This chapter discusses how to modify output. LilyPond is extremely
configurable; virtually every fragment of output may be changed.
-TODO: This chapter is still under development and this version is
-not yet complete. Don't translate yet!
-
-
@menu
* Tweaking basics::
* Appearance of objects::
* Placement of objects::
* Collisions of objects::
-* Page layout::
* Further tweaking::
@end menu
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.
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,
@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
@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}.
@emph{context} is often not needed. It will be omitted
in many of the following examples.
-There is another form of the override command,
+@strong{\overrideProperty command}
+
+@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
+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
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
in italics should be
@example
- \override LyricText #'font-shape = #'italic
+\override LyricText #'font-shape = #'italic
@end example
@noindent
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
@menu
* Visibility and color of objects::
* Size of objects::
+* Length and thickness of objects::
@end menu
@node Visibility and color of objects
In the educational use of music we might wish to print a score
with certain elements omitted as an exercise for the student,
who is required to supply them. As a simple example,
-let us suppose the exercise is to supply the missing barlines
-in a piece of music. But the barlines are normally inserted
+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?
-As before, we go to the IR to find the layout object which prints
-barlines. Going via @emph{Backend} and @emph{All layout objects}
+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{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.
@subheading stencil
@cindex stencil property
-This property controls the appearance of the barlines by specifying
+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
}
@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.
@subheading break-visibility
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 barlines are printed at
+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,
+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
}
@end lilypond
-And we see this too removes all the barlines.
+And we see this too removes all the bar lines.
@subheading transparent
@cindex transparent property
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
@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
Finally we come to changing the size of layout objects.
Some layout objects are created as glyphs selected from
-a typeface 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
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.
}
@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 }
are always calculated relative to the
value of the @code{staff-space} property these are automatically
scaled down in length too. Note that this affects only the
-vertical scale of the ossia -- the horizontal scale is determined
+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 of all
-other objects may be modified in analogous ways.
+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
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
-noteheads, stems and accidentals in closely set chords are
+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.
>>
@end lilypond
-@c TODO Mention somewhere, probably not here, how to avoid staves
-@c interleaving too much by specifying skyline-horizontal-padding
-@c Presumably this moves the skyline boundary further out, making
-@c objects appear wider? Not yet tested. -td
@node Within-staff objects
@subsection Within-staff objects
Here is a table of the commonest. The meaning of each is stated
where it is not obvious.
-@c TODO put @code{} round all these
-
@multitable @columnfractions .2 .2 .2 .4
@headitem Down/Left
@tab Up/Right
@subsection Outside staff objects
Outside-staff objects are automatically placed to avoid collisions.
-Objects with the lower value of @code{outside-staff-priority}
+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.
+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.
-It is set to @code{#f} (the default) for all within-staff objects,
-and is set explicitly to the default numerical value appropriate
-to the each object as it is created. The following table shows
-the default numerical values for some of the commonest
-outside-staff objects. Others may be found in the object
-properties listed in the IR.
-
-@multitable @columnfractions .3 .3
+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{BarNumber} @tab @code{ 100}
-@item @code{DynamicLineSpanner} @tab @code{ 250}
-@item @code{DynamicText} @tab @code{ 250}
-@item @code{MetronomeMark} @tab @code{1000}
-@item @code{OttavaBracket} @tab @code{ 400}
@item @code{RehearsalMark} @tab @code{1500}
-@item @code{TextScript} @tab @code{ 450}
-@item @code{TextSpanner} @tab @code{ 350}
+@item @code{MetronomeMark} @tab @code{1000}
+@item @code{BarNumber} @tab @code{ 100}
@end multitable
-TODO Add example showing iteraction of all these
+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:
-If this ordering does not give you the placing you want, the
-priority of the objects may be overridden. Suppose we would
+@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 table above, and increase the priority of
+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]
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. Can we instead position them all
-at the same distance from the staff? To do this, we clearly
+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{fatText}
+room for the text. This is done using the @code{textLengthOn}
command.
-@subheading \fatText
+@subheading \textLengthOn
-@funindex \fatText
+@funindex \textLengthOn
@cindex notes, spreading out with text
By default, text produced by markup takes up no horizontal space
-as far as laying out the music is concerned. The @code{\fatText}
-command reverses this behaviour, causing the notes to be spaced
+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]
-\fatText % Cause notes to space out to accommodate text
+\textLengthOn % Cause notes to space out to accommodate text
c2^"Text1"
c^"Text2"
c^"Text3"
@end lilypond
The command to revert to the default behaviour is
-@code{\emptyText}. Remember @code{\once} only works with
+@code{\textLengthOff}. Remember @code{\once} only works with
@code{\override}, @code{\set}, @code{\revert} or @code{unset},
-so cannot be used with @code{\fatText}.
+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
R1
% Turn off collision avoidance
\once \override TextScript #'outside-staff-priority = ##f
-\fatText % and turn on fatText
+\textLengthOn % and turn on textLengthOn
c,,2^"Long Text " % Spaces at end are honoured
c''2
@end lilypond
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{\fatText} command, but there
+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.
By default, outside-staff objects are given a width of zero so
that they may overlap in the horizontal direction. This is done
-by by the trick of adding infinity to the leftmost extent and
+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
@menu
* Moving objects::
* Fixing overlapping notation::
+* Real music example::
@end menu
@node Moving objects
@subsection Moving objects
-This may come as a surprise, but LilyPond is not perfect. Some
-notation elements can overlap. This is unfortunate, but in fact
+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.
the same type of object. Such properties include:
@itemize
-@item
+@item
@code{direction}
This has already been covered in some detail -- see
@ref{Within-staff objects}.
-@item
+@item
@code{padding}, @code{left-padding},
@code{right-padding}, @code{staff-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
-noteheads only the @code{right-padding} property has any effect.
+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}
(it varies with each object). It may be overridden if a larger
(or smaller) gap is required.
-@item
+@item
@code{self-alignment-X}
@cindex self-alignment-X property
-This property aligns the object to the left, to the right, or
-centers 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
+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}. The movement is limited by the length of the
-object. Any numerical value between @code{-1} and @code{+1} may
-also 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.
+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
+@item
@code{extra-spacing-width}
@cindex extra-spacing-width property
numbers. For example, the @code{Accidental} object only takes
notice of the first (left edge) number.
-@item
+@item
@code{staff-position}
@cindex staff-position property
collisions between layout objects like multi-measure rests, ties
and notes in different voices.
-@item
+@item
@code{force-hshift}
@cindex force-hshift property
-TODO Move this explanation and add expanation of \shiftOn etc to
- Explicitly instantiating voices section in Fundamental concepts
-
-[Closely spaced notes in a chord, or notes occuring at the same
+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 noteheads overlapping. These are called
+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. There are separate columns
-for each voice.]
+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
@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 noteheads.
+merging note heads.
@end itemize
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.
+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.
@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}.
-@subheading left-padding and right-padding properties
+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.
+
+
+@subheading left-padding and right-padding
@cindex left-padding property
@cindex right-padding property
-TODO Example of this - at the moment I can't find one! -td
+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
@end lilypond
-@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
-
-@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 notehead's
-width to the right of the note column of the higher notes.
-
-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 |
-}
-@end lilypond
-
-
@subheading positions property
@cindex positions property
@end lilypond
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
+staff of Chopin's Prelude Op 28 No. 2. We see that the beam
collides with the upper notes:
@lilypond[quote,verbatim,fragment,ragged-right]
@end lilypond
@noindent
-This can only be resolved by manually moving both ends of the beam
-up from their position at 2 staff-spaces above the center line to,
+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:
@lilypond[quote,verbatim,fragment,ragged-right]
the second block of quavers, but not to any of the beams in the
second voice.
-TODO Examples of real music showing collisions and their resolution
-
-
-@node Page layout
-@section Page layout
-
-@menu
-* Introduction to layout::
-* Global sizes::
-* Line breaks::
-* Page breaks::
-* Fitting music onto fewer pages::
-@end menu
-
-@node Introduction to layout
-@subsection Introduction to layout
-
-The global paper layout is determined by three factors:
-the page layout, the line breaks, and the spacing. These all
-influence each other. The choice of spacing determines how
-densely each system of music is set. This influences where line
-breaks are chosen, and thus ultimately, how many pages a piece
-of music takes.
-
-Settings which influence layout may be placed in two blocks.
-The @code{\paper @{...@}} block is placed outside any
-@code{\score @{...@}} blocks and contains settings that
-relate to the entire document. The @code{\layout @{...@}}
-block is placed within a @code{\score @{...@}} block and
-contains settings for that particular score. If you have
-only one @code{\score @{...@}} block the two have the same
-effect. In general the commands shown in this section can
-be placed in either.
+@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
-Much more detail on the options for tweaking the laying out
-of music are contained in @ruser{Spacing issues}.
+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:
-@node Global sizes
-@subsection Global sizes
+@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
-TODO Check all these examples
+@noindent
+The lower two notes of the first chord (i.e,
+those in the third voice) should not be shifted away from the
+note column of the higher two notes. To correct this we set
+@code{force-hshift}, which is a property of
+@code{NoteColumn}, of these notes to zero.
+The lower note of the second chord is best placed just to the
+right of the higher notes. We achieve this by setting
+@code{force-hshift} of this note to 0.5, ie half a note head's
+width to the right of the note column of the higher notes.
-The default @strong{paper size} which LilyPond assumes in laying
-out the music is A4. This may be changed in two ways:
+Here's the final result:
-@example
-#(set-default-paper-size "a6")
+@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
-\paper @{
-#(set-paper-size "letter")
-@}
-@end example
-@noindent
-The first command sets the size of all pages. The second command
-sets the size of the pages to which the \paper block applies -\96 if
-the \paper block is at the top of the file, then it will apply
-to all pages. Support for the following paper sizes is included:
-a6, a5, a4, a3, legal, letter, 11x17 (also known as tabloid).
-Setting the paper size automatically sets suitable margins and
-line length.
-
-If the symbol @code{landscape} is supplied as an argument to
-@code{set-default-paper-size}, the pages will be rotated by 90
-degrees, and wider line widths will be set correspondingly, e.g.
+@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.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ bes2.^\markup {\bold "Moderato"} r8
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ % Reposition the c2 to the right of the merged note
+ {c,8~ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn c2}
+ \\
+ % Stem on the d2 must be down to permit merging
+ {s8 \stemDown \once \override Stem #'transparent = ##t d2}
+ \\
+ {s4 fis4.}
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
+}
-@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-The default @strong{staff size} is set to 20 points.
-This may be changed in two ways:
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-@example
-#(set-global-staff-size 14)
+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:
-\paper @{
-#(set-global-staff-size 16)
-@}
-@end example
+@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.
+}
-@noindent
-The first command sets the size in all pages. The second command
-sets the size in the pages to which the \paper block applies \96 if
-the \paper block is at the top of the file, then it will apply
-to all pages. All the fonts are automatically scaled to suit
-the new value of the staff size.
-
-@node Line breaks
-@subsection Line breaks
-
-Line breaks are normally computed automatically. They are chosen
-so that lines look neither cramped nor loose, and consecutive
-lines have similar density. Occasionally you might want to
-override the automatic breaks; you can do this by specifying
-@code{\break}. This will force a line break at this point. However,
-line breaks can only occur at the end of @q{complete} bars, i.e.,
-where there are no notes or tuplets left @q{hanging} over the bar
-line. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar ""},
-although again there must be no notes left hanging over in any of
-the staves.
-
-The opposite command, @code{\noBreak}, forbids a line break at the
-bar line where it is inserted.
-
-The most basic settings influencing line spacing are @code{indent}
-and @code{line-width}. They are set in the @code{\layout} block.
-They control the indentation of the first line of music, and the
-lengths of the lines.
-
-If @code{ragged-right} is set to true in the @code{\layout} block,
-then systems end at their natural horizontal length, instead of
-being spread horizontally to fill the whole line. This is useful
-for short fragments, and for checking how tight the natural
-spacing is.
-
-The option @code{ragged-last} is similar to @code{ragged-right},
-but affects only the last line of the piece.
+lhMusic = \relative c' {
+ r2 <c g ees>2 |
+ <d g, d>1 |
+ r2. d,,4 r4 r |
+ r4
+}
-@example
-\layout @{
-indent = #0
-line-width = #150
-ragged-last = ##t
-@}
-@end example
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-@node Page breaks
-@subsection Page breaks
+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:
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands.
-These commands are analogous to @code{\break} and @code{\noBreak}.
-These commands force and forbid a page-break at the point where
-they are inserted.
-Of course, the @code{\pageBreak} command also forces a line break.
-Like @code{\break}, the @code{\pageBreak} command is effective only
-at the end of a @q{complete} bar as defined above. For more
-details see @ruser{Page breaking} and following sections.
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ bes1~ |
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ {c,8~ c2 | }
+ \\
+ {s8 d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ g2.\)
+}
-There are also analogous settings to @code{ragged-right} and
-@code{ragged-last} which have the same effect on vertical spacing:
-@code{ragged-bottom} and @code{ragged-last-bottom}. If set to
-@code{##t} the systems on all pages or just the last page
-respectively are not justified vertically.
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1) |
+ r2. d,,4 r4 r |
+ r4
+}
-For more details see @ruser{Vertical spacing}.
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-@node Fitting music onto fewer pages
-@subsection Fitting music onto fewer pages
+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:
-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.
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2. r8
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ {c,8~ c2 | }
+ \\
+ {s8 d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ g2.\)
+}
-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.
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-Other than margins, there are a few other options to save space:
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-@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.
+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, as in the second bar here:
-
-@lilypond[verbatim,quote,fragment,ragged-right,relative=1]
-e4 c g\f c
-\override DynamicText #'extra-offset = #'( -2.2 . 2.0)
-e4 c g\f c
-@end lilypond
-
-@item
-Alter the horizontal spacing via @code{SpacingSpanner}. See
-@ruser{Changing horizontal spacing}, for more details. Here's
-an example first showing the default behaviour:
+@noindent
+to the end, giving:
-@lilypond[verbatim,quote,ragged-right]
-\score {
- \relative c'' {
- g4 e e2 |
- f4 d d2 |
- c4 d e f |
- g4 g g2 |
- g4 e e2 |
- }
+@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
-@noindent
-and now with @code{common-shortest-duration} increased from the
-value of @code{1/4} (a quarter note is the most common in this
-example) to @code{1/2}:
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-@lilypond[verbatim,quote,ragged-right]
\score {
- \relative c'' {
- g4 e e2 |
- f4 d d2 |
- c4 d e f |
- g4 g g2 |
- g4 e e2 |
- }
- \layout {
- \context {
- \Score
- \override SpacingSpanner
- #'common-shortest-duration = #(ly:make-moment 1 2)
- }
- }
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
}
@end lilypond
-@noindent
-Note that this override cannot be modified dynamically, so it must
-always be placed in a @code{\context@{..@}} block so that it applies
-to the whole score.
+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:
-TODO Add description of using \context in this way earlier if it is
-not already anywhere -td
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2 c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup {\bold "Moderato"} r8
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ % Start polyphonic section of four voices
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ % Move the c2 out of the main note column so the merge will work
+ {c,8~ \shiftOnn c2 | }
+ \\
+ % Stem on the d2 must be down to permit merging
+ {s8 \stemDown d2 | }
+ \\
+ {s4 fis4. | }
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
+}
-@end itemize
+lhMusic = \relative c' {
+ r2 <c g ees>2( |
+ <d g, d>1)\arpeggio |
+ r2. d,,4 r4 r |
+ r4
+}
-TODO Mention line-thickness somewhere else and move this there
+\score {
+ \new PianoStaff <<
+ \new Staff = "RH" <<
+ \key g \minor
+ \rhMusic
+ >>
+ \new Staff = "LH" <<
+ \key g \minor
+ \clef "bass"
+ \lhMusic
+ >>
+ >>
+}
+@end lilypond
-@cindex Tweaks, distances
-@cindex Distances
+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:
-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.
+@lilypond[quote,verbatim,ragged-right]
+rhMusic = \relative c'' {
+ r2
+ c4.\( g8 |
+ \once \override Tie #'staff-position = #3.5
+ bes1~ |
+ \bar "||"
+ \time 6/4
+ bes2.^\markup {\bold "Moderato"} r8
+ \override Staff.NoteCollision #'merge-differently-headed = ##t
+ \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ <<
+ {c,8[ d fis bes a] | }
+ \\
+ % Reposition the c2 to the right of the merged note
+ {c,8~ \once \override NoteColumn #'force-hshift = #1.0
+ % Move the c2 out of the main note column so the merge will work
+ \shiftOnn c2}
+ \\
+ % Stem on the d2 must be down to permit merging
+ {s8 \stemDown \once \override Stem #'transparent = ##t d2}
+ \\
+ {s4 fis4.}
+ >>
+ \revert Staff.NoteCollision #'merge-differently-headed
+ \revert Staff.NoteCollision #'merge-differently-dotted
+ g2.\)
+}
+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
@node Further tweaking
@section Further tweaking
@menu
-* Other uses for tweaks::
-* Other sources of information::
-* Advanced tweaks with Scheme::
-* Avoiding tweaks with slower processing::
+* 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
@itemize
-@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 transparent property, use of
+@cindex objects, making invisible
@cindex removing objects
+@cindex objects, removing
@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,
+@cindex tying notes across voices
+
+@item
+@subheading Tying notes across voices
+
+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
@lilypond[quote,fragment,relative=2]
-<< {
- b8~ b8\noBeam
-} \\ {
- b[ g8]
-} >>
+<< { b8~ b8\noBeam }
+\\ { b[ g8] }
+>>
@end lilypond
@noindent
-and blanking the first up-stem in that voice, the tie appears to cross
-voices:
+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]
-} >>
+<<
+ {
+ \once \override Stem #'transparent = ##t
+ b8~ b8\noBeam
+ }
+\\
+ { b[ g8] }
+>>
@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},
+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},
@lilypond[quote,fragment,relative=2,verbatim]
-<< {
- \once \override Stem #'transparent = ##t
- \once \override Stem #'length = #8
- b8~ b8\noBeam
-} \\ {
- b[ g8]
-} >>
+<<
+ {
+ \once \override Stem #'transparent = ##t
+ \once \override Stem #'length = #8
+ b8~ b8\noBeam
+ }
+\\
+ { b[ g8] }
+>>
+@end lilypond
+
+@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]
+\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
+@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.
+
@end itemize
+@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
+}
+
+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 }
+
+\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 Other sources of information
@subsection Other sources of information
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.
+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:
-TODO Show example, then explain where to find ly/propert-ly.
+@strong{Linux}
-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.
+Navigate to
+@file{@var{installdir}/lilypond/usr/share/lilypond/current/}
-@itemize
+@strong{OSX}
+
+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}.
-@item Linux: @file{@var{installdir}/lilypond/usr/share/lilypond/current/}
+@strong{Windows}
-@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}.
+Using Windows Explorer, navigate to
+@file{@var{installdir}/LilyPond/usr/share/lilypond/current/}
-@item Windows: @file{@var{installdir}/LilyPond/usr/share/lilypond/current/}
+Within this directory the two interesting subdirectories are
+@itemize
+@item @file{../ly/ } - contains files in LilyPond format
+@item @file{../scm/} - contains files in Scheme format
@end itemize
-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.
+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:
+@example
+tieDotted = @{
+ \override Tie #'dash-period = #0.75
+ \override Tie #'dash-fraction = #0.1
+@}
+@end example
-@node Advanced tweaks with Scheme
-@subsection Advanced tweaks with Scheme
+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
-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}.
+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
-We can use Scheme to simply @code{\override} commands,
-TODO Check this is a valid example with skylining
-@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
-}
-@end lilypond
+@node Avoiding tweaks with slower processing
+@subsection Avoiding tweaks with slower processing
-We can use it to create new commands,
+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.
-TODO Check this is a valid example with skylining
+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:
-@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 }
-#})
+@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
-\relative c'' {
- c2 e
- \tempoMark #3.0 #"Allegro"
- g c
-}
-@end lilypond
+@node Advanced tweaks with Scheme
+@subsection Advanced tweaks with Scheme
-Even music expressions can be passed in.
+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]
-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 }
+#(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}.
-@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.
-@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
-In some cases (see issue 246), this must be done before
-@code{\override} commands can be processed.
-@verbatim
-\new Score \with {
- \override PaperColumn #'keep-inside-line = ##t
- \override NonMusicalPaperColumn #'keep-inside-line = ##t
- } {
- ..
-}
-@end verbatim
projects / lilypond.git / blobdiff