X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Ftweaks.itely;h=3ed353c257fb775f10f48767e5c3cc6bb441a2cb;hb=0387f04497978e37b335a8b99eec905499d6ad0f;hp=14e2d254b42b8f597709c74651b31aecb8c87408;hpb=c6554467b0a9beddf0d7ef12746ae31a25fe36e7;p=lilypond.git diff --git a/Documentation/user/tweaks.itely b/Documentation/user/tweaks.itely index 14e2d254b4..3ed353c257 100644 --- a/Documentation/user/tweaks.itely +++ b/Documentation/user/tweaks.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.11.61" +@c \version "2.11.65" @node Tweaking output @chapter Tweaking output @@ -17,22 +17,22 @@ configurable; virtually every fragment of output may be changed. @menu -* Tweaking basics:: -* The Internals Reference manual:: -* Appearance of objects:: -* Placement of objects:: -* Collisions of objects:: -* Further tweaking:: +* Tweaking basics:: +* The Internals Reference manual:: +* Appearance of objects:: +* Placement of objects:: +* Collisions of objects:: +* Further tweaking:: @end menu @node Tweaking basics @section Tweaking basics @menu -* Introduction to tweaks:: -* Objects and interfaces:: -* Naming conventions of objects and properties:: -* Tweaking methods:: +* Introduction to tweaks:: +* Objects and interfaces:: +* Naming conventions of objects and properties:: +* Tweaking methods:: @end menu @node Introduction to tweaks @@ -40,16 +40,16 @@ configurable; virtually every fragment of output may be changed. @q{Tweaking} is a LilyPond term for the various methods available to the user for modifying the actions taken during interpretation -of the input file and modifying the appearance of the printed -output. Some tweaks are very easy to use; others are more -complex. But taken together the methods available for tweaking -permit almost any desired appearance of the printed music to be +of the input file and modifying the appearance of the printed +output. Some tweaks are very easy to use; others are more +complex. But taken together the methods available for tweaking +permit almost any desired appearance of the printed music to be achieved. In this section we cover the basic concepts required to understand tweaking. Later we give a variety of ready-made commands which can simply be copied to obtain the same effect in your own scores, and -at the same time we show how these commands may be constructed so +at the same time we show how these commands may be constructed so that you may learn how to develop your own tweaks. Before starting on this Chapter you may wish to review the section @@ -72,7 +72,7 @@ and constructing Tweaks. Tweaking involves modifying the internal operation and structures of the LilyPond program, so we must first introduce some terms -which are used to describe those internal operations and +which are used to describe those internal operations and structures. The term @q{Object} is a generic term used to refer to the @@ -117,7 +117,7 @@ one given a name ending in @code{interface}. In total there are over 100 such interfaces. We shall see later why this is of interest and use to the user. -These, then, are the main terms relating to objects which we +These, then, are the main terms relating to objects which we shall use in this chapter. @node Naming conventions of objects and properties @@ -128,17 +128,17 @@ shall use in this chapter. @cindex objects, naming conventions @cindex properties, naming conventions -We met some object naming conventions previously, in +We met some object naming conventions previously, in @ref{Contexts and engravers}. Here for reference is a list -of the most common object and property types together with -the conventions for naming them and a couple of examples of +of the most common object and property types together with +the conventions for naming them and a couple of examples of some real names. We have used @q{A} to stand for any capitalized alphabetic character and @q{aaa} to stand for any number of lower-case alphabetic characters. Other characters are used -verbatim. +verbatim. @multitable @columnfractions .33 .33 .33 -@headitem Object/property type +@headitem Object/property type @tab Naming convention @tab Examples @item Contexts @@ -152,7 +152,7 @@ verbatim. @tab Clef_engraver, Note_heads_engraver @item Interfaces @tab aaa-aaa-interface - @tab grob-interface, break-aligned-interface + @tab grob-interface, break-aligned-interface @item Context Properties @tab aaa or aaaAaaaAaaa @tab alignAboveContext, skipBars @@ -161,7 +161,7 @@ verbatim. @tab direction, beam-thickness @end multitable -As we shall see shortly, the properties of different types of +As we shall see shortly, the properties of different types of object are modified by different commands, so it is useful to be able to recognize the type of object from the names of its properties. @@ -395,13 +395,14 @@ articulation mark as if it were an articulation itself. @cindex tuplets, nested @cindex triplets, nested @cindex bracket, tuplet +@cindex bracket, triplet @cindex tuplet bracket @cindex triplet bracket @funindex TupletBracket -The @code{\tweak} command must also be used to change the -appearance of one of a set of nested tuplets which begin at the +The @code{\tweak} command must also be used to change the +appearance of one of a set of nested tuplets which begin at the same musical moment. In the following example, the long tuplet bracket and the first of the three short brackets begin at the same musical moment, so any @code{\override} command would apply @@ -449,8 +450,8 @@ appearance may be modified in the usual way with } @end lilypond -@seealso +@seealso Notation Reference: @ruser{The tweak command}. @@ -461,9 +462,9 @@ Notation Reference: @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 @@ -481,7 +482,7 @@ How do you go about doing this? You know from the statements earlier about the flexibility of LilyPond that such a thing should be possible, and you would probably guess that an @code{\override} command would be needed. But is there a -heaviness property for a slur, and if there is, how might it +heaviness property for a slur, and if there is, how might it be modified? This is where the Internals Reference manual comes in. It contains all the information you might need to construct this and all other @code{\override} commands. @@ -532,7 +533,7 @@ as you read. Under the heading @strong{Top} you will see five links. Select the link to the @emph{Backend}, which is where information about -layout objects is to be found. There, under the heading +layout objects is to be found. There, under the heading @strong{Backend}, select the link to @emph{All layout objects}. The page that appears lists all the layout objects used in your version of LilyPond, in alphabetic order. Select the link to @@ -563,25 +564,25 @@ in another property called @code{line-thickness}. As we said earlier, there are few to no explanations in the IR, but we already have enough information to try changing the -slur thickness. We see that the name of the layout object +slur thickness. We see that the name of the layout object is @code{Slur}, that the name of the property to change is @code{thickness} and that the new value should be a number somewhat larger than 1.2 if we are to make slurs thicker. We can now construct the @code{\override} command by simply substituting the values we have found for the names, omitting -the context. Let's use a very large value for the thickness +the context. Let's use a very large value for the thickness at first, so we can be sure the command is working. We get: @example \override Slur #'thickness = #5.0 -@end example +@end example Don't forget the @code{#'} preceding the -property name and and @code{#} preceding the new value! +property name and a @code{#} preceding the new value! The final question is, @q{Where should this command be -placed?} While you are unsure and learning, the best +placed?} While you are unsure and learning, the best answer is, @q{Within the music, before the first slur and close to it.} Let's do that: @@ -602,7 +603,7 @@ close to it.} Let's do that: The man who feels love's sweet e -- mo -- tion } } -@end lilypond +@end lilypond @noindent and we see that the slur is indeed heavier. @@ -619,7 +620,7 @@ which follow. @cindex context, finding @cindex context, identifying correct -But first, what if we had needed to specify the Context? +But first, what if we had needed to specify the Context? What should it be? We could guess that slurs are in the Voice context, as they are clearly closely associated with individual lines of music, but can we be sure? To @@ -631,8 +632,8 @@ the @code{Slur_engraver} is in. Follow the link to the us that @code{Slur_engraver} is part of five Voice contexts, including the standard voice context, @code{Voice}, so our guess was correct. And because @code{Voice} is one of the -lowest level contexts which is implied unambiguously by -the fact that we are entering notes, we can omit it in this +lowest level contexts which is implied unambiguously by +the fact that we are entering notes, we can omit it in this location. @subheading Overriding once only @@ -671,7 +672,7 @@ repositioned as follows: The man who feels love's sweet e -- mo -- tion } } -@end lilypond +@end lilypond @noindent Now only the first slur is made heavier. @@ -712,7 +713,7 @@ the slurs begin: The man who feels love's sweet e -- mo -- tion } } -@end lilypond +@end lilypond @noindent or we could omit the @code{\once} command and use the @code{\revert} @@ -750,9 +751,9 @@ You may use whichever method best suits what you want to do. That concludes our introduction to the IR, and the basic method of tweaking. Several examples follow in the later sections of this Chapter, partly to introduce you to some of the -additional features of the IR, and partly to give you more +additional features of the IR, and partly to give you more practice in extracting information from it. These examples will -contain progressively fewer words of guidance and explanation. +contain progressively fewer words of guidance and explanation. @node Properties found in interfaces @@ -856,10 +857,10 @@ and the lyrics are all printed in italics. @cindex context, specifying in lyric mode @cindex lyric mode, specifying context -In the case of lyrics, if you try specifying the context in the +In the case of lyrics, if you try specifying the context in the format given earlier the command will fail. A syllable entered in lyricmode is terminated by either a space, -a newline or a digit. All other characters are included +a newline or a digit. All other characters are included as part of the syllable. For this reason a space or newline must appear before the terminating @code{@}} to prevent it being included as part of the final syllable. Similarly, @@ -878,8 +879,8 @@ syllable and the terminating brace.} @warning{In overrides in lyrics always place spaces around the dot between the context name and the object name.} -@seealso +@seealso Learning Manual: @ref{Scheme tutorial}. @@ -892,14 +893,14 @@ So far we have seen two types of property: @code{number} and @code{symbol}. To be valid, the value given to a property must be of the correct type and obey the rules for that type. The type of property is always shown in brackets after the -property name in the IR. Here is a list of the types you may +property name in the IR. Here is a list of the types you may need, together with the rules for that type, and some examples. You must always add a hash symbol, @code{#}, of course, -to the front of these values when they are entered in the +to the front of these values when they are entered in the @code{\override} command. @multitable @columnfractions .2 .45 .35 -@headitem Property type +@headitem Property type @tab Rules @tab Examples @item Boolean @@ -925,7 +926,7 @@ and preceded by an apostrophe @tab Any valid markup @tab @code{\markup @{ \italic "cresc." @}} @item Moment - @tab A fraction of a whole note constructed with the + @tab A fraction of a whole note constructed with the make-moment function @tab @code{(ly:make-moment 1 4)}, @code{(ly:make-moment 3 8)} @@ -950,8 +951,8 @@ by apostrophe-hash, @code{'#}. @tab @code{'#(#t #t #f)} @end multitable -@seealso +@seealso Learning Manual: @ref{Scheme tutorial}. @@ -959,13 +960,13 @@ Learning Manual: @ref{Scheme tutorial}. @section Appearance of objects Let us now put what we have learned into practice with a few -examples which show how tweaks may be used to change the +examples which show how tweaks may be used to change the appearance of the printed music. @menu -* Visibility and color of objects:: -* Size of objects:: -* Length and thickness of objects:: +* Visibility and color of objects:: +* Size of objects:: +* Length and thickness of objects:: @end menu @node Visibility and color of objects @@ -974,7 +975,7 @@ appearance of the printed music. In the educational use of music we might wish to print a score with certain elements omitted as an exercise for the student, who is required to supply them. As a simple example, -let us suppose the exercise is to supply the missing bar lines +let us suppose the exercise is to supply the missing bar lines in a piece of music. But the bar lines are normally inserted automatically. How do we prevent them printing? @@ -1007,7 +1008,7 @@ these in turn. This property controls the appearance of the bar lines by specifying the symbol (glyph) which should be printed. In common -with many other properties, it can be set to print nothing by +with many other properties, it can be set to print nothing by setting its value to @code{#f}. Let's try it, as before, omitting the implied Context, @code{Voice}: @@ -1275,8 +1276,8 @@ 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. +IR it tells you in which context the engraver will normally be +found. @node Size of objects @@ -1287,7 +1288,7 @@ found. @cindex objects, size of @cindex objects, changing size of -Let us begin by looking again at the earlier example +Let us begin by looking again at the earlier example see @ref{Nesting music expressions}) which showed how to introduce a new temporary staff, as in an @rglos{ossia}. @@ -1577,14 +1578,14 @@ from a font) may be changed in the same way. @cindex objects, outside-staff There are some objects in musical notation that belong to -the staff and there are other objects that should be +the staff and there are other objects that should be placed outside the staff. These are called within-staff objects and outside-staff objects respectively. Within-staff objects are those that are located on the staff -- note heads, stems, accidentals, etc. The positions of these are usually fixed by the music itself -- they are -vertically positioned on specific lines of the staff or are +vertically positioned on specific lines of the staff or are tied to other objects that are so positioned. Collisions of note heads, stems and accidentals in closely set chords are normally avoided automatically. There are commands and @@ -1641,14 +1642,14 @@ this @q{nestling} of the notes on adjacent staves: \relative c'''' { c a, } } >> -@end lilypond +@end lilypond @node Within-staff objects @subsection Within-staff objects We have already seen how the commands @code{\voiceXXX} affect -the direction of slurs, ties, fingering and +the direction of slurs, ties, fingering and everything else which depends on the direction of the stems. These commands are essential when writing polyphonic music to permit interweaving melodic lines to be distinguished. @@ -1660,7 +1661,7 @@ 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 +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. @@ -1747,7 +1748,7 @@ 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 +followed after the affected note by the corresponding @code{\xxxNeutral} command. @subheading Fingering @@ -1912,8 +1913,8 @@ 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 +@headitem Layout Object + @tab Priority @tab Controls position of: @item @code{MultiMeasureRestText} @tab @code{450} @@ -1954,7 +1955,7 @@ these. @lilypond[quote,fragment,ragged-right,verbatim,relative=1] % Set details for later Text Spanner -\override TextSpanner #'bound-details #'left #'text +\override TextSpanner #'(bound-details left text) = \markup { \small \bold Slower } % Place dynamics above staff \dynamicUp @@ -2024,7 +2025,7 @@ 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 +\override TextSpanner #'(bound-details left text) = \markup { \small \bold Slower } % Place dynamics above staff \dynamicUp @@ -2095,9 +2096,9 @@ c2^"Text1" c^"Text2" c^"Text3" c^"Text4" -@end lilypond +@end lilypond -The command to revert to the default behavior is +The command to revert to the default behavior is @code{\textLengthOff}. Remember @code{\once} only works with @code{\override}, @code{\set}, @code{\revert} or @code{unset}, so cannot be used with @code{\textLengthOn}. @@ -2158,7 +2159,7 @@ ees,2.~\)\mf ees4 r8 | However, if the notes and attached dynamics are close together the automatic placement will avoid collisions -by displacing later dynamic markings further away, but this may +by displacing later dynamic markings further away, but this may not be the optimum placement, as this rather artificial example shows: @@ -2181,7 +2182,7 @@ shall have to work out how to do this using @code{\override} commands. @cindex sizing grobs First we must learn how grobs are sized. All grobs have a -reference point defined within them which is used to position +reference point defined within them which is used to position them relative to their parent object. This point in the grob is then positioned at a horizontal distance, @code{X-offset}, and at a vertical distance, @code{Y-offset}, from its parent. @@ -2189,15 +2190,15 @@ 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 +These are properties of all grobs which support the @code{grob-interface}. @cindex @code{extra-spacing-width} By default, outside-staff objects are given a width of zero so that they may overlap in the horizontal direction. This is done -by the trick of adding infinity to the leftmost extent and -minus infinity to the rightmost extent by setting the +by the trick of adding infinity to the leftmost extent and +minus infinity to the rightmost extent by setting the @code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So to ensure they do not overlap in the horizontal direction we must override this value of @code{extra-spacing-width} to @@ -2252,9 +2253,9 @@ down with the notes. The property to do this is @section Collisions of objects @menu -* Moving objects:: -* Fixing overlapping notation:: -* Real music example:: +* Moving objects:: +* Fixing overlapping notation:: +* Real music example:: @end menu @node Moving objects @@ -2359,13 +2360,13 @@ objects, this value is set by default to be around 1.0 or less @cindex self-alignment-X property This property can be used to align the object to the left, to -the right, or to center it with respect to the parent object's +the right, or to center it with respect to the parent object's reference point. It may be used with all objects which support the @code{self-alignment-interface}. In general these are objects that contain text. The values are @code{LEFT}, @code{RIGHT} -or @code{CENTER}. Alternatively, a numerical value between -@code{-1} and @code{+1} may be specified, where @code{-1} is -left-aligned, @code{+1} is right-aligned, and numbers in between +or @code{CENTER}. Alternatively, a numerical value between +@code{-1} and @code{+1} may be specified, where @code{-1} is +left-aligned, @code{+1} is right-aligned, and numbers in between move the text progressively from left-aligned to right-aligned. Numerical values greater than @code{1} may be specified to move the text even further to the left, or less than @code{-1} to @@ -2588,8 +2589,8 @@ naturalplusflat = \markup { \natural \flat } This necessarily uses an override for the accidental stencil which will not be covered until later. The stencil type must be a procedure, here changed to print the contents of the @code{text} -property of @code{Accidental}, which itself is set to be a natural -sign followed by a flat sign. These are then moved further away +property of @code{Accidental}, which itself is set to be a natural +sign followed by a flat sign. These are then moved further away from the note head by overriding @code{right-padding}. @noindent @@ -3285,7 +3286,7 @@ lhMusic = \relative c' { * Using variables for tweaks:: * Other sources of information:: * Avoiding tweaks with slower processing:: -* Advanced tweaks with Scheme:: +* Advanced tweaks with Scheme:: @end menu @node Other uses for tweaks @@ -3319,7 +3320,7 @@ and blanking the first up-stem in that voice, the tie appears to cross voices: @cindex Stem, example of overriding -@cindex transparent propery, example +@cindex transparent property, example @lilypond[quote,fragment,relative=2,verbatim] << @@ -3415,7 +3416,7 @@ We show here the effect of the two methods: @noindent Both methods remove the metronome mark which lengthens the fermata -from the printed output, and both affect the MIDI timing as +from the printed output, and both affect the MIDI timing as required, but the transparent metronome mark in the first line forces the following tempo indication too high while the second (with the stencil removed) does not. @@ -3434,7 +3435,7 @@ Suppose we wish to emphasize certain words in lyrics by printing them in bold italics. The @code{\italic} and @code{\bold} commands only work within lyrics if they are also embedded in @code{\markup}, which makes them tedious to enter, so as an -alternative can we instead use the @code{\override} and +alternative can we instead use the @code{\override} and @code{\revert} commands? @example @@ -3508,7 +3509,7 @@ of this directory depends (a) on whether you obtained LilyPond by downloading a precompiled binary from lilypond.org or whether you installed it from a package manager (i.e. distributed with Linux, or installed under fink or cygwin) or -compiled it from source, and (b) on which operating system it is +compiled it from source, and (b) on which operating system it is being used: @strong{Downloaded from lilypond.org}