From 05eb1cca1ff8c27bf2e0de35a28042995570390a Mon Sep 17 00:00:00 2001 From: Han-Wen Nienhuys Date: Sun, 23 Jun 2002 00:27:29 +0000 Subject: [PATCH] '' --- ChangeLog | 13 + Documentation/user/macros.itexi | 10 +- Documentation/user/tutorial.itely | 322 +++++++++++------- .../{brahms.ly => brahms-original.ly} | 17 +- input/tutorial/brahms-tweaked.ly | 30 ++ input/tutorial/sammartini.ly | 3 +- lily/dynamic-engraver.cc | 4 +- lily/tie.cc | 28 +- scm/grob-description.scm | 4 +- scm/script.scm | 2 +- tex/lilyponddefs.tex | 14 +- 11 files changed, 293 insertions(+), 154 deletions(-) rename input/tutorial/{brahms.ly => brahms-original.ly} (50%) create mode 100644 input/tutorial/brahms-tweaked.ly diff --git a/ChangeLog b/ChangeLog index 666ca0a3e9..dd28ba2ead 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,3 +1,16 @@ +2002-06-23 Han-Wen + + * input/tutorial/brahms-*.ly: new tutorial files. + + * Documentation/user/tutorial.itely: fixes. Extend cheat sheet. + + * scm/script.scm (default-script-alist): fermata is up. + + * lily/dynamic-engraver.cc (stop_translation_timestep): stop + dynamic line spanner when there is no crescendo to connect. + + * lily/tie.cc (get_control_points): add test to avoid flat ties. + 2002-06-22 Han-Wen * lily/note-collision.cc (check_meshing_chords): don't crash if no diff --git a/Documentation/user/macros.itexi b/Documentation/user/macros.itexi index bb7d7cacea..96c445838a 100644 --- a/Documentation/user/macros.itexi +++ b/Documentation/user/macros.itexi @@ -70,12 +70,10 @@ $\\flat$ @iftex -@macro separate - +@macro separate +@c I want some space over here, not silly characters. @tex -\medskip @end tex - @end macro @end iftex @@ -99,10 +97,6 @@ $\\flat$ @end macro @end ifhtml -@c netscape 4.x doesn't handle html chars 4.0 :-( -@c

♥

-@c

***

- @ignore @c Huh, do outline mode and texinfo really fight eachother? diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 79cc1c79be..06c421da84 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -11,36 +11,29 @@ @menu * First steps:: Music language of LilyPond -* Simple legend:: Small table of music language symbols +* Cheat sheet:: * Running LilyPond:: Printing music * The first real tune:: The first real tune * Lyrics and chords:: Lyrics and chords * More movements :: Joining separate pieces of music * A piano excerpt:: Piano music +* Fine tuning a piece:: * An orchestral score:: Conductor's score and individual parts * Other ways to run LilyPond:: Other ways to run LilyPond * Integrating text and music:: Integrating text and music * End of tutorial:: The end @end menu - -The music is described in a text file, using a simple music language. -LilyPond reads that text file and generates music that you can print or -view. - -Therefore, creating music notation with LilyPond is done in two steps. -Using a text editor, you write down the notes to print. Then, you run -LilyPond to get your printed output. +Operating lilypond is done through text files: to print a piece of +music, you enter the music in a file. When you run lilypond, that +file is read, and after some computations, the program produces a file +containing the sheet music that you can print or view. This tutorial starts with a small introduction to the LilyPond music language. After this first contact, we will show you how to run LilyPond to produce printed output; you should then be able to create -your first sheets of music. - -The tutorial continues with a slightly more elaborate example of real music. -This piece introduces and explains some finer details of LilyPond. -Then, a number of more complex examples follow, that will help you to -produce most complex music with LilyPond. +your first sheets of music. The tutorial continues with more and more +complex examples. @c title? @@ -51,24 +44,18 @@ produce most complex music with LilyPond. @c @node Music language of LilyPond @c @section Music language of LilyPond -This section shows how easy writing music with LilyPond actually is. If -you have not seen LilyPond input source before, this section is for you. - -The next section has a table (see @ref{Simple legend}) of all symbols -that are introduced here, you may want to keep an eye on that. - -Writing music with LilyPond is explained below by a number of small -examples. Each example has a small piece of text; the LilyPond input -that you should type, with the resulting music printed below it. +In this section, we show how can make small, very simple examples in +LilyPond. If you have not seen LilyPond input files before, this +section is for you. The contents of this section are summarized in the +Cheat Sheet (See @ref{Cheat sheet}). You get a simple note by typing its note name, from @code{a} through -@code{g}: - +@code{g}. So if you enter @quotation @example c d e f g a b @end example - +then the result looks like this: @lilypond[fragment] \property Score.timing = ##f \property Staff.TimeSignature = \turnOff @@ -77,6 +64,9 @@ c d e f g a b @end quotation @separate +We continue showing LilyPond input like we did previously: first a +snippet of input, then the resulting output. + The length of a note is specified by adding a number, ``@code{1}'' for a whole note, ``@code{2}'' for a half note, and so on: @@ -98,8 +88,7 @@ s16_" " @end quotation @separate -If you don't specify a duration, the previous duration is used: - +If you don't specify a duration, the previous one is used: @quotation @example a a a2 a @@ -144,7 +133,7 @@ a2. a4 a8. a16 @c as these are snippets anyway @lilypond[fragment] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff +\property Staff.TimeSignature \set #'transparent = ##t %\property Staff.Clef = \turnOff \transpose c'' { a2. a4 a8. a16 } s16_" " @@ -152,7 +141,7 @@ s16_" " @end quotation @separate -The meter (or time signature) can be set with the ``@code{\time}'' command: +The meter (or time signature) can be set with the @code{\time} command: @quotation @example @@ -163,7 +152,7 @@ The meter (or time signature) can be set with the ``@code{\time}'' command: @c a clef here may lead to confusion @lilypond[fragment] -\property Staff.Clef = \turnOff +\property Staff.Clef \set #'transparent = ##t \time 3/4 s4_" " \time 6/8 @@ -220,11 +209,11 @@ LilyPond then knows that music follows (and not lyrics, for example): At this point, the piece of music is ready to be printed. This is done by combining the music with a printing command. -The printing command is the so-called ``@code{\paper}'' block. You will -see later that the \paper block is necessary to customize all kinds of -printing specifics. The music and the \paper block are combined by -enclosing them in ``@code{\score @{ ... @}}''. This is what a full -LilyPond source file looks like: +The printing command is the so-called ``@code{\paper}'' block. You +will see later that the \paper block is necessary to customize all +kinds of printing specifics. The music and the \paper block are +combined by enclosing them in ``@code{\score @{ ... @}}''. This is +what a full LilyPond source file looks like: @quotation @example @@ -563,16 +552,16 @@ example above) in a bunch of stacked staves. @end ignore Of course, you can combine beams and ties with chords. Notice that -beam and tie markings are placed outside the chord markers: +beam and tie markings must be placed outside the chord markers: @quotation @lilypond[relative 0, fragment,verbatim] r4 [ ] ~ @end lilypond @end quotation -When you want to combine chords with slurs and dynamics, an annoying -technical detail crops up: you have type these commands next to the -notes, which means that they have to be inside the @code{< >}: +When you want to combine chords with slurs and dynamics, technical +detail crops up: you have type these commands next to the notes, which +means that they have to be inside the @code{< >}: @quotation @lilypond[relative 0, fragment,verbatim] @@ -581,22 +570,27 @@ r4 ( > < ) \! c8 f a> @end quotation @separate -A nasty technical detail also crops up when you start a score with a -chord: - +There is one golden rule that you should keep in mind when writing +LilyPond input: +@quotation +@strong{DO NOT START A PIECE WITH A CHORD} +@end quotation +Of course, it is a allowed, but the result might not be what you expect: @quotation @lilypond[verbatim,singleline] -\score { \notes } +\score { \notes } @end lilypond @end quotation @separate -The program can not guess that you want the notes on only one staff. To -force the chord on a staff, add @code{\context Staff} like this: +Of course, it is possible to typeset pieces that start with a chord, +but you must make explicit that the notes of chord are to be put on +the same staff, in the same voice. This is done by specifying +@code{\context Staff} for the notes: @quotation @lilypond[verbatim,singleline] -\score { \notes \context Staff } +\score { \notes \context Voice } @end lilypond @end quotation @separate @@ -630,8 +624,8 @@ fine tuning output, polyphonic music, and integrating text and music. @c refer to this section -@node Simple legend -@section Simple legend +@node Cheat sheet +@section Cheat sheet @c need texinfo-4.0a or later for this @@ -645,7 +639,85 @@ fine tuning output, polyphonic music, and integrating text and music. @quotation -@multitable @columnfractions .10 .20 .40 +@multitable @columnfractions .20 .20 .40 + + +@item @code{1 2 8 16} +@tab durations +@tab +@lilypond[fragment, relative 1] +c1 c2 c8 c16 +@end lilypond + +@item @code{. ..} +@tab augmentation dots +@tab +@lilypond[fragment, relative 1] +c4. c4.. +@end lilypond + +@item @code{c d e f g a b } +@tab scale +@tab +@lilypond[fragment, relative 1] +c d e f g a b +@end lilypond + +@item @code{es is} +@tab flat/sharp +@tab +@lilypond[fragment, relative 2] +bes4 cis4 +@end lilypond + +@item @code{-. -^ ->} +@tab articulations (1) +@tab +@lilypond[fragment, relative 2] +c-. c-^ c-> +@end lilypond + + +@item @code{-\trill -\fermata} +@tab articulations (2) +@tab +@lilypond[fragment, relative 2] +c-\trill c-\fermata +@end lilypond + + +@item @code{\time 3/4 \time 6/8 \time 4/4 } +@tab time signature +@tab +@lilypond[fragment] +\property Staff.Clef \set #'transparent = ##t +\time 3/4 +s4_" " +\time 6/8 +s4_" " +\time 4/4 +s16_" " +@end lilypond + + +@item @code{\clef treble \clef bass } +@tab clefs +@tab +@lilypond[fragment] +\property Staff.TimeSignature \set #'transparent = ##t +\clef treble +s4_" " +\clef bass +s4_" " +@end lilypond + + +@item @code{\sfz \mf } +@tab dynamics +@tab +@lilypond[fragment,relative 1] +c\sfz c\mf +@end lilypond @item @code{[ ]} @tab beam @@ -742,18 +814,14 @@ a\> a \!a @node Running LilyPond @section Running LilyPond -You write music with LilyPond as follows: first you edit a text file -containing a description of the notes. Then you run LilyPond on the -file. This leaves you with an output file, which you can view or print. - -In this section we explain how to run LilyPond, and view or print the -output. If you have not used LilyPond before, want to test your setup -of LilyPond, or try to run an example file yourself, then read this -section. - -The instructions that follow are for running LilyPond on Unix-like -systems. Some additional instructions for running LilyPond on Windows -are given at the end of this section. +In the last section, we explained what kind of things you could enter +in a lilypond file. In this section we explain how to run LilyPond, +and how view or print the output. If you have not used LilyPond +before, want to test your setup of LilyPond, or try to run an example +file yourself, then read this section. The instructions that follow +are for running LilyPond on Unix-like systems. Some additional +instructions for running LilyPond on Windows are given at the end of +this section. You begin with opening a terminal window, and start up a text editor. For example, open an xterm and execute @code{joe}. In your text editor, @@ -772,7 +840,11 @@ enter the following input, and save the file as @file{test.ly}: @c now this is weird, running ly2dvi to run LilyPond @c (therefore name change proposal) -To run LilyPond, you invoke ly2dvi to compile your LilyPond source file: +LilyPond is the program that computes the sheet music. All other +things, such as titles and page layout, are done by a small wrapper +program called @code{ly2dvi}. @code{ly2dvi} calls lilypond to render +the music, and then adds the titling and page layout instructions. To +process @file{test.ly} with ly2dvi, proceed as follows: @quotation @example @@ -911,9 +983,11 @@ We will analyse the input, line by line. % and is ignored by LilyPond @end example Percent signs introduce comments: everything after a percent sign is -ignored. You can use this to write down mental notes to yourself. You -can also make longer comments by enclosing text in @code{%@{} and -@code{%@}}. +ignored. You can use this If you want to write down mental notes to +yourself in a file, then you can enter preceded with a @code{%} sign. +These lines are called comments. If you have long winded mental notes, +you can make comments that span several lines by enclosing text in +@code{%@{} and @code{%@}}. @cindex comment @cindex block comment @cindex line comment @@ -966,16 +1040,18 @@ Prepare LilyPond for accepting notes. @c octave higher is @code{c''}. One and two octaves below the central C is @c denoted by @code{c} and @code{c,} respectively. -Even though a piece of music often spans a range of several octaves, it -mostly moves in small intervals. LilyPond has a special entry mode to -save typing in this situation. In this ``relative'' octave mode, -octaves of notes without quotes are chosen such that a note is as close -as possible (graphically, on the staff) to the preceding note. If you -add a high-quote an extra octave is added. A lowered quote (a comma) -will subtract an extra octave. - -Because the first note has no predecessor, -you have to give the (absolute) pitch of the note to start with. +Even though a piece of music often spans a range of several octaves, +often melodies move in small intervals. Such melodies can be entered +easily using @code{\relative}. In this ``relative octave mode'', +octaves of notes without quotes are chosen such that a note is as +close as possible (graphically, on the staff) to the preceding note. +If you add a high-quote an extra octave is added. A lowered quote (a +comma) will subtract an extra octave. + +Absolute starting pitch for this relative mode is given as the +argument to @code{\relative}. In this case it is the @code{c''}, one +octave above central C. + @separate @example @@ -993,9 +1069,9 @@ notes that are to be played and printed after each other. @end example @cindex time signature, setting @cindex @code{\time} -Set (or change) the time signature of the current piece: a 3/4 sign is -printed. The time signature setting is also used to generate bar lines -at the right spots. +The @code{\time} command sets (or changes) the time signature of the +current piece: a 3/4 sign is printed. This setting is also used to +generate bar lines at the right spots. @separate @example @@ -1076,13 +1152,13 @@ help you track down typing errors. c8 d e fis @end example -So far, no notes were chromatically altered. Here is the first one that -is: @code{fis}. LilyPond by default uses Dutch@footnote{Note names are -available in several languages, but we find the Dutch names quite -convenient.} note names, and ``Fis'' is the Dutch note name for ``F -sharp''. However, there is no sharp sign in the output. The program -keeps track of key signatures, and will only print accidentals if they -are needed. +So far, no notes were chromatically altered. Here is the first one +that is: @code{fis}. LilyPond uses Dutch note names, and ``Fis'' is +the name for ``F sharp''. There is no sharp sign in the output. The +program keeps track of key signatures, and will only print accidentals +if they are needed. If you can not get used to Dutch names, then +there also are names available in several other languages. + For groups of eighth notes and shorter, LilyPond can determine how the notes should form a beam. In this case, the 4 eights are automatically @@ -1138,10 +1214,8 @@ will be printed with an accidental, the second one without. @end example @cindex articulation -You can enter articulation signs either in a verbose form or using a -shorthand. Here we demonstrate the shorthand: it is formed by a dash -and the character for the articulation to use, e.g. @code{-.} for -staccato as shown above. +Staccato signs are entered as a dash and a period. Some other +articulations may also be entered in this short form. @separate @example @@ -1318,10 +1392,7 @@ information to print titles above the music. @cindex assignments @cindex identifier assignment the @code{\header} block contains assignments. In each assignment, a -variable is set to a value. Lexically, both the variable name and the -assigned value are strings. The values have to be quoted here, because -they contain spaces. The variable names could also be put within quotes -but it is not necessary. +variable is set to a value. @separate @example @@ -1392,7 +1463,7 @@ is a shorthand for @code{\sequential @{}. @separate @example - The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the + The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the ri- ver is flo- __ wing down to the sea. @} @@ -1401,9 +1472,8 @@ is a shorthand for @code{\sequential @{}. @cindex hyphens, lyric The syllables themselves are separated by spaces. You can get syllable extenders by entering @code{__}, and centered hyphens with -@code{-}@code{-}. We enter the syllables as if they are all quarter notes -in length (hence the @code{4}), and use a feature to align the -syllables to the music, which obviously isn't all quarter notes. +@code{-}@code{-}. We don't enter durations for the syllables. They +are aligned with the melody later. @separate @example @@ -1426,17 +1496,22 @@ There is no accompaniment during the anacrusis. @separate @example - c2:3- f:3-.7 + c2:3- @end example @cindex tonic @cindex chord modifier @cindex modifier, chord -A chord is started by the tonic of the chord. The -first one lasts a half note. An unadorned note creates a major -triad. Since a minor triad is wanted, @code{3-} is added to modify the -third to be small. @code{7} modifies (adds) a seventh, which is small by +This is a c minor chord, lasting half a note. Chord are entered by +entering the tonic. Then notes can be changed. In this case, a small third +is used. The cod for this is @code{3-}. + +@separate +@example +f:3-.7 +@end example +Similarly, @code{7} modifies (adds) a seventh, which is small by default to create the @code{f a c es} chord. Multiple modifiers must be separated by dots. @separate @@ -1445,7 +1520,6 @@ separated by dots. d:min es4 c8:min r8 @end example - Some modifiers have predefined names, e.g. @code{min} is the same as @code{3-}, so @code{d-min} is a minor @code{d} chord. @separate @@ -1502,9 +1576,9 @@ contexts'. Interpretation contexts exist for generating notation (`notation context') and for generating sound (`performance context'). These objects only exist during a run of LilyPond. -By default, LilyPond will create a Staff context for you. If you would -remove the @code{%} sign in the previous line, you would see that -mechanism in action. +When LilyPond interprets music, it will create a Staff context. If +the @code{%} sign in the previous line were removed, you could see +that mechanism in action. We don't want that default here, because we want chord names. The command above explicitly creates an interpretation context of @@ -1523,9 +1597,7 @@ The lyrics should be aligned with the melody. This is done by combining both with @code{\addlyrics}. @code{\addlyrics} takes two pieces of music (usually a melody and lyrics, in that order) and aligns the syllables of the second piece under the notes of the -first piece. If you would reverse the order, the notes would be -aligned on the lyrics, which is not very useful, and looks -silly. +first piece. @separate @example @@ -1533,12 +1605,11 @@ silly. @end example -The first argument of @code{\addlyrics} is the melody. We instantiate -a @code{Staff} context explicitly: should you choose to remove the -comment before the ``note heads'' version of the accompaniment, the -accompaniment will be on a nameless staff. The melody has to be on -staff different from the accompaniment. This is accomplished by giving -the melody and accompaniment staves different names. +We place the melody on a staff called @code{mel}. We give it a name to +differentiate it from the one that would contain note heads for the +chords, if you would remove the comment before the ``note heads'' +version of the accompaniment. By giving this staff a name, it is +forced to be different. @separate @example @@ -1553,6 +1624,8 @@ its behavior. One of the variables is @code{autoBeaming}. Setting this @code{Staff}'s property to @code{##f}, which is the boolean value @var{false}, turns the automatic beaming mechanism off for the current staff. + +@ignore @cindex GUILE @cindex Scheme @cindex accessing Scheme @@ -1569,7 +1642,7 @@ code following the hash-sign is evaluated as Scheme. The boolean value If Scheme scares you, don't worry. You don't need to know Scheme to create beautiful sheet music. - +@end ignore @separate @@ -1650,7 +1723,7 @@ of this file are very low-level instructions. For example, consider the following file (@file{miniatures.ly}) @example -\version "1.4.0" +\version "1.5.60" \header @{ title = "Two miniatures" tagline = "small is beautiful" @@ -2199,6 +2272,17 @@ to the page layout of this document. @end ignore +@node Fine tuning a piece +@section Fine tuning a piece + + + +@lilypondfile{brahms-original.ly} + +@lilypondfile{brahms-tweaked.ly} + + + @node An orchestral score @section An orchestral score diff --git a/input/tutorial/brahms.ly b/input/tutorial/brahms-original.ly similarity index 50% rename from input/tutorial/brahms.ly rename to input/tutorial/brahms-original.ly index 02b0f48500..38a5328245 100644 --- a/input/tutorial/brahms.ly +++ b/input/tutorial/brahms-original.ly @@ -1,24 +1,19 @@ -%{ - - Brahms Klavierst"ucke op 119, no 1. - -%} - \score { \notes\context PianoStaff < \context Staff = up \relative c'' < - { fis4-3 ( ~ fis16 )a-5 } \\ + { \key d\major + fis4-3_\p ( ~ + fis16 )a-5 } \\ { - \dynamicUp fis16( \> d \! b \translator Staff = down \clef treble g ~ < g8 )e> } \\ { s16 - \property Voice.Stem \set #'transparent = ##t d' - \property Voice.Stem \revert #'transparent ~ < d4 b4 > } > - \context Staff = down { \time 3/8 \clef bass s4. } + \context Staff = down { + \key d \major + \time 3/8 \clef bass s4. } > \paper { linewidth = -1. } } diff --git a/input/tutorial/brahms-tweaked.ly b/input/tutorial/brahms-tweaked.ly new file mode 100644 index 0000000000..6eaeb6c535 --- /dev/null +++ b/input/tutorial/brahms-tweaked.ly @@ -0,0 +1,30 @@ +\score { + \notes\context PianoStaff < + \context Staff = up + \relative c'' < + { \key d\major + \property Voice.Slur \set #'attachment = #'(stem . stem) + + \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8) + fis4-3_\p ( ~ + + \property Voice.Fingering \revert #'extra-offset + fis16 )a^" "^#'(finger "5") } \\ + { + \dynamicUp + \property Voice.DynamicLineSpanner \override #'padding = #5.0 + \tieUp + fis16( \> d \! b \translator Staff = down \clef treble g ~ < g8 )e> } \\ + { s16 + \property Voice.Stem \set #'transparent = ##t + d' + \property Voice.Stem \revert #'transparent + ~ < d4 b4 > } + > + \context Staff = down { + \key d \major + \time 3/8 \clef bass s4. } + > + \paper { linewidth = -1. } +} + diff --git a/input/tutorial/sammartini.ly b/input/tutorial/sammartini.ly index 18b884eaac..a6df9310dc 100644 --- a/input/tutorial/sammartini.ly +++ b/input/tutorial/sammartini.ly @@ -41,8 +41,7 @@ hoomPah = \repeat unfold 8 \notes bassvoices = \notes \relative c' { c4 g8. b,16 - \autochange Staff \context Voice \hoomPah - + \context Voice \hoomPah \translator Staff = down \stemBoth diff --git a/lily/dynamic-engraver.cc b/lily/dynamic-engraver.cc index 91fc994be0..54e7df9149 100644 --- a/lily/dynamic-engraver.cc +++ b/lily/dynamic-engraver.cc @@ -138,8 +138,6 @@ Dynamic_engraver::process_music () { line_spanner_ = new Spanner (get_property ("DynamicLineSpanner")); - Side_position_interface::set_axis (line_spanner_, Y_AXIS); - Music * rq = accepted_spanreqs_drul_[START]; if (script_req_l_) rq = script_req_l_ ; @@ -279,7 +277,7 @@ void Dynamic_engraver::stop_translation_timestep () { typeset_all (); - if (script_req_l_ && !current_cresc_req_) + if (!current_cresc_req_) { finished_line_spanner_ = line_spanner_; line_spanner_ =0; diff --git a/lily/tie.cc b/lily/tie.cc index ec11531206..0f7f0830ce 100644 --- a/lily/tie.cc +++ b/lily/tie.cc @@ -116,9 +116,11 @@ Tie::get_control_points (SCM smob) me->suicide (); return SCM_UNSPECIFIED; } + if (!Directional_element_interface::get (me)) Directional_element_interface::set (me, Tie::get_default_dir (me)); + Direction dir = Directional_element_interface::get (me); Real staff_space = Staff_symbol_referencer::staff_space (me); @@ -140,7 +142,17 @@ Tie::get_control_points (SCM smob) Real lambda = 0.9; if (Note_head::has_interface (l)) - left_x = l->extent (l, X_AXIS)[RIGHT] + x_gap_f; + { + Real where = RIGHT; + + /* + This correction is due te the shape of the black note head. + */ + if (Rhythmic_head::duration_log (l) == 2) + where += dir* 0.2; + left_x = l->extent (l, X_AXIS).linear_combination (where) + + x_gap_f; + } else left_x = l->extent (l, X_AXIS).linear_combination (lambda); @@ -166,7 +178,7 @@ Tie::get_control_points (SCM smob) - 2 * x_gap_f; } - Direction dir = Directional_element_interface::get (me); + SCM details = me->get_grob_property ("details"); @@ -242,6 +254,18 @@ Tie::get_control_points (SCM smob) { Real y1 = ry + clear; Real y2 = ry - clear; + + /* + ugh, we shove the 0.5 out of our sleeves. + + Any way. This test is to make sure that staffline + collision avoidance does not result in completely flat + ties. + */ + if (fabs (y1 - ypos) < 0.5) + y1 = y2; + else if (fabs (y2 - ypos) < 0.5) + y2 = y1; newy = (fabs (y1 - y) < fabs (y2 - y)) ? y1 : y2; diff --git a/scm/grob-description.scm b/scm/grob-description.scm index eccaedbeb3..11d6feaf4d 100644 --- a/scm/grob-description.scm +++ b/scm/grob-description.scm @@ -268,7 +268,7 @@ . ( (axes . (1)) (Y-extent-callback . ,Axis_group_interface::group_extent_callback) - + (Y-offset-callbacks . (,Side_position_interface::aligned_side)) (padding . 0.6) (minimum-space . 1.2) (direction . -1) @@ -944,7 +944,7 @@ (staffline-clearance . 0.35) (details . ((ratio . 0.333) (height-limit . 1.0))) (thickness . 1.2) - (x-gap . 0.2) + (x-gap . -0.1) (y-offset . 0.6) (minimum-length . 2.5) (meta . ((interfaces . (tie-interface)))) diff --git a/scm/script.scm b/scm/script.scm index 86357c3b20..93f437b9e8 100644 --- a/scm/script.scm +++ b/scm/script.scm @@ -23,7 +23,7 @@ ("marcato" . ((feta . ("dmarcato" . "umarcato")) #f -1 0 0)) ("staccatissimo" . ((feta . ("dstaccatissimo" . "ustaccatissimo")) #f -1 0 0)) ("portato" . ((feta . ("dportato" . "uportato")) #f -1 0 0)) - ("fermata" . ((feta . ("dfermata" . "ufermata")) #f 1 0 0)) + ("fermata" . ((feta . ("dfermata" . "ufermata")) #f 0 1 0)) ("stopped" . ((feta . ("stopped" . "stopped")) #f 0 1 0)) ("staccato" . ((feta . ("staccato" . "staccato")) #t -1 0 -100)) ("tenuto" . ((feta . ("tenuto" . "tenuto")) #t -1 0 0)) diff --git a/tex/lilyponddefs.tex b/tex/lilyponddefs.tex index 36ad14fbe7..d9e298bc1e 100644 --- a/tex/lilyponddefs.tex +++ b/tex/lilyponddefs.tex @@ -8,12 +8,6 @@ % TeXbook ex 7.7 \def\ifundefined#1{\expandafter\ifx\csname#1\endcsname\relax} -% The feta characters -\input feta20.tex - -\font\fetasixteen=feta16 -\def\fetafont{\fetasixteen} -\def\fetachar#1{\hbox{\fetasixteen#1}} % If we must make titles, do so, before we're Skipped. \ifx\mustmakelilypondtitle\undefined\else\makelilypondtitle\fi @@ -34,6 +28,14 @@ \input lilypond-latex \fi +% The feta characters +\input feta20.tex + +\font\fetasixteen=feta16 +\def\fetafont{\fetasixteen} +\def\fetachar#1{\hbox{\fetasixteen#1}} + + \def\botalign#1{\vbox to 0pt{\vss #1}} \def\leftalign#1{\hbox to 0pt{#1\hss}} -- 2.39.2