version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@node Tweaking output
@chapter Tweaking output
above, and so they too all have properties associated with them,
such as their position, size, color, etc.
-Some layout objects are still more specialised. Phrasing slurs,
-crescendo hairpins, ottavo marks, and many other grobs are not
-localised in a single place -- they have a starting point, an
+Some layout objects are still more specialized. Phrasing slurs,
+crescendo hairpins, ottava marks, and many other grobs are not
+localized in a single place -- they have a starting point, an
ending point, and maybe other properties concerned with their
shape. Objects with an extended shape like these are called
@q{Spanners}.
@ref{Contexts and engravers}. Here for reference is a list
of the most common object and property types together with
the conventions for naming them and a couple of examples of
-some real names. We have used A to stand for any capitalised
+some real names. We have used A to stand for any capitalized
alphabetic character and aaa to stand for any number of
lower-case alphabetic characters. Other characters are used
verbatim.
As we shall see shortly, the properties of different types of
object are modified by different commands, so it is useful to
-be able to recognise the type of object from the names of its
+be able to recognize the type of object from the names of its
properties.
including @code{font-shape(symbol)}, where @code{symbol} can be
set to @code{upright}, @code{italics} or @code{caps}.
-You will notice that that @code{font-series} and @code{font-size}
+You will notice that @code{font-series} and @code{font-size}
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} then tell you the values for those two
properties which apply to @code{LyricText}. Other objects
which support @code{font-interface} will set these
-properties diferently when they are created.
+properties differently when they are created.
Let's see if we can now construct the @code{\override} command
to change the lyrics to italics. The object is @code{LyricText},
LilyPond. Some of them are the names of properties,
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 arbitrary
text strings, which would appear as @code{"a text string"}.
Ok, so the @code{\override} command we need to print the lyrics
spaces must be inserted before and after the
period or dot, @q{.}, separating the context name from the
object name, as otherwise the two names are run together and
-the interpreter cannot recognise them. So the command should be:
+the interpreter cannot recognize them. So the command should be:
@example
\override Lyrics . LyricText #'font-shape = #'italic
requires is actually a list of values in internal units,
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
+of the @q{normal} colors listed in the first table in
@ruser{List of colors}. To set the bar lines to white
we write:
@noindent
where the extra pair of braces after the @code{\with} clause are
-required to ensure the enclosed overrrides and music are applied
+required to ensure the enclosed overrides and music are applied
to the ossia staff.
But what is the difference between modifying the staff context by
context is created, and remain in force as the @strong{default}
values for the duration of that context, whereas
@code{\set} or @code{\override} commands embedded in the
-music are dynamic -- they make changes synchronised with
+music are dynamic -- they make changes synchronized with
a particular point in the music. If changes are unset or
reverted using @code{\unset} or @code{\revert} they return to
their default values, which will be the ones set in the
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
-by the layout of the main music in order to remain synchronised
+by the layout of the main music in order to remain synchronized
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
@section Placement of objects
@menu
-* Automatic behaviour::
+* Automatic behavior::
* Within-staff objects::
* Outside staff objects::
@end menu
-@node Automatic behaviour
-@subsection Automatic behaviour
+@node Automatic behavior
+@subsection Automatic behavior
There are some objects in musical notation that belong to
the staff and there are other objects that should be
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
+overrides which can modify this automatic behavior, as we
shall shortly see.
Objects belonging outside the staff include things such as
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}
+priority (since it is not explicitly set). Note that @q{Text3}
is automatically positioned close to the staff again, nestling
under @q{Text2}.
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
+behavior. 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.
+behavior 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.
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
+The following example shows in bar 1 the default behavior 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.
+reverted back to the default behavior.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
a4 g c a
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
+constraints 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.
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}).
+under Automatic behavior, above (see @ref{Automatic behavior}).
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:
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
+command reverses this behavior, causing the notes to be spaced
out as far as is necessary to accommodate the text:
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
c^"Text4"
@end lilypond
-The command to revert to the default behaviour is
+The command to revert to the default behavior is
@code{\textLengthOff}. Remember @code{\once} only works with
@code{\override}, @code{\set}, @code{\revert} or @code{unset},
so cannot be used with @code{\textLengthOn}.
% 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^"Long Text " % Spaces at end are honored
c''2
@end lilypond
aesthetic reasons -- they would look better with a little more
or a little less space around them.
-There are three main main approaches to resolving overlapping
+There are three main approaches to resolving overlapping
notation. They should be considered in the following order:
@enumerate
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
+the second positive. Note that not all objects honor both
numbers. For example, the @code{Accidental} object only takes
notice of the first (left edge) number.
@cindex force-hshift property
-Closely spaced notes in a chord, or notes occuring at the same
+Closely spaced notes in a chord, or notes occurring 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
@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
+relative to the staff center line vertically, or by
displacing them by any distance to a new position. The
disadvantages are that the correct values for the repositioning
have to be worked out, often by trial and error, for every object
requested positions is selected from the list.
@end table
-Objects do not all have all of these properties in general.
+@end enumerate
+
+A particular object may not have all of these properties.
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
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
+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
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.
+using @code{\shiftOnn} to avoid it interfering with the two D's.
Applying these changes gives:
@lilypond[quote,verbatim,ragged-right]
@node Other uses for tweaks
@subsection Other uses for tweaks
-@itemize
-
@cindex transparent property, use of
@cindex objects, making invisible
@cindex removing objects
@cindex invisible objects
@cindex tying notes across voices
-@item
@subheading Tying notes across voices
The following example demonstrates how to connect notes in
>>
@end lilypond
-@item
@subheading Simulating a fermata
@cindex stencil property, use of
(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
Navigate to
@file{@var{installdir}/lilypond/usr/share/lilypond/current/}
-@strong{OSX}
+@strong{MacOS X}
Navigate to
@file{@var{installdir}/LilyPond.app/Contents/Resources/share/lilypond/current/}
@node Avoiding tweaks with slower processing
@subsection Avoiding tweaks with slower processing
-LilyPond can perform extra checks while it processes files. These
+LilyPond can perform extra checks while it processes input 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
g1 |
}
\addlyrics {
- Some -- where o -- ver the Rain -- bow way up high,
+ Some -- where o -- ver the Rain -- bow, way up high,
}
@end lilypond