements. As a simple example,
-let use suppose the exercise is to supply the missing barlines
-in a piece of music. How do we prevent the barlines printing?
-
-As before, we go to the IR to find the layout object which prints
-barlines. Going via @emph{Backend} and @emph{All layout objects}
+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
+in a piece of music. But the bar lines are normally inserted
+automatically. How do we prevent them printing?
+
+Before we tackle this, let us remember that object properties
+are grouped in what are called @emph{interfaces} -- see
+@ref{Properties found in interfaces}. This is simply to
+group together those properties that are commonly required
+together -- if one of them is required for an object, so are
+the others. Some objects then need the properties in some
+interfaces, others need them from other interfaces. The
+interfaces which contain the properties required by a
+particular grob are listed in the IR at the bottom of the
+page describing that grob, and those properties may be
+viewed by looking at those interfaces.
+
+We explained how to find information about grobs in
+@ref{Properties of layout objects}. Using the same approach,
+we go to the IR to find the layout object which prints
+bar lines. Going via @emph{Backend} and @emph{All layout objects}
we find there
is a layout object called @code{BarLine}. Its properties include
two that control its visibility: @code{break-visibility} and
-@code{stencil}. Barline also supports a number of interfaces,
-including the @code{grob-interface}, where we find the
+@code{stencil}. Barline also supports a number of interfaces,
+including the @code{grob-interface}, where we find the
@code{transparent} and the @code{color} properties. All
-of these can affect the visibility of barlines (and, of course,
+of these can affect the visibility of bar lines (and, of course,
by extension, many other layout objects too.) Let's consider
each of these in turn.
-@heading stencil
-@cindex stencil
+@subheading stencil
+@cindex stencil property
-This property controls the appearance of the barlines. In common
+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
setting its value to @code{#f}. Let's try it, as before, omitting
the implied Context, @code{Voice}:
}
@end lilypond
-The barlines are still printed. What is wrong? Go back to the
+The bar lines are still printed. What is wrong? Go back to the
IR and look again at the page giving the properties of BarLine.
At the top of the page it says @qq{Barline objects are created
by: Bar_engraver}. Go to the @code{Bar_engraver} page.
}
@end lilypond
-Now the barlines have vanished.
+Now the bar lines have vanished.
-@heading break-visibility
+@subheading break-visibility
-@cindex break-visibility
+@cindex break-visibility property
-We see from the BarLine properties in the IR that the
-break-visibility property requires a vector of three booleans.
-These control respectively whether barlines are printed at
+We see from the @code{BarLine} properties in the IR that the
+@code{break-visibility} property requires a vector of three
+booleans.
+These control respectively whether bar lines are printed at
the end of a line, in the middle of lines, and at the beginning
-of lines. For our example we want all barlines to be suppressed,
-so the value we need is @code{#(#f #f #f)}.
+of lines. For our example we want all bar lines to be suppressed,
+so the value we need is @code{#(#f #f #f)}.
Let's try that, remembering
to include the @code{Staff} context. Note also that in writing
this value we have two hash signs before the opening bracket.
One is required as part of the value to introduce a vector,
-and one is required, as always, to precede the value in the
-@code{\override} command.
+and one is required, as always, to precede the value itself in
+the @code{\override} command.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
}
@end lilypond
-And we see this too removes all the barlines.
+And we see this too removes all the bar lines.
-@heading transparent
-@cindex transparent
+@subheading transparent
+@cindex transparent property
We see from the properties specified in the @code{grob-interface}
page in the IR that the @code{transparent} property is a boolean.
This
should be set to @code{#t} to make the grob transparent.
In this next example let us make the time signature invisible
-rather than the barlines.
+rather than the bar lines.
To do this we need to find the grob name for the time signature.
Back to
the @q{All layout objects} page in the IR to find the properties
of the @code{TimeSignature} layout object. This is produced by
the @code{Time_signature_engraver} which you can check also lives
-in the @code{Staff} context and also supports the
+in the @code{Staff} context and also supports the
@code{grob-interface}. So the command to make the time signature
transparent is:
@noindent
The time signature is gone, but this command leaves a gap where
-the time signature should be. If this is not wanted the stencil
-for the time signature should be set to @code{#f} instead:
+the time signature should be. Maybe this is what is wanted for
+an exercise for the student to fill it in, but in other
+circumstances a gap might be undesirable. To remove it, the
+stencil for the time signature should be set to @code{#f}
+instead:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
removes the object entirely; making the object @code{transparent}
leaves it where it is, but makes it invisible.
-@heading color
-@cindex color
+@subheading color
+@cindex color property
-Finally we could make the barlines invisible by coloring
+Finally we could make the bar lines invisible by coloring
them white. The @code{grob-interface} specifies that the
color property value is a list, but there is no
explanation of what that list should be. The list it
but, to avoid having to know what these are, several ways
are provided to specify colors. The first way is to use one
of the @q{normal} colours listed in the first table in
-@ruser{List of colors}. To set the barlines to white
+@ruser{List of colors}. To set the bar lines to white
we write:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
@end lilypond
@noindent
-and again, we see the barlines are not visible. Note that
+and again, we see the bar lines are not visible. Note that
@emph{white} is not preceded by an apostrophe -- it is not
a symbol, but a @emph{function}. When called, it provides
the list of internal values required to set the color to
@cindex rgb colors
@cindex color, rgb
-There is yet a third function which converts RGB values into
+There is yet a third function, one which converts RGB values into
internal colors -- the @code{rgb-color} function. This takes
three arguments giving the intensities of the red, green and
blue colors. These take values in the range 0 to 1. So to
@noindent
Note the contexts associated with each of the layout objects.
+It is important to get these right, or the commands will not
+work! Remember, the context is the one in which the appropriate
+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.
@node Size of objects
@subsection Size of objects
Let us begin by looking again at the earlier example
-FIXME BROKEN LINK
-@c (see @ref{Nesting music expressions}) which showed
-how to introduce a new temporary staff, as in an @rglos{ossia}.
+see @ref{Nesting music expressions}) which showed
+how to introduce a new temporary staff, as in an @rglos{ossia}.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\new Staff ="main" {
@noindent
where the extra pair of braces after the @code{\with} clause are
-required to ensure the enclosed overrrides amd music are applied
+required to ensure the enclosed overrrides and music are applied
to the ossia staff.
But what is the difference between modifying the staff context by
staff has been created its alignment is decided and it would
make no sense to try to change it later.
-The default values of layout object propertiess can also be set
+The default values of layout object properties can also be set
in @code{\with} clauses. Simply use the normal @code{\override}
command leaving out the context name, since this is unambiguously
-defined as the context the @code{\with} clause is modifying.
+defined as the context which the @code{\with} clause is modifying.
If fact, an error will be generated if a context is specified
in this location.
Finally we come to changing the size of layout objects.
Some layout objects are created as glyphs selected from
-a font. These include noteheads, accidentals, markup,
+a typeface font. These include note heads, accidentals, markup,
clefs, time signatures, dynamics and lyrics.
Their size is changed by modifying the
-@code{font-size} property, as we shall shortly see.
-Other layout objects such as slurs, ties, in general, spanner
-objects, are drawn individually, so there is no @code{font-size}
+@code{font-size} property, as we shall shortly see. Other
+layout objects such as slurs and ties -- in general, spanner
+objects -- are drawn individually, so there is no
+@code{font-size}
associated with them. These objects generally derive their
size from the objects to which they are attached, so usually
there is no need to change their size manually. Still other
-properties such as the length of stems and barlines, thickness
+properties such as the length of stems and bar lines, thickness
of beams and other lines, and the separation of staff lines all
need to be modified in special ways.
or we can change the size of all fonts by setting a special
property, @code{fontSize}, using @code{\set}, or by including
-it in a @code{\with} clause (without the @code{\set}.
+it in a @code{\with} clause (but without the @code{\set}).
@example
\set fontSize = #-2
@end example
-In both examples the font size is reduced by 2 steps, where each
-step reduces or increases the size by 12%.
+Both of these statements would cause the font size to be reduced
+by 2 steps from its previous value, where each
+step reduces or increases the size by approximately 12%.
Let's try it in our ossia example:
alignAboveContext = "main"
\override Clef #'stencil = ##f
\override TimeSignature #'stencil = ##f
- % Reduce all font sizes by 24%
+ % Reduce all font sizes by ~24%
fontSize = #-2
}
{ f8 f c }
}
@end lilypond
-This is still not quite right. The noteheads 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.
+scaled down in proportion to the font reduction. The next
+sub-section discusses how this is done.
+
+@node Length and thickness of objects
+@subsection Length and thickness of objects
+@cindex Distances
+@cindex Thickness
+@cindex Length
+@cindex magstep
+@cindex size, changing
+@cindex stem length, changing
+@cindex staff line spacing, changing
+
+Distances and lengths in LilyPond are generally measured in
+staff-spaces, the distance between adjacent lines in the staff,
+(or occasionally half staff spaces) while most @code{thickness}
+properties are measured in units of an internal property called
+@code{line-thickness.} For example, by default, the lines of
+hairpins are given a thickness of 1 unit of @code{line-thickness},
+while the @code{thickness} of a note stem is 1.3. Note, though,
+that some thickness properties are different; for example, the
+thickness of beams is measured in staff-spaces.
+
+So how are lengths to be scaled in proportion to the font size?
This can be done with the help of a special function called
@code{magstep} provided for exactly this purpose. It takes
one argument, the change in font size (#-2 in the example above)
\override Clef #'stencil = ##f
\override TimeSignature #'stencil = ##f
fontSize = #-2
- % Reduce stems and line spacing to match
+ % Reduce stem length and line spacing to match
\override StaffSymbol #'staff-space = #(magstep -2)
}
{ f8 f c }
@end lilypond
@noindent
-Since the length of stems is always calculated relative to the
+Since the length of stems and many other length-related properties
+are always calculated relative to the
value of the @code{staff-space} property these are automatically
-scaled down in length too.
+scaled down in length too. Note that this affects only the
+vertical scale of the ossia -- the horizontal scale is determined
+by the layout of the main music in order to remain synchronised
+with it, so it is not affected by any of these changes in size.
+Of course, if the scale of all the main music were changed in this
+way then the horizontal spacing would be affected. This is
+discussed later in the layout section.
+
+This, then, completes the creation of an ossia. The sizes and
+lengths of all other objects may be modified in analogous ways.
+
+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
+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.
+
+
+@node Placement of objects
+@section Placement of objects
-This, then, completes the creation of an ossia. The sizes of all
-other objects may be modified in analogous ways.
+@menu
+* Automatic behaviour::
+* Within-staff objects::
+* Outside staff objects::
+@end menu
-... to be continued
+@node Automatic behaviour
+@subsection Automatic behaviour
+
+There are some objects in musical notation that belong to
+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
+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
+overrides which can modify this automatic behaviour, as we
+shall shortly see.
+
+Objects belonging outside the staff include things such as
+rehearsal marks, text and dynamic markings. LilyPond's rule for
+the vertical placement of outside-staff objects is to place them
+as close to the staff as possible but not so close that they
+collide with any other object. LilyPond uses the
+@code{outside-staff-priority} property to determine the order in
+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
+@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
+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
+priority (since it is not explicity set). Note that @q{Text3}
+is automatically positioned close to the staff again, nestling
+under @q{Text2}.
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+c2^"Text1"
+c^"Text2"
+c^"Text3"
+c^"Text4"
+@end lilypond
-@c Old stuff follows -td
+Staves are also positioned, by default, as closely together as
+possible (subject to a minimum separation). If notes project
+a long way towards an adjacent staff they will force the
+staves further apart only if an overlap of the notation
+would otherwise occur. The following example demonstrates
+this @q{nestling} of the notes on adjacent staves:
+
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \new Staff {
+ \relative c' { c a, }
+ }
+ \new Staff {
+ \relative c'''' { c a, }
+ }
+>>
+@end lilypond
-@node Common tweaks
-@section Common tweaks
-blah blah
+@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
+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.
+But occasionally it may be necessary to override this automatic
+behaviour. This can be done for whole sections of music or even
+for an individual note. The property which controls this
+behaviour is the @code{direction} property of each layout object.
+We first explain what this does, and then introduce a number of
+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
+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.
+
+The following example shows in bar 1 the default behaviour of
+stems,
+with those on high notes pointing down and those on low notes
+pointing up, followed by four notes with all stems forced down,
+four notes with all stems forced up, and finally four notes
+reverted back to the default behaviour.
-@menu
-* Moving objects::
-* Fixing overlapping notation::
-* Other common tweaks::
-* Fitting music onto fewer pages::
-@end menu
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+a4 g c a
+\override Stem #'direction = #DOWN
+a g c a
+\override Stem #'direction = #UP
+a g c a
+\revert Stem #'direction
+a g c a
+@end lilypond
-@node Moving objects
-@subsection Moving objects
+Here we use the constants @code{DOWN} and @code{UP}.
+These have the values @code{-1} and @code{+1} respectively, and
+these numerical values may be used instead. The value @code{0}
+may also be used in some cases. It is simply treated as meaning
+@code{UP} for stems, but for some objects it means @q{center}.
+There is a constant, @code{CENTER} which has the value @code{0}.
+
+However, these explicit overrides are not usually used, as there
+are simpler equivalent predefined commands available.
+Here is a table of the commonest. The meaning of each is stated
+where it is not obvious.
+
+@multitable @columnfractions .2 .2 .2 .4
+@headitem Down/Left
+ @tab Up/Right
+ @tab Revert
+ @tab Effect
+@item @code{\arpeggioDown}
+ @tab @code{\arpeggioUp}
+ @tab @code{\arpeggioNeutral}
+ @tab Arrow is at bottom, at top, or no arrow
+@item @code{\dotsDown}
+ @tab @code{\dotsUp}
+ @tab @code{\dotsNeutral}
+ @tab Direction of movement to avoid staff lines
+@item @code{\dynamicDown}
+ @tab @code{\dynamicUp}
+ @tab @code{\dynamicNeutral}
+ @tab
+@item @code{\phrasingSlurDown}
+ @tab @code{\phrasingSlurUp}
+ @tab @code{\phrasingSlurNeutral}
+ @tab Note: distinct from slur commands
+@item @code{\slurDown}
+ @tab @code{\slurUp}
+ @tab @code{\slurNeutral}
+ @tab
+@item @code{\stemDown}
+ @tab @code{\stemUp}
+ @tab @code{\stemNeutral}
+ @tab
+@item @code{\textSpannerDown}
+ @tab @code{\textSpannerUp}
+ @tab @code{\textSpannerNeutral}
+ @tab Text entered as spanner is below/above staff
+@item @code{\tieDown}
+ @tab @code{\tieUp}
+ @tab @code{\tieNeutral}
+ @tab
+@item @code{\tupletDown}
+ @tab @code{\tupletUp}
+ @tab @code{\tupletNeutral}
+ @tab Tuplets are below/above notes
+@end multitable
+
+Note that these predefined commands may @strong{not} be
+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
+@code{\xxxNeutral} command.
-This may come as a surprise, but LilyPond is not perfect. Some notation
-elements can overlap. This is unfortunate, but (in most cases) is easily
-solved.
+@subheading Fingering
+@cindex fingering, placement
-TODO: with the new spacing features in 2.12, these specific examples are no
-longer relevant. However, they still demonstrate powerful features
-of lilypond, so they remain until somebody creates some better examples.
+The placement of fingering is also affected by the value
+of its @code{direction} property, but there are special
+commands which allow the fingering of individual notes
+of chords to be controlled, with the fingering being placed
+above, below, to the left or to the right of each note.
+
+First, here's the effect of @code{direction} on fingering,
+the first bar shows the default, then the effect of specifying
+@code{DOWN} and @code{UP}:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
- % temporary code to break this example:
- \override TextScript #'outside-staff-priority = ##f
-e4^\markup{ \italic ritenuto } g b e
+c-5 a-3 f-1 c'-5
+\override Fingering #'direction = #DOWN
+c-5 a-3 f-1 c'-5
+\override Fingering #'direction = #UP
+c-5 a-3 f-1 c'-5
@end lilypond
-@cindex padding
-
-The easiest solution is to increase the distance between the object
-(in this case text, but it could easily be fingerings or dynamics
-instead) and the note. In LilyPond, this is called the
-@code{padding} property; it is measured in staff spaces. For most
-objects, this value is around 1.0 or less (it varies with each
-object). We want to increase it, so let's try 1.5
+This is how to control fingering on single notes, but the
+@code{direction}
+property is ignored for chords. Instead, by default, the
+fingering is automatically placed both above and below the
+notes of a chord, as shown:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
- % temporary code to break this example:
- \override TextScript #'outside-staff-priority = ##f
-\once \override TextScript #'padding = #1.5
-e4^\markup{ \italic ritenuto } g b e
+<c-5 g-3>
+<c-5 g-3 e-2>
+<c-5 g-3 e-2 c-1>
@end lilypond
-That looks better, but it isn't quite big enough. After experimenting
-with a few values, we think 2.3 is the best number in this case. However,
-this number is merely the result of experimentation and my personal
-taste in notation. Try the above example with 2.3... but also try higher
-(and lower) numbers. Which do you think looks the best?
+Greater control over the placement of fingering of the
+individual notes in a chord is possible by using
+the @code{\set fingeringOrientations} command. The format of
+this command is
-The @code{staff-padding} property is closely related. @code{padding}
-controls the minimum amount of space between an object and the nearest
-other object (generally the note or the staff lines);
-@code{staff-padding} controls the minimum amount of space between an
-object and the staff. This is a subtle difference, but you can see
-the behavior here.
+@example
+@code{\set fingeringOrientations = #'([up] [left/right] [down])}
+@end example
+
+@noindent
+@code{\set} is used because @code{fingeringOrientations} is a
+property of the @code{Voice} context, created and used by the
+@code{New_fingering_engraver}.
+
+The property may be set to a list of one to three values.
+It controls whether fingerings may be placed above (if
+@code{up} appears in the list), below (if @code{down} appears),
+to the left (if @code{left} appears, or to the right
+(if @code{right} appears). Conversely, if a location is not
+listed, no fingering is placed there. LilyPond takes these
+contraints and works out the best placement for the fingering
+of the notes of the following chords. Note that @code{left} and
+@code{right} are mutually exclusive -- fingering may be placed
+only on one side or the other, not both.
+
+To control the placement of the fingering of a single note
+using this command it is necessary to write it as a single
+note chord by placing angle brackets round it.
+
+Here are a few examples:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+\set fingeringOrientations = #'(left)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(left)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(up left down)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(up left)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(right)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+@end lilypond
+
+@noindent
+If the fingering seems a little crowded the @code{font-size}
+could be reduced. The default value can be seen from the
+@code{Fingering} object in the IR to be @code{-5}, so let's
+try @code{-7}:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+\override Fingering #'font-size = #-7
+\set fingeringOrientations = #'(left)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(left)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(up left down)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(up left)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+\set fingeringOrientations = #'(right)
+<f-2>
+< c-1 e-2 g-3 b-5 > 4
+@end lilypond
+
+@node Outside staff objects
+@subsection Outside staff objects
+
+Outside-staff objects are automatically placed to avoid collisions.
+Objects with the lower value of the @code{outside-staff-priority}
+property are placed nearer to the staff, and other outside-staff
+objects are then raised as far as necessary to avoid collisions.
+The @code{outside-staff-priority} is defined in the
+@code{grob-interface} and so is a property of all layout objects.
+By default it is set to @code{#f} for all within-staff objects,
+and to a numerical value appropriate to each outside-staff object
+when the object is created. The following table shows
+the default numerical values for some of the commonest
+outside-staff objects which are, by default, placed in the
+@code{Staff} or @code{Voice} contexts.
+
+@multitable @columnfractions .3 .3 .3
+@headitem Layout Object
+ @tab Priority
+ @tab Controls position of:
+@item @code{MultiMeasureRestText}
+ @tab @code{450}
+ @tab Text over full-bar rests
+@item @code{TextScript}
+ @tab @code{450}
+ @tab Markup text
+@item @code{OttavaBracket}
+ @tab @code{400}
+ @tab Ottava brackets
+@item @code{TextSpanner}
+ @tab @code{350}
+ @tab Text spanners
+@item @code{DynamicLineSpanner}
+ @tab @code{250}
+ @tab All dynamic markings
+@item @code{VoltaBracketSpanner}
+ @tab @code{100}
+ @tab Volta brackets
+@item @code{TrillSpanner}
+ @tab @code{50}
+ @tab Spanning trills
+@end multitable
+
+Here is an example showing the default placement of some of
+these.
+
+@cindex text spanner
+@funindex \startTextSpan
+@funindex \stopTextSpan
+@cindex ottava bracket
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+% Set details for later Text Spanner
+\override TextSpanner #'bound-details #'left #'text
+ = \markup { \small \bold Slower }
+% Place dynamics above staff
+\dynamicUp
+% Start Ottava Bracket
+#(set-octavation 1)
+c' \startTextSpan
+% Add Dynamic Text
+c\pp
+% Add Dynamic Line Spanner
+c\<
+% Add Text Script
+c^Text
+c c
+% Add Dynamic Text
+c\ff c \stopTextSpan
+% Stop Ottava Bracket
+#(set-octavation 0)
+c, c c c
+@end lilypond
+
+This example also shows how to create Text Spanners --
+text with extender lines above a section of music. The
+spanner extends from the @code{\startTextSpan} command to
+the @code{\stopTextSpan} command, and the format of the
+text is defined by the @code{\override TextSpanner} command.
+For more details see @ruser{Text spanners}.
+
+It also shows how ottava brackets are created.
+
+Note that bar numbers, metronome marks and rehearsal marks
+are not shown. By default these are created in the
+@code{Score} context and their @code{outside-staff-priority}
+is ignored relative to the layout objects which are created
+in the @code{Staff} context.
+If you wish to place bar numbers, metronome marks or rehearsal
+marks in accordance with the value of their
+@code{outside-staff-priority} the @code{Bar_number_engraver},
+@code{Metronome_mark_engraver} or @code{Mark_engraver} respectively
+should be removed from the @code{Score} context and placed in the
+top @code{Staff} context. If this is done, these marks will be
+given the following default @code{outside-staff-priority} values:
+
+@multitable @columnfractions .3 .3
+@headitem Layout Object @tab Priority
+@item @code{RehearsalMark} @tab @code{1500}
+@item @code{MetronomeMark} @tab @code{1000}
+@item @code{BarNumber} @tab @code{ 100}
+@end multitable
+
+If the default values of @code{outside-staff-priority} do not
+give you the placing you want, the priority of any of the objects
+may be overridden. Suppose we would
+like the ottava bracket to be placed below the text spanner in the
+example above. All we need to do is to look up the priority of
+@code{OttavaBracket} in the IR or in the tables above, and reduce
+it to a value lower than that of a @code{TextSpanner}, remembering
+that @code{OttavaBracket} is created in the @code{Staff} context:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+% Set details for later Text Spanner
+\override TextSpanner #'bound-details #'left #'text
+ = \markup { \small \bold Slower }
+% Place dynamics above staff
+\dynamicUp
+%Place following Ottava Bracket below Text Spanners
+\once \override Staff.OttavaBracket #'outside-staff-priority = #340
+% Start Ottava Bracket
+#(set-octavation 1)
+c' \startTextSpan
+% Add Dynamic Text
+c\pp
+% Add Dynamic Line Spanner
+c\<
+% Add Text Script
+c^Text
+c c
+% Add Dynamic Text
+c\ff c \stopTextSpan
+% Stop Ottava Bracket
+#(set-octavation 0)
+c, c c c
+@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
+like @qq{Text3} to be placed above @qq{Text4} in the example
+under Automatic behaviour, above (see @ref{Automatic behaviour}).
+All we need to do is to look up the priority of @code{TextScript}
+in the IR or in the tables above, and increase the priority of
+@qq{Text3} to a higher value:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
- % temporary code to break this example:
- \override TextScript #'outside-staff-priority = ##f
-c4^"piu mosso" b a b
-\once \override TextScript #'padding = #4.6
-c4^"piu mosso" d e f
-\once \override TextScript #'staff-padding = #4.6
-c4^"piu mosso" fis a g
-\break
-c'4^"piu mosso" b a b
-\once \override TextScript #'padding = #4.6
-c4^"piu mosso" d e f
-\once \override TextScript #'staff-padding = #4.6
-c4^"piu mosso" fis a g
+c2^"Text1"
+c^"Text2"
+\once \override TextScript #'outside-staff-priority = #500
+c^"Text3"
+c^"Text4"
@end lilypond
-@cindex extra-offset
+This certainly lifts @qq{Text3} above @qq{Text4} but it also
+lifts it above @qq{Text2}, and @qq{Text4} now drops down.
+Perhaps this is not so good. What we would really like to do
+is to position all the annotation at the same distance above
+the staff? To do this, we clearly
+will need to space the notes out horizontally to make more
+room for the text. This is done using the @code{textLengthOn}
+command.
+
+@subheading \textLengthOn
+
+@funindex \textLengthOn
+@cindex notes, spreading out with text
-Another solution gives us complete control over placing the object -- we
-can move it horizontally or vertically. This is done with the
-@code{extra-offset} property. It is slightly more complicated and can
-cause other problems. When we move objects with @code{extra-offset},
-the movement is done after LilyPond has placed all other objects. This
-means
-that the result can overlap with other objects.
+By default, text produced by markup takes up no horizontal space
+as far as laying out the music is concerned. The @code{\textLengthOn}
+command reverses this behaviour, causing the notes to be spaced
+out as far as is necessary to accommodate the text:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
- % temporary code to break this example:
- \override TextScript #'outside-staff-priority = ##f
-\once \override TextScript #'extra-offset = #'( 1.0 . -1.0 )
-e4^\markup{ \italic ritenuto } g b e
+\textLengthOn % Cause notes to space out to accommodate text
+c2^"Text1"
+c^"Text2"
+c^"Text3"
+c^"Text4"
+@end lilypond
+
+The command to revert to the default behaviour 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}.
+
+Markup text will also avoid notes which project above the staff.
+If this is not desired, the automatic displacement upwards may
+be turned off by setting the priority to @code{#f}. Here's an
+example to show how markup text interacts with such notes.
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+% This markup is short enough to fit without collision
+c2^"Tex"
+c''2
+R1
+% This is too long to fit, so it is displaced upwards
+c,,2^"Text"
+c''2
+R1
+% Turn off collision avoidance
+\once \override TextScript #'outside-staff-priority = ##f
+c,,2^"Long Text "
+c''2
+R1
+% Turn off collision avoidance
+\once \override TextScript #'outside-staff-priority = ##f
+\textLengthOn % and turn on textLengthOn
+c,,2^"Long Text " % Spaces at end are honoured
+c''2
@end lilypond
-With @code{extra-offset}, the first number controls the horizontal
-movement (left is negative); the second number controls the vertical
-movement (up is positive). After a bit of experimenting, we decided
-that these values look good
+
+@subheading Dynamics
+
+Dynamic markings will normally be positioned beneath the
+staff, but may be positioned above with the @code{dynamicUp}
+command. They will be positioned vertically relative to the
+note to which they are attached, and will float below (or above)
+all within-staff objects such as phrasing slurs and bar numbers.
+This can give quite acceptable results, as this example
+shows:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+\clef "bass"
+\key aes \major
+\time 9/8
+\dynamicUp
+bes4.~\f\< \( bes4 bes8 des4\ff\> c16 bes\! |
+ees,2.~\)\mf ees4 r8 |
+@end lilypond
+
+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
+not be the optimum placement, as this rather artificial example
+shows:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
- % temporary code to break this example:
- \override TextScript #'outside-staff-priority = ##f
-\once \override TextScript #'extra-offset = #'( -1.6 . 1.0 )
-e4^\markup{ \italic ritenuto } g b e
+\dynamicUp
+a4\f b\mf c\mp b\p
@end lilypond
@noindent
-Again, these numbers are simply the result of a few experiments and
-looking at the output. You might prefer the text to be slightly higher,
-or to the left, or whatever. Try it and look at the result!
-
-One final warning: in this section, we used
+Should a similar situation arise in @q{real} music, it may
+be preferable to space out the notes
+a little further, so the dynamic markings can all fit at the
+same vertical distance from the staff. We 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.
+
+@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
+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.
+The horizontal extent of the object is given by a pair of
+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
+@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
+@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
+@code{'(0 . 0)} so the true width shines through. This is
+the command to do this for dynamic text:
@example
-\once \override TextScript @dots{}
+\override DynamicText #'extra-spacing-width = #'(0 . 0)
@end example
-This tweaks the display of text for the next note. If the note has
-no text, this tweak does nothing (and does @strong{not} wait until
-the next bit of text). To change the behavior of everything after
-the command, omit the @code{\once}. To stop this tweak, use a
-@code{\revert}. This is explained in depth in
-@ruser{The \override command}.
+@noindent
+Let's see if this works in our previous example:
-@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
- % temporary code to break this example:
- \override TextScript #'outside-staff-priority = ##f
-c4^"piu mosso" b
-\once \override TextScript #'padding = #4.6
- a4 b
-c4^"piu mosso" d e f
-\once \override TextScript #'padding = #4.6
-c4^"piu mosso" d e f
-c4^"piu mosso" d e f
-\break
-\override TextScript #'padding = #4.6
-c4^"piu mosso" d e f
-c4^"piu mosso" d e f
-\revert TextScript #'padding
-c4^"piu mosso" d e f
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\dynamicUp
+\override DynamicText #'extra-spacing-width = #'(0 . 0)
+a4\f b\mf c\mp b\p
@end lilypond
-@seealso
+@noindent
+Well, it has certainly stopped the dynamic marks being
+displaced, but two problems remain. The marks should be
+spaced a little further apart and it would be better
+if they were all the same distance from the staff.
+We can solve the first problem easily. Instead of making
+the @code{extra-spacing-width} zero we could add a little
+more to it. The units are the space between two staff
+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:
-This manual: @ruser{The \override command}, @ref{Common tweaks}.
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\dynamicUp
+% Extend width by 1 staff space
+\override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
+a4\f b\mf c\mp b\p
+@end lilypond
+@noindent
+This looks better, but maybe we would prefer the dynamic marks
+to be aligned along the same baseline rather than going up and
+down with the notes. The property to do this is
+@code{staff-padding} which is covered in the following section.
-@node Fixing overlapping notation
-@subsection Fixing overlapping notation
-In @ref{Moving objects}, we saw how to move a @code{TextScript}
-object. The same mechanism can be used to move other types of
-objects; simply replace @code{TextScript} with the name of
-another object.
+@node Collisions of objects
+@section Collisions of objects
-To find the object name, look at the @q{@strong{see also}} at
-bottom of the relevant documentation page. For example, at
-the bottom of @ruser{Dynamics}, we see
+@menu
+* Moving objects::
+* Fixing overlapping notation::
+* Real music example::
+@end menu
-@quotation
-@seealso
+@node Moving objects
+@subsection Moving objects
-Internals Reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
-Vertical positioning of these symbols is handled by
-@internalsref{DynamicLineSpanner}.
-@end quotation
+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
+aesthetic reasons -- they would look better with a little more
+or a little less space around them.
-@noindent
-So to move dynamics around vertically, we use
+There are three main main approaches to resolving overlapping
+notation. They should be considered in the following order:
-@example
-\override DynamicLineSpanner #'padding = #2.0
-@end example
+@enumerate
+@item
+The @strong{direction} of one of the overlapping objects may
+be changed using the predefined commands listed above for
+within-staff objects (see @ref{Within-staff objects}).
+Stems, slurs, beams, ties, dynamics, text and tuplets may be
+repositioned easily in this way. The limitation is that you
+have a choice of only two positions, and neither may be
+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:
+@itemize
+
+@item
+@code{direction}
-We cannot list every object, but here is a list of the most
-common objects.
+This has already been covered in some detail -- see
+@ref{Within-staff objects}.
-@multitable @columnfractions .33 .66
+@item
+@code{padding}, @code{left-padding},
+@code{right-padding}, @code{staff-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}.
+
+Instead of @code{padding}, the placement of groups of accidentals
+is controlled by @code{left-padding} and @code{right-padding}.
+These properties are to be found in the @code{AccidentalPlacement}
+object which, note, lives in the @strong{staff} context. Because
+accidentals are always positioned after and to the left of
+note heads only the @code{right-padding} property has any effect.
+
+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.
+
+All padding values are measured in staff spaces. For most
+objects, this value is set by default to be around 1.0 or less
+(it varies with each object). It may be overridden if a larger
+(or smaller) gap is required.
+
+@item
+@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
+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
+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
+move the text even further to the right. A change of @code{1}
+in the value corresponds to a movement of half the text's length.
+
+@item
+@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
+extent. Negative numbers move the edge to the left, positive to
+the right, so to widen an object the first number must be negative,
+the second positive. Note that not all objects honour both
+numbers. For example, the @code{Accidental} object only takes
+notice of the first (left edge) number.
+
+@item
+@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
+the vertical position of the object relative to the center line
+of the staff in half staff-spaces. It is useful in resolving
+collisions between layout objects like multi-measure rests, ties
+and notes in different voices.
+
+@item
+@code{force-hshift}
+
+@cindex force-hshift property
+
+Closely spaced notes in a chord, or notes occuring at the same
+time in different voices, are arranged in two, occasionally more,
+columns to prevent the note heads overlapping. These are called
+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.
+
+@end itemize
+
+Objects do not all have all of these properties in general.
+It is necessary to go to the IR to look up which properties
+are available for the object in question.
+
+@item
+Finally, when all else fails, objects may be manually repositioned
+relative to the staff center line verically, 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
+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,
+etc. relative to the center line of the staff. Units are
+staff-spaces. Note, though, that slurs and phrasing slurs cannot
+be repositioned by arbitrarily large amounts. LilyPond first
+generates a list of possible positions for the slur and by default
+finds the slur that @qq{looks best}. If the @code{positions}
+property has been overridden the slur that is closest to the
+requested positions is selected from the list.
+@end table
+
+Objects do not all have all of these properties in general.
+It is necessary to go to the IR to look up which properties
+are available for the object in question.
+
+@end enumerate
+
+Here is a list of the objects which are most likely to be
+involved in collisions, together with the name of the object which
+should be looked up in the IR in order to discover which properties
+should be used to move them.
+
+@multitable @columnfractions .5 .5
@headitem Object type @tab Object name
+@item Articulations @tab @code{Script}
+@item Beams @tab @code{Beam}
@item Dynamics (vertically) @tab @code{DynamicLineSpanner}
@item Dynamics (horizontally) @tab @code{DynamicText}
-@item Ties @tab @code{Tie}
-@item Slurs @tab @code{Slur}
-@item Articulations @tab @code{Script}
@item Fingerings @tab @code{Fingering}
-@item Text e.g. @code{^"text"} @tab @code{TextScript}
@item Rehearsal / Text marks @tab @code{RehearsalMark}
+@item Slurs @tab @code{Slur}
+@item Text e.g. @code{^"text"} @tab @code{TextScript}
+@item Ties @tab @code{Tie}
+@item Tuplets @tab @code{TupletBracket}
@end multitable
-@node Other common tweaks
-@subsection Other common tweaks
-
-Some overrides are so common that predefined commands are provided as
-short-cuts, such as @code{\slurUp} and @code{\stemDown}. These
-commands are described in the Notation Reference under the appropriate
-sections.
-
-The complete list of modifications available for each type of
-object (like slurs or beams) are documented in the Program
-Reference. However, many layout objects share properties which can be
-used to apply generic tweaks.
+@node Fixing overlapping notation
+@subsection Fixing overlapping notation
-@itemize
+Let's now see how the properties in the previous section can
+help to resolve overlapping notation.
-@cindex padding
+@subheading padding property
+@cindex padding property
-@item
The @code{padding} property can be set to increase
(or decrease) the distance between symbols that are printed
-above or below notes. This applies to all objects with
-@code{side-position-interface}.
+above or below notes.
@lilypond[quote,fragment,relative=1,verbatim]
c2\fermata
@end lilypond
Note in the second example how important it is to figure out what
-context handles a certain object. Since the @code{MetronomeMark} object
+context handles a certain object. Since the @code{MetronomeMark}
+object
is handled in the @code{Score} context, property changes in the
@code{Voice} context will not be noticed. For more details, see
@ruser{Constructing a tweak}.
-@cindex extra-offset
+If the @code{padding} property of an object is increased when that
+object is in a stack of objects being positioned according to
+their @code{outside-staff-priority}, then that object and all
+objects outside it are moved.
-@item
-The @code{extra-offset} property moves objects around
-in the output; it requires a pair of numbers. The first number
-controls horizontal movement; a positive number will
-move the object to the right. The second number controls vertical
-movement; a positive number will move it higher. The
-@code{extra-offset} property is a low-level feature: the
-formatting engine is completely oblivious to these offsets.
+
+@subheading left-padding and right-padding
+@cindex left-padding property
+@cindex right-padding property
+
+The @code{right-padding} property affects the spacing between the
+accidental and the note to which it applies. It is not often
+required, but the following example shows one situation where it
+is needed. Suppose we wish to show a chord containing both
+a B-natural and a B-flat. To avoid ambiguity we would like to
+precede the notes with both a natural and a flat sign. Here
+are a few attempts to do this:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+<b bes>
+<b! bes>
+<b? bes>
+@end lilypond
+
+None work, with the second two showing bad collisions between
+the two signs.
+
+One way of achieving this is to override the accidental stencil
+with a markup containing the natural and flat symbols in the
+order we would like, like this:
+
+@lilypond[quote,ragged-right,verbatim]
+naturalplusflat = \markup { \natural \flat }
+\relative c'' {
+ \once \override Accidental
+ #'stencil = #ly:text-interface::print
+ \once \override Accidental #'text = #naturalplusflat
+ \once \override Score.AccidentalPlacement #'right-padding = #1.5
+ <b bes>
+}
+@end lilypond
+
+@noindent
+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
+from the note head by overriding @code{right-padding}.
+
+@noindent
+
+@subheading staff-padding property
+@cindex staff-padding property
+
+@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:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\dynamicUp
+% Extend width by 1 unit
+\override DynamicText #'extra-spacing-width = #'(-0.5 . 0.5)
+% Align dynamics to a base line 2 units above staff
+\override DynamicLineSpanner #'staff-padding = #2
+a4\f b\mf c\mp b\p
+@end lilypond
+
+
+@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:
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=3]
+\voiceOne
+< a \2 >
+\once \override StringNumber #'self-alignment-X = #RIGHT
+< a \2 >
+@end lilypond
+
+@subheading staff-position property
+@cindex staff-position property
+
+Multimeasure rests in one voice can collide with notes in another.
+Since these rests are typeset centered between the bar lines, it
+would require significant effort for LilyPond to figure out which
+other notes might collide with it, since all the current collision
+handling between notes and between notes and rests is done only
+for notes and rests that occur at the same time. Here's an
+example of a collision of this type:
+
+@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+<< {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}.
+
+@lilypond[quote,verbatim,fragment,ragged-right, relative=1]
+<<
+ {c c c c}
+\\
+ \override MultiMeasureRest #'staff-position = #-8
+ {R1}
+>>
+@end lilypond
+
+This is better than using, for example, @code{extra-offset},
+because the ledger line above the rest is inserted automatically.
+
+@subheading extra-offset property
+@cindex extra-offset property
+
+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:
f-5
@end lilypond
-@item
-Setting the @code{transparent} property will cause an object to be printed
-in @q{invisible ink}: the object is not printed, but all its other
-behavior is retained. The object still takes up space, it takes part in
-collisions, and slurs, ties, and beams can be attached to it.
-@cindex transparent objects
-@cindex removing objects
-@cindex hiding objects
-@cindex invisible objects
-The following example demonstrates how to connect different voices
-using ties. Normally, ties only connect two notes in the same
-voice. By introducing a tie in a different voice,
+@subheading positions property
+@cindex positions property
-@lilypond[quote,fragment,relative=2]
-<< {
- b8~ b8\noBeam
-} \\ {
- b[ g8]
-} >>
+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.
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+r4 \acciaccatura e8\( d8 c ~c d c d\)
@end lilypond
@noindent
-and blanking the first up-stem in that voice, the tie appears to cross
-voices:
+We could simply move the phrasing slur above the notes, and this
+would be the preferred solution:
+@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+r4
+\phrasingSlurUp
+\acciaccatura e8\( d8 c ~c d c d\)
+@end lilypond
-@lilypond[quote,fragment,relative=2,verbatim]
-<< {
- \once \override Stem #'transparent = ##t
- b8~ b8\noBeam
-} \\ {
- b[ g8]
-} >>
+@noindent
+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.
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+r4
+\once \override PhrasingSlur #'positions = #'(-4 . -3)
+\acciaccatura
+e8\( d8 c ~c d c d\)
@end lilypond
-To make sure that the just-blanked stem doesn't squeeze the tie too much,
-we also lengthen the stem, by setting the @code{length} to
-@code{8},
+Here's a further example taken from the opening of the left-hand
+staff of Chopin's Prelude Op 28 No. 2. We see that the beam
+collides with the upper notes:
-@lilypond[quote,fragment,relative=2,verbatim]
-<< {
- \once \override Stem #'transparent = ##t
- \once \override Stem #'length = #8
- b8~ b8\noBeam
-} \\ {
- b[ g8]
-} >>
+@lilypond[quote,verbatim,fragment,ragged-right]
+{
+\clef "bass"
+<< {b,8 ais, b, g,} \\ {e, g e, g} >>
+<< {b,8 ais, b, g,} \\ {e, g e, g} >>
+}
@end lilypond
-@end itemize
+@noindent
+This can be resolved by manually moving both ends of the beam
+up from their position at 2 staff-spaces above the center line to,
+say, 3:
-@cindex Tweaks, distances
-@cindex Distances
+@lilypond[quote,verbatim,fragment,ragged-right]
+{
+ \clef "bass"
+ <<
+ \override Beam #'positions = #'(3 . 3)
+ {b,8 ais, b, g,}
+ \\
+ {e, g e, g}
+ >>
+ << {b,8 ais, b, g,} \\ {e, g e, g} >>
+}
+@end lilypond
+
+@noindent
+Note that the override continues to apply in the first voice of
+the second block of quavers, but not to any of the beams in the
+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
+
+We can now see how to apply the final corrections to the Chopin
+example introduced at the end of @ref{I'm hearing Voices}, which
+was left looking like this:
+
+@lilypond[quote,verbatim,fragment,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ <<
+ { c2 aes4. bes8 } \\
+ { aes2 f4 fes } \\
+ { \voiceFour
+ <ees c>2
+ des2
+ }
+ >> |
+ <c ees aes c>1 |
+}
+@end lilypond
-Distances in LilyPond are measured in staff-spaces, while most
-thickness properties are measured in line-thickness. Some
-properties are different; for example, the thickness of beams
-are measured in staff-spaces. For more information, see the
-relevant portion of the program reference.
+@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.
+Here's the final result:
-@node Fitting music onto fewer pages
-@subsection Fitting music onto fewer pages
+@lilypond[quote,verbatim,fragment,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ <<
+ { c2 aes4. bes8 } \\
+ { aes2 f4 fes } \\
+ { \voiceFour
+ \once \override NoteColumn #'force-hshift = #0 <ees c>2
+ \once \override NoteColumn #'force-hshift = #0.5 des2
+ }
+ >> |
+ <c ees aes c>1 |
+}
+@end lilypond
-Sometimes you can end up with one or two staves on a second
-(or third, or fourth...) page. This is annoying, especially
-if you look at previous pages and it looks like there is plenty
-of room left on those.
-When investigating layout issues, @code{annotate-spacing} is
-an invaluable tool. This command prints the values of various
-layout spacing commands; see @ruser{Displaying spacing}, for more
-details. From the output of @code{annotate-spacing}, we can
-see which margins we may wish to alter.
+@node Real music example
+@subsection Real music example
+
+We end this section on Tweaks by showing the steps to be taken to
+deal with a tricky example which needs several tweaks to produce
+the desired output. The example has been deliberately chosen to
+illustrate the use of the Notation Reference to resolve unusual
+problems with notation. It is not representative of more usual
+engraving process, so please do not let these difficulties put
+you off! Fortunately, difficulties like these are not very common!
+
+The example is from Chopin's Première Ballade, Op. 23, bars 6 to
+9, the transition from the opening Lento to Moderato.
+Here, first, is what we want the output to look like, but to avoid
+over-complicating the example too much we have left out the
+dynamics, fingering and pedalling.
+
+@c The following should appear as music without code
+@lilypond[quote,ragged-right]
+rhMusic = \relative c'' {
+ r2
+ c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ bes2.^\markup {\bold "Moderato"} r8
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ % Reposition the c2 to the right of the merged note
+ {c,8~ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn c2}
+ \\
+ % Stem on the d2 must be down to permit merging
+ {s8 \stemDown \once \override Stem #'transparent = ##t d2}
+ \\
+ {s4 fis4.}
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
+}
-Other than margins, there are a few other options to save space:
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-@itemize
-@item
-You may tell LilyPond to place systems as close together as
-possible (to fit as many systems as possible onto a page), but
-then to space those systems out so that there is no blank
-space at the bottom of the page.
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
+
+We note first that the right hand part in the third bar
+requires four voices. These are the five beamed eighth notes,
+the tied C, the half-note D which is merged with the eighth note
+D, and the dotted quarter note F-sharp, which is also merged with
+the eighth note at the same pitch. Everything else is in a single
+voice, so the easiest way is to introduce these four voices
+temporarily at the time they are needed. If you have forgotten
+how to do this, look at @ref{I'm hearing Voices}. Let us begin
+by entering the notes as two variables and setting up the staff
+structure in a score block, and see what LilyPond produces by
+default:
+
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4. g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ {c,8 d fis bes a | }
+ \\
+ {c,8~ c2 | }
+ \\
+ {s8 d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ g2.
+}
+
+lhMusic = \relative c' {
+ r2 <c g ees>2 |
+ <d g, d>1 |
+ r2. d,,4 r4 r |
+ r4
+}
+
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@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:
+
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ {c,8~ c2 | }
+ \\
+ {s8 d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ g2.\)
+}
+
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1) |
+ r2. d,,4 r4 r |
+ r4
+}
+
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@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
+@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:
+
+@code{\once \override Tie #'staff-position = #3.5}
+
+This completes bar two, giving:
+
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ {c,8~ c2 | }
+ \\
+ {s8 d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ g2.\)
+}
+
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
+
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@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? The
+index in the Notation Reference does not mention merging,
+but a search of the text for @q{merge} quickly leads us to
+the overrides 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
+in the Notation Reference we add
@example
-\paper @{
- between-system-padding = #0.1
- between-system-space = #0.1
- ragged-last-bottom = ##f
- ragged-bottom = ##f
-@}
+\override Staff.NoteCollision #'merge-differently-headed = ##t
+\override Staff.NoteCollision #'merge-differently-dotted = ##t
@end example
-@item
-You may force the number of systems (i.e., if LilyPond wants
-to typeset some music with 11 systems, you could force it to
-use 10).
+@noindent
+to the start of that section and
@example
-\paper @{
- system-count = #10
-@}
+\revert Staff.NoteCollision #'merge-differently-headed
+\revert Staff.NoteCollision #'merge-differently-dotted
@end example
-@item
-Avoid (or reduce) objects which increase the vertical size of
-a system. For example, volta repeats (or alternate repeats)
-require extra space. If these repeats are spread over two
-systems, they will take up more space than one system with
-the volta repeats and another system without.
-
-Another example is moving dynamics which @q{stick out} of
-a system.
+@noindent
+to the end, giving:
-@lilypond[verbatim,quote,fragment]
-\relative c' {
- e4 c g\f c
- \override DynamicLineSpanner #'padding = #-1.8
- \override DynamicText #'extra-offset = #'( -2.1 . 0)
- e4 c g\f c
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup {\bold "Moderato"} r8
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ {c,8~ c2 | }
+ \\
+ {s8 d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
}
-@end lilypond
-@item
-Alter the horizontal spacing via @code{SpacingSpanner}. See
-@ruser{Changing horizontal spacing}, for more details.
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-@lilypond[verbatim,quote]
\score {
- \relative c'' {
- g4 e e2 | f4 d d2 | c4 d e f | g4 g g2 |
- g4 e e2 | f4 d d2 | c4 e g g | c,1 |
- d4 d d d | d4 e f2 | e4 e e e | e4 f g2 |
- g4 e e2 | f4 d d2 | c4 e g g | c,1 |
- }
- \layout {
- \context {
- \Score
- \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 4)
- }
- }
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
}
@end lilypond
-@end itemize
+These overrides have merged the two F-sharp notes, but not the two
+on D. Why not? The answer is there in the same section in the
+Notation Reference -- notes being merged must have stems in
+opposite directions and two notes cannot be merged successfully if
+there is a third note in the same note column. Here the two D's
+both have upward stems and there is a third note -- the C. We know
+how to change the stem direction using @code{\stemDown}, and
+the Notation Reference also says how to move the C -- apply a shift
+using one of the @code{\shift} commands. But which one?
+The C is in voice two which has shift off, and the two D's are in
+voices one and three, which have shift off and shift on,
+respectively. So we have to shift the C a further level still
+using @code{\shiftOnn} to avoid it interferring with the two D's.
+Applying these changes gives:
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup {\bold "Moderato"} r8
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ % Move the c2 out of the main note column so the merge will work
+ {c,8~ \shiftOnn c2 | }
+ \\
+ % Stem on the d2 must be down to permit merging
+ {s8 \stemDown d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
+}
-@node TODO other name
-@section TODO other name
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-@menu
-* Predefined tweaks::
-* Advanced tweaks with Scheme::
-* Avoiding tweaks with slower processing::
-* The three methods of tweaking::
-@end menu
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-@node Predefined tweaks
-@subsection Predefined tweaks
+Nearly there. Only two problems remain: The downward stem on the
+merged D should not be there, and the C would be better positioned
+to the right of the D's. We know how to do both of these from the
+earlier tweaks: we make the stem transparent, and move the C with
+the @code{force-hshift} property. Here's the final result:
-TODO: Some tweaks are really common, blah blah.
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2
+ c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup {\bold "Moderato"} r8
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ % Reposition the c2 to the right of the merged note
+ {c,8~ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn c2}
+ \\
+ % Stem on the d2 must be down to permit merging
+ {s8 \stemDown \once \override Stem #'transparent = ##t d2}
+ \\
+ {s4 fis4.}
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
+}
-for example \slurUp, \fatText.
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-Show example, then explain where to find ly/propert-ly.
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-The Internals Reference documentation contains a lot of information
-about LilyPond, but even more information can be gathered from
-looking at the internal LilyPond files.
-
-Some default settings (such as the definitions for
-@code{\header@{@}}s) are stored as @code{.ly} files. Other
-settings (such as the definitions of markup commands) are
-stored as @code{.scm} (Scheme) files. Further explanation is
-outside the scope of this manual; users should be warned that
-a substantial amount of technical knowledge or time is required
-to understand these files.
+@node Further tweaking
+@section Further tweaking
+
+@menu
+* Other uses for tweaks::
+* Using variables for tweaks::
+* Other sources of information::
+* Avoiding tweaks with slower processing::
+* Advanced tweaks with Scheme::
+@end menu
+
+@node Other uses for tweaks
+@subsection Other uses for tweaks
@itemize
-@item Linux: @file{@var{installdir}/lilypond/usr/share/lilypond/current/}
+@cindex transparent property, use of
+@cindex objects, making invisible
+@cindex removing objects
+@cindex objects, removing
+@cindex hiding objects
+@cindex invisible objects
+@cindex tying notes across voices
-@item OSX:
-@file{@var{installdir}/LilyPond.app/Contents/Resources/share/lilypond/current/}.
-To access this, either @code{cd} into this directory from the
-Terminal, or control-click on the LilyPond application and select
-@q{Show Package Contents}.
+@item
+@subheading Tying notes across voices
-@item Windows: @file{@var{installdir}/LilyPond/usr/share/lilypond/current/}
+The following example demonstrates how to connect notes in
+different voices using ties. Normally, only two notes in the
+same voice can be connected with ties. By using two voices,
+with the tied notes in one of them
-@end itemize
+@lilypond[quote,fragment,relative=2]
+<< { b8~ b8\noBeam }
+\\ { b[ g8] }
+>>
+@end lilypond
-The @file{ly/} and @file{scm/} directories will be of
-particular interest. Files such as @file{ly/property-init.ly} and
-@file{ly/declarations-init.ly} define all the common tweaks.
+@noindent
+and blanking the first up-stem in that voice, the tie appears to
+cross voices:
+@lilypond[quote,fragment,relative=2,verbatim]
+<<
+ {
+ \once \override Stem #'transparent = ##t
+ b8~ b8\noBeam
+ }
+\\
+ { b[ g8] }
+>>
+@end lilypond
-@node Advanced tweaks with Scheme
-@subsection Advanced tweaks with Scheme
+To make sure that the just-blanked stem doesn't squeeze the tie
+too much, we can lengthen the stem by setting the
+@code{length} to @code{8},
-We have seen how LilyPond output can be heavily modified using
-commands like
-@code{\override TextScript #'extra-offset = ( 1 . -1)}. But
-we have even more power if we use Scheme. For a full explantion
-of this, see the @ref{Scheme tutorial}, and
-@ruser{Interfaces for programmers}.
+@lilypond[quote,fragment,relative=2,verbatim]
+<<
+ {
+ \once \override Stem #'transparent = ##t
+ \once \override Stem #'length = #8
+ b8~ b8\noBeam
+ }
+\\
+ { b[ g8] }
+>>
+@end lilypond
-We can use Scheme to simply @code{\override} commands,
+@item
+@subheading Simulating a fermata
+
+@cindex stencil property, use of
+@cindex fermata, implementing in MIDI
+
+For outside-staff objects it is usually better to override the
+object's @code{stencil} property rather than its @code{transparent}
+property when you wish to remove it from the printed output.
+Setting the @code{stencil} property of an object to @code{#f} will
+remove that object entirely from the printed output. This means it
+has no effect on the placement of other objects placed relative to
+it.
+
+For example, if we wished to change the metronome setting in order
+to simulate a fermata in the MIDI output we would not want the
+metronome markings to appear in the printed output, and we would
+not want it to influence the spacing between the two systems or
+the spacing of the notes on the staff. So setting its
+@code{stencil} property to @code{#f} would be the best way.
+We show here the effect of the two methods:
@lilypond[quote,verbatim,ragged-right]
-padText = #(define-music-function (parser location padding) (number?)
-#{
- \once \override TextScript #'padding = #$padding
-#})
-
-\relative c''' {
- c4^"piu mosso" b a b
- \padText #1.8
- c4^"piu mosso" d e f
- \padText #2.6
- c4^"piu mosso" fis a g
+\score {
+ \relative c'' {
+ % Visible tempo marking
+ \tempo 4=120
+ a4 a a
+ \once \override Score.MetronomeMark #'transparent = ##t
+ % Invisible tempo marking to lengthen fermata note in MIDI
+ \tempo 4=80
+ a\fermata
+ \once \override Score.MetronomeMark #'stencil = ##f
+ % Invisible tempo marking to restore tempo in MIDI
+ \tempo 4=120
+ a a a a
+ }
+ \layout { }
+ \midi { }
}
@end lilypond
-We can use it to create new commands,
+@noindent
+Both methods remove the metronome mark from the printed output,
+and both affect the MIDI timing as required, but the first
+(transparent) metronome mark still influences the note spacing
+while the second (with no stencil) does not.
-@lilypond[quote,verbatim,ragged-right]
-tempoMark = #(define-music-function (parser location padding marktext)
- (number? string?)
-#{
- \once \override Score . RehearsalMark #'padding = $padding
- \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
- \mark \markup { \bold $marktext }
-#})
+@end itemize
-\relative c'' {
- c2 e
- \tempoMark #3.0 #"Allegro"
- g c
+@node Using variables for tweaks
+@subsection Using variables for tweaks
+
+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 do not work within lyrics so we must instead use the
+following @code{\override} and @code{\revert} commands:
+
+@example
+@code{\override Lyrics . LyricText #'font-shape = #'italic}
+@code{\override Lyrics . LyricText #'font-series = #'bold}
+
+@code{\revert Lyrics . LyricText #'font-shape}
+@code{\revert Lyrics . LyricText #'font-series}
+@end example
+
+These would 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:
+
+@lilypond[quote,verbatim]
+emph = {
+ \override Lyrics . LyricText #'font-shape = #'italic
+ \override Lyrics . LyricText #'font-series = #'bold
+}
+norm = {
+ \revert Lyrics . LyricText #'font-shape
+ \revert Lyrics . LyricText #'font-series
}
-@end lilypond
-Even music expressions can be passed in.
+global = { \time 4/4 \partial 4 \key c \major}
+SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g }
+AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
+TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
+BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
+VerseOne = \lyrics { E -- | ter -- nal \emph Fa -- ther, \norm | strong to save, }
+VerseTwo = \lyricmode { O | \emph Christ, \norm whose voice the | wa -- ters heard, }
+VerseThree = \lyricmode { O | \emph Ho -- ly Spi -- rit, \norm | who didst brood }
+VerseFour = \lyricmode { O | \emph Tri -- ni -- ty \norm of | love and pow'r }
-@lilypond[quote,verbatim,ragged-right]
-pattern = #(define-music-function (parser location x y) (ly:music? ly:music?)
-#{
- $x e8 a b $y b a e
-#})
-
-\relative c''{
- \pattern c8 c8\f
- \pattern {d16 dis} { ais16-> b\p }
+\score {
+ \new ChoirStaff <<
+ \new Staff <<
+ \clef "treble"
+ \new Voice = "Sop" { \voiceOne \global \SopMusic }
+ \new Voice = "Alto" { \voiceTwo \AltoMusic }
+ \new Lyrics \lyricsto "Sop" { \VerseOne }
+ \new Lyrics \lyricsto "Sop" { \VerseTwo }
+ \new Lyrics \lyricsto "Sop" { \VerseThree }
+ \new Lyrics \lyricsto "Sop" { \VerseFour }
+ >>
+ \new Staff <<
+ \clef "bass"
+ \new Voice = "Tenor" { \voiceOne \TenorMusic }
+ \new Voice = "Bass" { \voiceTwo \BassMusic }
+ >>
+ >>
}
@end lilypond
-@node Avoiding tweaks with slower processing
-@subsection Avoiding tweaks with slower processing
-LilyPond can perform extra checks while it processes files. These
-commands will take extra time, but the result may require fewer
-manual tweaks.
+@node Other sources of information
+@subsection Other sources of information
-@example
-%% makes sure text scripts and lyrics are within the paper margins
-\override Score.PaperColumn #'keep-inside-line = ##t
-\override Score.NonMusicalPaperColumn #'keep-inside-line = ##t
-@end example
+The Internals Reference documentation contains a lot of information
+about LilyPond, but even more information can be gathered by
+looking at the internal LilyPond files. To explore these, first
+find the directory appropriate to your system, as follows:
-In some cases (see issue 246), this must be done before
-@code{\override} commands can be processed.
+@strong{Linux}
-@verbatim
-\new Score \with {
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
- } {
- ..
-}
-@end verbatim
+Navigate to
+@file{@var{installdir}/lilypond/usr/share/lilypond/current/}
+@strong{OSX}
-@node The three methods of tweaking
-@subsection The three methods of tweaking
+Navigate to
+@file{@var{installdir}/LilyPond.app/Contents/Resources/share/lilypond/current/}
+by either @code{cd}-ing into this directory from the
+Terminal, or control-clicking on the LilyPond application and
+selecting @q{Show Package Contents}.
-FIXME write this.
+@strong{Windows}
-@verbatim
-\override
-@end verbatim
+Using Windows Explorer, navigate to
+@file{@var{installdir}/LilyPond/usr/share/lilypond/current/}
-@verbatim
-\with {
+Within this directory the two interesting subdirectories are
-}
-@end verbatim
+@itemize
+@item @file{../ly/ } - contains files in LilyPond format
+@item @file{../scm/} - contains files in Scheme format
+@end itemize
-@verbatim
-\layout{ \context
+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
+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
+example, @code{/tieDotted} is defined to be:
-}}
-@end verbatim
+@example
+tieDotted = @{
+ \override Tie #'dash-period = #0.75
+ \override Tie #'dash-fraction = #0.1
+@}
+@end example
+If you do not like the default values these built-in commands can
+be redefined easily, just like any other variable, at the
+head of your input file.
+
+The following are the most useful files to be found in
+@file{../ly/}:
+
+@multitable @columnfractions .4 .6
+@headitem Filename
+ @tab Contents
+@item @file{../ly/engraver-init.ly}
+ @tab Definitions of engraver Contexts
+@item @file{../ly/paper-defaults.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
+@end multitable
+Other settings (such as the definitions of markup commands) are
+stored as @code{.scm} (Scheme) files. The Scheme programming
+language is used to provide a programmable interface into
+LilyPond internal operation. Further explanation of these files
+is currently outside the scope of this manual, as a knowledge of
+the Scheme language is required. Users should be warned that
+a substantial amount of technical knowledge or time is required
+to understand Scheme and these files (see @ref{Scheme tutorial}).
+
+If you have this knowledge, the Scheme files which may be of
+interest are:
+
+@multitable @columnfractions .4 .6
+@headitem Filename
+ @tab Contents
+@item @file{../scm/auto-beam.scm}
+ @tab Sub-beaming defaults
+@item @file{../scm/define-grobs.scm}
+ @tab Default settings for grob properties
+@item @file{../scm/define-markup-commands.scm}
+ @tab Specify all markup commands
+@item @file{../scm/midi.scm}
+ @tab Default settings for MIDI output
+@item @file{../scm/output-lib.scm}
+ @tab Settings that affect appearance of frets, colors,
+ accidentals, bar lines, etc
+@item @file{../scm/parser-clef.scm}
+ @tab Definitions of supported clefs
+@item @file{../scm/script.scm}
+ @tab Default settings for articulations
+@end multitable
-FIXME discuss \tweak
+@node Avoiding tweaks with slower processing
+@subsection Avoiding tweaks with slower processing
-FIXME: Move the following words and example into Tweaks or
-somewhere more suitable, leaving just a ref here. -td
+LilyPond can perform extra checks while it processes files. These
+checks will take extra time to perform, but fewer manual tweaks
+may be required to obtain an acceptable result. If a text script
+or part of the lyrics extends over the margins these checks will
+compress that line of the score just enough to fit within the
+margins.
-Ways of correcting horizontal placings are described fully
-in the Notation Reference.
-We introduce just one here, the @code{force-hshift} property of
-@code{NoteColumn}. 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} 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 notehead's
-width to the right of the note column of the higher notes.
+To be effective under all circumstances these checks must be enabled
+by placing the overrides in a Score @code{\with} block, rather than
+in-line in music, as follows:
-Here's the final result:
-
-@lilypond[quote,verbatim,fragment,ragged-right]
-\new Staff \relative c'' {
- \key aes \major
- <<
- { c2 aes4. bes8 } \\
- { aes2 f4 fes } \\
- { \voiceFour
- \once \override NoteColumn #'force-hshift = #0 <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5 des2
- }
- >> |
- <c ees aes c>1 |
+@example
+\new Score \with @{
+ % Makes sure text scripts and lyrics are within the paper margins
+ \override PaperColumn #'keep-inside-line = ##t
+ \override NonMusicalPaperColumn #'keep-inside-line = ##t
+@} @{
+ ..
+@}
+@end example
+
+@node Advanced tweaks with Scheme
+@subsection Advanced tweaks with Scheme
+
+Although many things are possible with the @code{\override} and
+@code{\tweak} commands, an even more powerful way of modifying
+the action of LilyPond is available through a programmable
+interface to the LilyPond internal operation. Code written in
+the Scheme programming language can be incorporated directly in
+the internal operation of LilyPond. Of course, at least a basic
+knowledge of programming in Scheme is required to do this, and an
+introduction is provided in the @ref{Scheme tutorial}.
+
+As an illustration of one of the many possibilities, instead of
+setting a property to a constant it can be set to a Scheme
+procedure which is then called whenever that property is accessed
+by LilyPond. The property can then be set dynamically to a value
+determined by the procedure at the time it is called. In this
+example we color the note head in accordance with its position on
+the staff.
+
+@lilypond[quote,verbatim,ragged-right]
+#(define (color-notehead grob)
+ "Color the notehead according to its position on the staff."
+ (let ((mod-position (modulo (ly:grob-property grob 'staff-position) 7)))
+ (case mod-position
+ ;; Return rainbow colors
+ ((1) (x11-color 'red )) ; for C
+ ((2) (x11-color 'orange )) ; for D
+ ((3) (x11-color 'yellow )) ; for E
+ ((4) (x11-color 'green )) ; for F
+ ((5) (x11-color 'blue )) ; for G
+ ((6) (x11-color 'purple )) ; for A
+ ((0) (x11-color 'violet )) ; for B
+ )
+ )
+)
+
+\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' |
+ g1 |
+}
+\addlyrics {
+ Some -- where o -- ver the Rain -- bow way up high,
}
@end lilypond
+Further examples showing the use of these programmable interfaces
+can be found in @ref{Tweaking with Scheme}.
+
+
+
+
+
+
+
+
+
-FIXME:
-- There is a section in the manual on \set vs \override (3.3.7),
-which is incomplete. First it doesn't mention \overrideProperty,
-nor does it mention properties which are not capitalized at all.
-And it should explain that \override should be used to set
-properties with hyphenated names, like auto-knee-gap. (I had to
-experiment to find out how to do this.)
-FIXME: moved from fundamental, dumped here at random.
-@lilypond[verbatim,quote,ragged-right]
-\new Staff = "main" {
- \relative g' {
- r4 g8 g c4 c8 d |
- e4
- << % Start main and ossia in parallel
- { r8 f c c } % Main music
- \new Staff \with { % Start ossia staff
- \remove "Clef_engraver"
- \remove "Time_signature_engraver"
- % Reduce size of notes and staff
- fontSize = #-2
- \override StaffSymbol #'staff-space = #(magstep -2)
- alignAboveContext = "main" % Place above main staff
- }
- { s8 f f c } % Ossia music
- >> % End parallel music
- r4 |
- }
-}
-@end lilypond
projects / lilypond.git / blobdiff