Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.19.2"
@node Tweaking output
@chapter Tweaking output
* The Internals Reference manual::
* Appearance of objects::
* Placement of objects::
+* Vertical spacing::
* Collisions of objects::
* Further tweaking::
@end menu
@cindex tweaking methods
-@strong{\override command}
+@menu
+* The override command::
+* The revert command::
+* The once prefix::
+* The overrideProperty command::
+* The tweak command::
+@end menu
+
+@node The override command
+@unnumberedsubsubsec The @code{@bs{}override} command
@cindex override command
@cindex override syntax
g4 a b c |
@end lilypond
-@strong{\revert command}
+
+@node The revert command
+@unnumberedsubsubsec The @code{@bs{}revert} command
@cindex revert command
b4 c |
@end lilypond
-@strong{\once prefix}
+
+@node The once prefix
+@unnumberedsubsubsec The @code{@bs{}once} prefix
@funindex \once
@funindex once
@cindex color property, example
@cindex NoteHead, example of overriding
-@lilypond[quote,fragment,ragged-right,verbatim,relative=1]
+@lilypond[quote,verbatim,relative=1]
c4 d
\override NoteHead.color = #red
e4 f |
b c |
@end lilypond
-@strong{\overrideProperty command}
+The @code{\once} prefix may also be used in front of many
+predefined commands to limit their effect to one musical moment:
+
+@lilypond[quote,verbatim,relative=1]
+c4 d
+\once \stemDown
+e4 f |
+g4 a
+\once \hideNotes
+b c |
+@end lilypond
+
+However, predefined commands of the form @code{\@dots{}Neutral},
+@code{\@dots{}Off} and @code{\un@dots{}} use @code{\revert} internally
+rather than @code{\override} so prefixing these with @code{\once} has no
+effect.
+
+
+@node The overrideProperty command
+@unnumberedsubsubsec The @code{@bs{}overrideProperty} command
@cindex overrideProperty command
@rextend{Difficult tweaks}.
@c Maybe explain in a later iteration -td
-@strong{\tweak command}
+
+@node The tweak command
+@unnumberedsubsubsec The @code{@bs{}tweak} command
@cindex tweak command
This long form of the @code{\tweak} command can be described as
@example
-\tweak @var{layout-object}.@var{layout-property} @var{value}
+\tweak @var{LayoutObject}.@var{layout-property} #@var{value}
@end example
@cindex tuplets, nested
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\tweak direction #up
-\times 4/3 {
+\tuplet 3/4 {
\tweak color #red
- \times 2/3 { c8[ c c] }
- \times 2/3 { c8[ c c] }
- \times 2/3 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
}
@end lilypond
@cindex TupletNumber, example of overriding
@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\times 2/3 { c8[ c c] }
+\tuplet 3/2 { c8[ c c] }
\once \override TupletNumber.text = #tuplet-number::calc-fraction-text
-\times 2/3 {
+\tuplet 3/2 {
c8[ c]
c8[ c]
\once \override TupletNumber.transparent = ##t
- \times 2/3 { c8[ c c] }
- \times 2/3 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
+ \tuplet 3/2 { c8[ c c] }
}
@end lilypond
still need some practice. This is provided in the examples
which follow.
-@subheading Finding the context
+@subsubsubheading Finding the context
@cindex context, finding
@cindex context, identifying correct
the fact that we are entering notes, we can omit it in this
location.
-@subheading Overriding once only
+@subsubsubheading Overriding once only
@cindex overriding once only
@cindex once override
The @code{\once} command can also be used before the @code{\set}
command.
-@subheading Reverting
+@subsubsubheading Reverting
@cindex revert
@cindex default properties, reverting to
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
-@code{\override} command.
+@code{\override} command, even if the value itself already
+starts with@tie{}@code{#}. We only give examples for constants
+here: if you want to compute a value using Scheme, see
+@rextend{Calculations in Scheme}.
@multitable @columnfractions .2 .45 .35
@headitem Property type
@tab Either True or False, represented by #t or #f
@tab @code{#t}, @code{#f}
@item Dimension (in staff space)
- @tab A positive decimal number (in units of staff space)
+ @tab A decimal number (in units of staff space)
@tab @code{2.5}, @code{0.34}
@item Direction
- @tab A valid direction constant or its numerical equivalent (decimal
-values between -1 and 1 are allowed)
+ @tab A valid direction constant or its numerical equivalent
+ (@code{0} or @code{CENTER} indicate a neutral direction)
@tab @code{LEFT}, @code{CENTER}, @code{UP},
@code{1}, @w{@code{-1}}
@item Integer
- @tab A positive whole number
- @tab @code{3}, @code{1}
+ @tab A whole number
+ @tab @code{3}, @code{-1}
@item List
- @tab A set of values separated by spaces, enclosed in parentheses
-and preceded by an apostrophe
- @tab @code{'(left-edge staff-bar)}, @code{'(1)},
+ @tab A sequence of constants or symbols separated by spaces, enclosed
+ in parentheses
+and preceded by an apostrophe (quote mark)
+ @tab @code{'(left-edge staff-bar)}, @code{'(1)}, @code{'()},
@code{'(1.0 0.25 0.5)}
@item Markup
@tab Any valid markup
- @tab @code{\markup @{ \italic "cresc." @}}
+ @tab @code{\markup @{ \italic "cresc." @}}, @code{"bagpipe"}
@item Moment
@tab A fraction of a whole note constructed with the
make-moment function
- @tab @code{(ly:make-moment 1 4)},
- @code{(ly:make-moment 3 8)}
+ @tab @code{(ly:make-moment 1/4)},
+ @code{(ly:make-moment 3/8)}
@item Number
- @tab Any positive or negative decimal value
- @tab @code{3.5}, @w{@code{-2.45}}
+ @tab Any positive or negative, possibly decimal, value
+ @tab @code{3}, @w{@code{-2.45}}
@item Pair (of numbers)
@tab Two numbers separated by a @q{space . space} and enclosed
in brackets preceded by an apostrophe
@tab @code{bend::print}, @code{ly:text-interface::print},
@code{#f}
@item Vector
- @tab A list of three items enclosed in parentheses and preceded
-by apostrophe-hash, @code{'#}.
- @tab @code{'#(#t #t #f)}
+ @tab Constants
+ enclosed in @code{#(}@dots{}@code{)}.
+ @tab @code{#(#t #t #f)}
@end multitable
by extension, many other layout objects too.) Let's consider each of
these in turn.
-@subheading stencil
+@menu
+* The stencil property::
+* The break-visibility property::
+* The transparent property::
+* The color property::
+@end menu
+
+@node The stencil property
+@unnumberedsubsubsec The @code{stencil} property
@cindex stencil property
}
@end lilypond
-Now the bar lines have vanished.
+Now the bar lines have vanished. Setting the @code{stencil}
+property to @code{#f} is such a frequent operation that there is a
+shorthand for it called @code{\omit}:
+@funindex \omit
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+{
+ \time 12/16
+ \omit Staff.BarLine
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
+ e8
+}
+@end lilypond
Note, though, that setting the @code{stencil} property to @code{#f}
will cause errors when the dimensions of the object are required for
correct processing. For example, errors will be generated if the
@code{stencil} property of the @code{NoteHead} object is set to
@code{#f}. If this is the case, you can instead use the
-@code{point-stencil} function, which sets the stencil to a object
+@code{point-stencil} function, which sets the stencil to an object
with zero size:
@lilypond[quote,verbatim,relative=2]
}
@end lilypond
-@subheading break-visibility
+@node The break-visibility property
+@unnumberedsubsubsec The @code{break-visibility} property
@cindex break-visibility property
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 bar lines to be suppressed, so the value we
-need is @code{'#(#f #f #f)}. Let's try that, remembering to include
+need is @code{#(#f #f #f)} (also available
+under the name @code{all-invisible}). Let's try that, remembering to include
the @code{Staff} context. Note also that in writing this value we
-have @code{#'#} before the opening bracket. The @code{'#} is required
-as part of the value to introduce a vector, and the first@tie{}@code{#} is
+have @code{##} before the opening parenthesis. One @code{#} is required
+as part of vector constant syntax, and the first@tie{}@code{#} is
required, as always, to precede the value itself in the
@code{\override} command.
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.BarLine.break-visibility = #'#(#f #f #f)
+ \override Staff.BarLine.break-visibility = ##(#f #f #f)
c4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
And we see this too removes all the bar lines.
-@subheading transparent
+@node The transparent property
+@unnumberedsubsubsec The @code{transparent} property
@cindex transparent property
@cindex transparency
@end lilypond
@noindent
-The time signature is gone, but this command leaves a gap where
+Again, setting the @code{transparent} property is a rather
+frequent operation, so we have a shorthand for it called
+@code{\hide}:
+@funindex \hide
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+{
+ \time 12/16
+ \hide Staff.TimeSignature
+ c4 b8 c d16 c d8 |
+ g,8 a16 b8 c d4 e16 |
+ e8
+}
+@end lilypond
+
+@noindent
+In either case, the time signature is gone, but this command
+leaves a gap where
the time signature should be. Maybe this is what is wanted for
an exercise for the student to fill it in, but in other
circumstances a gap might be undesirable. To remove it, the
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
{
\time 12/16
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.TimeSignature
c4 b8 c d16 c d8 |
g,8 a16 b8 c d4 e16 |
e8
@noindent
and the difference is obvious: setting the stencil to @code{#f}
+(possibly via @code{\omit})
removes the object entirely; making the object @code{transparent}
+(which can be done using @code{\hide})
leaves it where it is, but makes it invisible.
-@subheading color
+@node The color property
+@unnumberedsubsubsec The @code{color} property
@cindex color property
@noindent
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
+a symbol, but a @emph{variable}. When evaluated, it provides
the list of internal values required to set the color to
-white. The other colors in the normal list are functions
+white. The other colors in the normal list are variables
too. To convince yourself this is working you might like
-to change the color to one of the other functions in the
+to change the color to one of the other variables in the
list.
@cindex color, X11
The second way of changing the color is to use the list of
X11 color names in the second list in @ruser{List of colors}.
-However, these must be preceded by another function, which
-converts X11 color names into the list of internal values,
-@code{x11-color}, like this:
+However, these are mapped to the actual values by the function
+@code{x11-color} which
+converts X11 color symbols into the list of internal values like this:
@cindex BarLine, example of overriding
@cindex color property, example
@noindent
Note that in this case the function @code{x11-color} takes
a symbol as an argument, so the symbol must be preceded by
-an apostrophe and the two enclosed in brackets.
+an apostrophe to keep it from being evaluated as a variable, and
+the whole function call has to be enclosed in parentheses.
@cindex rgb colors
@cindex color, rgb
@funindex rgb-color
-There is yet a third function, one which converts RGB values into
+There is another function, one which converts RGB values into
internal colors -- the @code{rgb-color} function. This takes
three arguments giving the intensities of the red, green and
blue colors. These take values in the range 0 to 1. So to
@cindex alignAboveContext property, example
@cindex @code{\with}, example
-@cindex stencil property, example
+@funindex \omit
@cindex Clef, example of overriding
@cindex TimeSignature, example of overriding
alignAboveContext = #"main"
}
{
- \override Staff.Clef.stencil = ##f
- \override Staff.TimeSignature.stencil = ##f
+ \omit Staff.Clef
+ \omit Staff.TimeSignature
{ f8 f c }
}
>>
But what is the difference between modifying the staff context by
using @code{\with} and modifying the stencils of the clef and the
-time signature with \override? The main difference is that
+time signature with @code{\override}, or in this case
+@code{\omit}?
+The main difference is that
changes made in a @code{\with} clause are made at the time the
context is created, and remain in force as the @strong{default}
values for the duration of that context, whereas
}
@end lilypond
+It turns out that we can also employ the shorthands @code{\hide}
+and @code{\omit} for setting the @code{transparent} property and
+clearing the @code{stencil} here, leading to the result
+
+@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
+\new Staff ="main" {
+ \relative g' {
+ r4 g8 g c4 c8 d |
+ e4 r8
+ <<
+ { f8 c c }
+ \new Staff \with {
+ alignAboveContext = #"main"
+ % Don't print clefs in this staff
+ \omit Clef
+ % Don't print time signatures in this staff
+ \omit TimeSignature
+ }
+ { f8 f c }
+ >>
+ r4 |
+ }
+}
+@end lilypond
+
Finally we come to changing the size of layout objects.
Some layout objects are created as glyphs selected from a typeface
{ f8 c c }
\new Staff \with {
alignAboveContext = #"main"
- \override Clef.stencil = ##f
- \override TimeSignature.stencil = ##f
+ \omit Clef
+ \omit TimeSignature
% Reduce all font sizes by ~24%
fontSize = #-2
}
{ f8 c c }
\new Staff \with {
alignAboveContext = #"main"
- \override Clef.stencil = ##f
- \override TimeSignature.stencil = ##f
+ \omit Clef
+ \omit TimeSignature
fontSize = #-2
% Reduce stem length and line spacing to match
\override StaffSymbol.staff-space = #(magstep -2)
right or left when they point up or down. This is controlled
automatically when @code{direction} is set.
+@menu
+* The direction property::
+* Fingering::
+@end menu
+
+@node The direction property
+@unnumberedsubsubsec The @code{direction} property
+
@cindex down
@cindex up
@cindex center
@tab Tuplets are below/above notes
@end multitable
-Note that these predefined commands may @strong{not} be
+The neutral/normal variants of these commands are implemented
+using @code{\revert} and may @strong{not} be
preceded by @code{\once}. If you wish to limit the
-effect to a single note you must either use the equivalent
-@code{\once \override} command or use the predefined command
-followed after the affected note by the corresponding
-@code{\xxxNeutral} command.
+effect of the other commands (which are implemented using
+@code{\override}) to a single timestep, you can precede them with
+@code{\once} like you would do with explicit overrides.
+@node Fingering
@unnumberedsubsubsec Fingering
@cindex fingering, placement
@subsection Outside-staff objects
Outside-staff objects are automatically placed to avoid collisions.
+There are several ways to override the automatic placement if the
+positioning is not optimum.
+
+@menu
+* The outside-staff-priority property::
+* The textLengthOn command::
+* Dynamics placement::
+* Grob sizing::
+@end menu
+
+
+@node The outside-staff-priority property
+@unnumberedsubsubsec The @code{outside-staff-priority} property
+
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.
room for the text. This is done using the @code{textLengthOn}
command.
-@subheading \textLengthOn
+@node The textLengthOn command
+@unnumberedsubsubsec The @code{@bs{}textLengthOn} command
@cindex notes, spreading out with text
@end lilypond
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}.
+@code{\textLengthOff}. Alternatively, @code{\once} may be used
+with @code{\textLengthOn} if the effect is to be limited to just a
+single musical moment.
+The corresponding spacing behavior for rehearsal marks and tempo
+indications is independently controlled with the commands
+@code{\markLengthOn} and @code{\markLengthOff}.
@cindex markup text, allowing collisions
c''2 |
@end lilypond
-
-@subheading Dynamics
+@node Dynamics placement
+@unnumberedsubsubsec Dynamics placement
@cindex tweaking dynamics placement
@cindex dynamics, tweaking placement
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
-a4\f b\mf c\mp b\p
+a4\f b\mf a\mp b\p
@end lilypond
@noindent
command, but there is no equivalent command for dynamic marks. So we
shall have to work out how to do this using @code{\override} commands.
-@subheading Grob sizing
+@node Grob sizing
+@unnumberedsubsubsec Grob sizing
@cindex grob sizing
@cindex sizing grobs
By default, outside-staff objects are given a width of zero so
that they may overlap in the horizontal direction. This is done
-by the trick of adding infinity to the leftmost extent and
-minus infinity to the rightmost extent by setting the
-@code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. So
-to ensure they do not overlap in the horizontal direction we
-must override this value of @code{extra-spacing-width} to
-@code{'(0 . 0)} so the true width shines through. This is
-the command to do this for dynamic text:
+by the trick of making the leftmost extent infinity and
+the rightmost extent minus infinity by setting the
+@code{extra-spacing-width} to @code{'(+inf.0 . -inf.0)}. To
+ensure they do not overlap in the horizontal direction we
+must override this value of @code{extra-spacing-width} to give them
+a little extra spacing. The units are the space between two staff
+lines, so moving the left edge half a unit to the left and the
+right edge half a unit to the right should do it:
@example
-\override DynamicText.extra-spacing-width = #'(0 . 0)
+\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
@end example
@noindent
@cindex DynamicText, example of overriding
@cindex extra-spacing-width property, example
-@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\dynamicUp
-\override DynamicText.extra-spacing-width = #'(0 . 0)
-a4\f b\mf c\mp b\p |
-@end lilypond
-
-@noindent
-Well, it has certainly stopped the dynamic marks being
-displaced, but two problems remain. The marks should be
-spaced a little further apart and it would be better
-if they were all the same distance from the staff.
-We can solve the first problem easily. Instead of making
-the @code{extra-spacing-width} zero we could add a little
-more to it. The units are the space between two staff
-lines, so moving the left edge half a unit to the left and the
-right edge half a unit to the right should do it:
-
-@cindex DynamicText, example of overriding
-@cindex extra-spacing-width property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\dynamicUp
% Extend width by 1 staff space
\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
-a4\f b\mf c\mp b\p
+a4\f b\mf a\mp b\p
@end lilypond
@noindent
This looks better, but maybe we would prefer the dynamic marks
to be aligned along the same baseline rather than going up and
down with the notes. The property to do this is
-@code{staff-padding} which is covered in the following section.
+@code{staff-padding} which is covered in the section on collisions
+(see @ref{Collisions of objects}).
+@node Vertical spacing
+@section Vertical spacing
+
+As a rule, LilyPond's vertical spacing of musical objects is pretty
+good. Let's see how it does with a simple song, with 2 voices and
+piano accompaniment:
+
+@lilypond[quote,fragment,ragged-right]
+<<
+ \new ChoirStaff
+ <<
+ \new Staff {
+ \new Voice = "music" {
+ b'2 c' c' c'
+ }
+ }
+ \new Lyrics
+ \lyricsto "music" {
+ Here are some lyrics
+ }
+ \new Staff {
+ \clef bass e'2 f e c
+ }
+ >>
+ \new PianoStaff
+ <<
+ \new Staff {
+ g''2 c'' c'' a''
+ }
+ \new Staff {
+ \clef bass e2 f c e
+ }
+ >>
+>>
+@end lilypond
+
+There's nothing wrong with the default vertical spacing. However, let's
+assume that you're working with a publisher with some specific
+requirements for vertical spacing of staves and lyrics: they want
+the lyrics spaced away from any notes, they want the piano
+accompaniment spaced away from the vocal line and they want the two
+piano staves pushed together tightly. Let's start with the lyrics.
+
+Lyrics sit within a system, and therefore the commands to space them
+are found in @ruser{Flexible vertical spacing within systems}. It
+tells us that lyrics are @code{non-staff lines} and therefore the
+command to change their spacing will refer to the @code{nonstaff}
+property. Spacing them away from the staff to which they relate
+(the top line) will use the @code{relatedstaff} property. Spacing
+them from the lower line will use the @code{unrelatedstaff} property.
+The vocal parts are part of a @code{VerticalAxisGroup}, so we need to
+adjust its properties. Let's try it and see if it works.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+<<
+ \new ChoirStaff
+ <<
+ \new Staff {
+ \new Voice = "music" {
+ b'2 c' c' c'
+ }
+ }
+ \new Lyrics \with {
+ \override VerticalAxisGroup.
+ nonstaff-relatedstaff-spacing.padding = #5
+ \override VerticalAxisGroup.
+ nonstaff-unrelatedstaff-spacing.padding = #5
+ }
+ \lyricsto "music" {
+ Here are some lyrics
+ }
+ \new Staff {
+ \clef bass e'2 f e c
+ }
+ >>
+ \new PianoStaff
+ <<
+ \new Staff {
+ g''2 c'' c'' a''
+ }
+ \new Staff {
+ \clef bass e2 f c e
+ }
+ >>
+>>
+@end lilypond
+
+Well - yes it does, but perhaps too well. When we set the
+@code{padding} to 5, LilyPond adds 5 staff spaces to the distance
+between objects, which is too much for us here. We'll use 2.
+
+Next, let's move the piano music away from the vocal parts. The
+vocal music is a @code{ChoirStaff}, so we need to increase the
+spacing between that group of staves and the piano staff below.
+We'll do this by changing the @code{basic-distance} of the
+@code{StaffGrouper}'s @code{staffgroup-staff-spacing}.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+<<
+ \new ChoirStaff \with {
+ \override StaffGrouper.
+ staffgroup-staff-spacing.basic-distance = #15
+ }
+ <<
+ \new Staff {
+ \new Voice = "music" {
+ b'2 c' c' c'
+ }
+ }
+ \new Lyrics \with {
+ \override VerticalAxisGroup.
+ nonstaff-relatedstaff-spacing.padding = #2
+ \override VerticalAxisGroup.
+ nonstaff-unrelatedstaff-spacing.padding = #2
+ }
+ \lyricsto "music" {
+ Here are some lyrics
+ }
+ \new Staff {
+ \clef bass e'2 f e c
+ }
+ >>
+ \new PianoStaff
+ <<
+ \new Staff {
+ g''2 c'' c'' a''
+ }
+ \new Staff {
+ \clef bass e2 f c e
+ }
+ >>
+>>
+@end lilypond
+
+Excellent. Now just for the last requirement to make the piano staves
+closer together. To do this, we again alter the properties of the
+@code{StaffGrouper}, but this time we're going to reduce both
+the @code{basic-distance} and the @code{padding}. We can do this
+as shown below.
+
+@lilypond[quote,fragment,ragged-right,verbatim]
+<<
+ \new ChoirStaff \with {
+ \override StaffGrouper.
+ staffgroup-staff-spacing.basic-distance = #15
+ }
+ <<
+ \new Staff {
+ \new Voice = "music" {
+ b'2 c' c' c'
+ }
+ }
+ \new Lyrics \with {
+ \override VerticalAxisGroup.
+ nonstaff-relatedstaff-spacing.padding = #2
+ \override VerticalAxisGroup.
+ nonstaff-unrelatedstaff-spacing.padding = #2
+ }
+ \lyricsto "music" {
+ Here are some lyrics
+ }
+ \new Staff {
+ \clef bass e'2 f e c
+ }
+ >>
+ \new PianoStaff \with {
+ \override StaffGrouper.staff-staff-spacing = #'(
+ (basic-distance . 0)
+ (padding . 0))
+ }
+ <<
+ \new Staff {
+ g''2 c'' c'' a''
+ }
+ \new Staff {
+ \clef bass e2 f c e
+ }
+ >>
+>>
+@end lilypond
+
+That's put them really close together -- but it's what
+the publisher wanted. They could be moved further
+apart by altering the @code{padding} or @code{basic-distance}
+if wanted.
+
+There are many ways of altering vertical spacing. A key point
+to remember is that the spacing between objects in a
+@code{StaffGroup} (like @code{GrandStaff} or
+@code{PianoStaff} groups) is controlled by the spacing variables
+of the @code{StaffGrouper}. Spacing from ungrouped staves
+(like @code{Lyrics} and @code{Staff}) is controlled by the
+variables of the @code{VerticalAxisGroup}. See the
+@ruser{Flexible vertical spacing paper variables} and
+@ruser{Flexible vertical spacing within systems} for more
+details.
+
@node Collisions of objects
@section Collisions of objects
@code{side-position-interface} and the nearest other object (generally
the note or the staff lines); @code{staff-padding} applies only to
those objects which are always set outside the staff -- it controls
-the minimum amount of space that should be inserted between that
-object and the staff. Note that @code{staff-padding} has no effect on
-objects which are positioned relative to the note rather than the
+the minimum distance from the staff to the outside-staff object.
+Note that @code{staff-padding} has no effect on
+objects that are positioned relative to the note rather than the
staff, even though it may be overridden without error for such objects
-- it is simply ignored.
collisions between layout objects like multi-measure rests, ties
and notes in different voices.
+@item
+@code{horizontal-shift}
+
+@cindex horizontal-shift property
+@cindex note column
+@cindex note collisions
+@cindex collisions, notes
+@cindex shift commands
+@funindex \shiftOff
+@funindex shiftOff
+@funindex \shiftOn
+@funindex shiftOn
+@funindex \shiftOnn
+@funindex shiftOnn
+@funindex \shiftOnnn
+@funindex shiftOnnn
+
+Within a voice, all the notes occuring at the same musical moment are
+grouped into a note column, and a @code{NoteColumn} object is created
+to control the horizontal positioning of that group of notes (see
+@qq{Note columns} in @ref{Explicitly instantiating voices}). If
+@emph{and only if} two or more note columns within a single Staff
+context, both with stems in the same direction, occur at the same
+musical moment, the values of their @code{horizontal-shift} properties
+are used to rank them and the columns in the higher ranks are
+progessively offset to avoid collisions of the noteheads. This
+property is set by the @code{\voiceXXX} commands and may be overridden
+directly with an @code{\override} command or, more usually, by the
+@code{\shiftOn} commands. Note that this property is used to
+@emph{rank} the note columns for off-setting - it does not specify the
+magnitude of the offset, which is progressively increased in steps
+based on the note head's width for each rank. The steps are usually
+of half a note head's width, but may be a full note head's width when
+a closely spaced group of notes is involved.
+
@item
@code{force-hshift}
@cindex force-hshift property
-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
-to lay out the notes in that column.
-
The @code{force-hshift} property is a property of a @code{NoteColumn}
(actually of the @code{note-column-interface}). Changing it permits a
-note column to be moved in units appropriate to a note column,
-viz. the note head width of the first voice note. It should be used
-in complex situations where the normal @code{\shiftOn} commands (see
+note column to be moved in situations where the note columns overlap.
+Note that it has no effect on note columns that do not overlap.
+It is specified in units appropriate to a note column, viz. the note
+head width of the first voice note. It should be used in complex
+situations where the normal @code{\shiftOn} commands (see
@ref{Explicitly instantiating voices}) do not resolve the note
-conflict. It is preferable to the @code{extra-offset} property for
-this purpose as there is no need to work out the distance in
-staff-spaces, and moving the notes into or out of a @code{NoteColumn}
-affects other actions such as merging note heads.
+conflict satisfactorily. It is preferable to the @code{extra-offset}
+property for this purpose as there is no need to work out the distance
+in staff-spaces, and moving the notes into or out of a
+@code{NoteColumn} affects other actions such as merging note heads.
@end itemize
Let's now see how the properties in the previous section can
help to resolve overlapping notation.
-@subheading padding property
+@menu
+* The padding property::
+* The right-padding property::
+* The staff-padding property::
+* The self-alignment-X property::
+* The staff-position property::
+* The extra-offset property::
+* The positions property::
+* The force-hshift property::
+@end menu
+
+@node The padding property
+@unnumberedsubsubsec The @code{padding} property
@cindex padding
@cindex fixing overlapping notation
objects outside it are moved.
-@subheading right-padding
+@node The right-padding property
+@unnumberedsubsubsec The @code{right-padding} property
@cindex right-padding property
@noindent
-@subheading staff-padding property
+@node The staff-padding property
+@unnumberedsubsubsec The @code{staff-padding} property
@cindex aligning objects on a baseline
@cindex objects, aligning on a baseline
@code{staff-padding} can be used to align objects such as dynamics
-along a baseline at a fixed height above the staff, rather than at a
-height dependent on the position of the note to which they are
-attached. It is not a property of @code{DynamicText} but of
+along a baseline at a fixed distance from the staff, when no other
+notation forces them further from the staff.
+It is not a property of @code{DynamicText} but of
@code{DynamicLineSpanner}. This is because the baseline should apply
equally to @strong{all} dynamics, including those created as extended
spanners. So this is the way to align the dynamic marks in the
@cindex staff-padding property, example
@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
-\dynamicUp
-% Extend width by 1 unit
-\override DynamicText.extra-spacing-width = #'(-0.5 . 0.5)
-% Align dynamics to a base line 2 units above staff
-\override DynamicLineSpanner.staff-padding = #2
-a4\f b\mf c\mp b\p
+\override DynamicLineSpanner.staff-padding = #3
+a4\f b\mf a\p b\mp
@end lilypond
-@subheading self-alignment-X property
+@node The self-alignment-X property
+@unnumberedsubsubsec The @code{self-alignment-X} property
-The following example shows how this can resolve the collision
-of a string fingering object with a note's stem by aligning the
+The following example shows how to adjust the position
+of a string fingering object relative to a note's stem by aligning the
right edge with the reference point of the parent note:
@cindex StringNumber, example of overriding
<a\2>
@end lilypond
-@subheading staff-position property
+@node The staff-position property
+@unnumberedsubsubsec The @code{staff-position} property
@cindex object collision within a staff
<< { c4 c c c } \\ { R1 } >>
@end lilypond
-The best solution here is to move the multimeasure rest down, since
-the rest is in voice two. The default in @code{\voiceTwo} (i.e. in
-the second voice of a @code{<<@{...@} \\ @{...@}>>} construct) is that
-@code{staff-position} is set to -4 for MultiMeasureRest, so we need to
-move it, say, four half-staff spaces down to @w{@code{-8}}.
+The best solution here is to move the multimeasure rest down, since the
+rest is in voice two. The default in @code{\voiceTwo} (i.e. in the
+second voice of a @code{<<@{@dots{}@} \\ @{@dots{}@}>>} construct) is
+that @code{staff-position} is set to -4 for MultiMeasureRest, so we need
+to move it, say, four half-staff spaces down to @w{@code{-8}}.
@cindex MultiMeasureRest, example of overriding
@cindex staff-position property, example
This is better than using, for example, @code{extra-offset},
because the ledger line above the rest is inserted automatically.
-@subheading extra-offset property
+@node The extra-offset property
+@unnumberedsubsubsec The @code{extra-offset} property
@cindex positioning objects
@cindex positioning grobs
@end lilypond
-@subheading positions property
+@node The positions property
+@unnumberedsubsubsec The @code{positions} property
@cindex controlling tuplets, slurs, phrasing slurs, and beams manually
@cindex manually controlling tuplets, slurs, phrasing slurs, and beams
@cindex phrasing slurs, controlling manually
@cindex beams, controlling manually
-The @code{positions} property allows the position and slope of
-tuplets, slurs, phrasing slurs and beams to be controlled manually.
-Here's an example which has an ugly phrasing slur due to its trying to
-avoid the slur on the acciaccatura.
+The @code{positions} property allows the vertical position and hence
+the slope of tuplets, slurs, phrasing slurs and beams to be controlled
+manually.
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4 \acciaccatura e8\( d8 c~ c d c d\)
-@end lilypond
-
-@noindent
-We could simply move the phrasing slur above the notes, and this
-would be the preferred solution:
+Here's an example in which the phrasing slur and slur collide:
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4
-\phrasingSlurUp
-\acciaccatura e8\( d8 c~ c d c d\)
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+a8 \( ( a'16 ) a \)
@end lilypond
-@noindent
-But if there were some reason why this could not be done the
-other alternative would be to move the left end of the phrasing
-slur down a little using the @code{positions} property. This
-also resolves the rather nasty shape.
-
@cindex PhrasingSlur, example of overriding
@cindex positions property, example
-@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
-r4
-\once \override PhrasingSlur.positions = #'(-4 . -3)
-\acciaccatura e8\( d8 c~ c d c d\)
+@noindent
+One possibility would be to move the two ends of the phrasing slur
+higher. We can try setting the left end to 2.5 staff-spaces above the
+centre line and the right end to 4.5 above, and LilyPond will
+select the phrasing slur from the candidates it has found with its
+end points closest to these:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\once \override PhrasingSlur.positions = #'(2.5 . 4.5)
+a8 \( ( a'16 ) a \)
@end lilypond
+This is an improvement, but why not lower the right end of the slur
+a little? If you try it you'll find it can't be done in this way.
+That's because there are no candidate slurs lower than the one
+already selected, and in this case the @code{positions} property has
+no effect. However, ties, slurs and phrasing slurs @emph{can} be
+positioned and shaped very precisely when necessary. To learn how to
+do this, see @ruser{Modifying ties and slurs}.
+
Here's a further example. We see that the beams
collide with the ties:
{
\time 4/2
<<
- { c'1 ~ c'2. e'8 f' }
+ { c'1 ~ 2. e'8 f' }
\\
{ e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' }
>>
<<
- { c'1 ~ c'2. e'8 f' }
+ { c'1 ~ 2. e'8 f' }
\\
{ e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' }
>>
{
\time 4/2
<<
- { c'1 ~ c'2. e'8 f' }
+ { c'1 ~ 2. e'8 f' }
\\
{
\override Beam.positions = #'(-1 . -1)
}
>>
<<
- { c'1 ~ c'2. e'8 f' }
+ { c'1 ~ 2. e'8 f' }
\\
{ e''8 e'' e'' e'' e'' e'' e'' e'' f''2 g'' }
>>
the second measure of eighth notes, but not to any of the beams in the
second voice.
-@subheading force-hshift property
+@node The force-hshift property
+@unnumberedsubsubsec The @code{force-hshift} property
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
@noindent
The inner note of the first chord (i.e. the A-flat in the fourth
Voice) need not be shifted away from the note column of the higher
-note. To correct this we set @code{force-hshift}, which is a property
-of @code{NoteColumn}, of this note to zero.
-
-In the second chord we prefer the F to line up with the A-flat and the
-lowest note to be positioned slightly right to avoid a collision of
-stems. We achieve this by setting @code{force-hshift} in the
+note. We might expect to correct this by using @code{\shiftOff}, but
+this will cause warnings about clashing note columns. Instead, we
+set @code{force-hshift}, which is a property of @code{NoteColumn},
+of this note to zero.
+
+In the second chord we prefer the F to line up with the A-flat and
+the lowest note to be positioned slightly right to avoid a collision
+of stems. We achieve this by setting @code{force-hshift} in the
@code{NoteColumn} of the low D-flat to move it to the right by half
-a staff-space.
+a staff-space, and setting @code{force-hshift} for the F to zero.
+Note that we use @code{\once} to avoid the settings propagating
+beyond the immediate musical moment, although in this small example
+the @code{\once} and the second @code{\override} in Voice four could
+be omitted. This would not be good practice.
Here's the final result:
<<
{ c2 aes4. bes8 }
\\
- {
- <ees, c>2
- \once \override NoteColumn.force-hshift = #0.5
- des2
- }
+ { <ees, c>2 \once \override NoteColumn.force-hshift = 0.5 des }
\\
\\
- {
- \override NoteColumn.force-hshift = #0
- aes'2 f4 fes
- }
+ { \once \override NoteColumn.force-hshift = 0 aes'2
+ \once \override NoteColumn.force-hshift = 0 f4 fes }
>> |
<c ees aes c>1 |
}
\time 6/4
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- bes2.^\markup { \bold "Moderato" } r8
+ bes2.\tempo "Moderato" r8
<<
{ c,8 d fis bes a }
\new Voice {
\stemDown
% Stem on the d2 should be invisible
\tweak Stem.transparent ##t
- \tweak Flag.transparent ##t
d2
}
\new Voice {
{ c,8 d fis bes a } % continuation of main voice
\new Voice {
\voiceTwo
- c,8~ c2
+ c,8~ 2
}
\new Voice {
\voiceThree
{ c,8 d fis bes a } % continuation of main voice
\new Voice {
\voiceTwo
- c,8~ c2
+ c,8~ 2
}
\new Voice {
\voiceThree
{ c,8 d fis bes a } % continuation of main voice
\new Voice {
\voiceTwo
- c,8~ c2
+ c,8~ 2
}
\new Voice {
\voiceThree
@end lilypond
On to bar three and the start of the Moderato section. The tutorial
-showed how to add bold text with the @code{\markup} command, so
-adding @qq{Moderato} in bold is easy. But how do we merge notes in
+showed how to add a tempo indication with the @code{\tempo} command, so
+adding @qq{Moderato} is easy. But how do we merge notes in
different voices together? This is where we need to turn again to
the Notation Reference for help. A search for @qq{merge} in the
Notation Reference index quickly leads us to the commands for merging
bes1~ |
\bar "||"
\time 6/4
- bes2.^\markup { \bold "Moderato" } r8
+ bes2.\tempo "Moderato" r8
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
% Start polyphonic section of four voices
{ c,8 d fis bes a } % continuation of main voice
\new Voice {
\voiceTwo
- c,8~ c2
+ c,8~ 2
}
\new Voice {
\voiceThree
bes1~ |
\bar "||"
\time 6/4
- bes2.^\markup { \bold "Moderato" } r8
+ bes2.\tempo "Moderato" r8
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
% Start polyphonic section of four voices
bes1~ |
\bar "||"
\time 6/4
- bes2.^\markup { \bold "Moderato" } r8
+ bes2.\tempo "Moderato" r8
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
% Start polyphonic section of four voices
\stemDown
% Stem on the d2 should be invisible
\tweak Stem.transparent ##t
- \tweak Flag.transparent ##t
d2
}
\new Voice {
@menu
* Other uses for tweaks::
-* Using variables for tweaks::
+* Using variables for layout adjustments::
* Style sheets::
* Other sources of information::
* Advanced tweaks with Scheme::
@node Other uses for tweaks
@subsection Other uses for tweaks
+@menu
+* Tying notes across voices::
+* Simulating a fermata in MIDI::
+@end menu
+
@cindex transparent property, use of
@cindex objects, making invisible
@cindex removing objects
@cindex objects, hiding
@cindex invisible objects
@cindex objects, invisible
-@cindex tying notes across voices
-@subheading Tying notes across voices
+@node Tying notes across voices
+@unnumberedsubsubsec Tying notes across voices
+
+@cindex tying notes across voices
The following example demonstrates how to connect notes in
different voices using ties. Normally, only two notes in the
with the tied notes in one of them
@lilypond[quote,fragment,relative=2]
-<< { b8~ b\noBeam } \\ { b8[ g] } >>
+<< { b8~ 8\noBeam } \\ { b8[ g] } >>
@end lilypond
@noindent
<<
{
\tweak Stem.transparent ##t
- \tweak Flag.transparent ##t
- b8~ b\noBeam
+ b8~ 8\noBeam
}
\\
{ b8[ g] }
<<
{
\tweak Stem.transparent ##t
- \tweak Flag.transparent ##t
\tweak Stem.length #8
- b8~ b\noBeam
+ b8~ 8\noBeam
}
\\
{ b8[ g] }
>>
@end lilypond
-@subheading Simulating a fermata in MIDI
+@funindex \single
+@cindex tweak, generated from override
+Now for @emph{overriding} the transparency of a graphical object,
+we could have used the shorthand @code{\hide} as explained above.
+Tweaking is a different operation, affecting only properties
+generated from a single music expression. It turns out that we
+can convert overrides into tweaks using @code{\single}, making it
+possible to rewrite the above example as
+
+@lilypond[quote,fragment,relative=2,verbatim]
+<<
+ {
+ \single \hide Stem
+ \single \hide Flag
+ \tweak Stem.length #8
+ b8~ 8\noBeam
+ }
+\\
+ { b8[ g] }
+>>
+@end lilypond
+
+In this particular case, the difference to @code{\once \hide} is
+not apparent. It is important when there are several objects at
+the same point in musical time (like noteheads in a chord). In
+that case, @code{\once} will affect all of those objects while
+@code{\single} will only affect a single one, the one generated by
+the immediately following music expression.
+
+@node Simulating a fermata in MIDI
+@unnumberedsubsubsec Simulating a fermata in MIDI
@cindex stencil property, use of
@cindex fermata, implementing in MIDI
% Visible tempo marking
\tempo 4=120
a4 a a
- \once \override Score.MetronomeMark.transparent = ##t
+ \once \hide Score.MetronomeMark
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
a4\fermata |
% Visible tempo marking
\tempo 4=120
a4 a a
- \once \override Score.MetronomeMark.stencil = ##f
+ \once \omit Score.MetronomeMark
% Invisible tempo marking to lengthen fermata in MIDI
\tempo 4=80
a4\fermata |
Music Glossary:
@rglos{system}.
-@node Using variables for tweaks
-@subsection Using variables for tweaks
+@node Using variables for layout adjustments
+@subsection Using variables for layout adjustments
-@cindex variables, using for tweaks
-@cindex using variables for tweaks
-@cindex tweaks, using variables for
+@cindex variables, using for overrides
+@cindex overrides, using variables for
+@cindex adjustments, using variables for
+@cindex layout adjustments, using variables for
Override commands are often long and tedious to type, and they
have to be absolutely correct. If the same overrides are to be
@lilypond[quote,verbatim,ragged-right]
mpdolce =
-#(make-dynamic-script
- #{ \markup { \hspace #0
- \translate #'(5 . 0)
- \line { \dynamic "mp"
- \text \italic "dolce" } }
- #})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #{ \markup { \dynamic mp \normal-text \italic \bold dolce } #})
inst =
#(define-music-function
(parser location string)
(string?)
- #{ ^\markup \bold \box #string #})
+ #{ <>^\markup \bold \box #string #})
\relative c'' {
\tempo 4=50
@example
%%% save this to a file called "definitions.ily"
mpdolce =
-#(make-dynamic-script
- #@{ \markup @{ \hspace #0
- \translate #'(5 . 0)
- \line @{ \dynamic "mp"
- \text \italic "dolce" @} @}
- #@})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #@{ \markup @{ \dynamic mp \normal-text \italic \bold dolce @} #@})
inst =
#(define-music-function
(parser location string)
(string?)
- #@{ ^\markup \bold \box #string #@})
+ #@{ <>^\markup \bold \box #string #@})
@end example
We will refer to this file using the @code{\include} command near
@lilypond[quote,ragged-right]
mpdolce =
-#(make-dynamic-script
- #{ \markup { \hspace #0
- \translate #'(5 . 0)
- \line { \dynamic "mp"
- \text \italic "dolce" } }
- #})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #{ \markup { \dynamic mp \normal-text \italic \bold dolce } #})
inst =
#(define-music-function
(parser location string)
(string?)
- #{ ^\markup \bold \box #string #})
+ #{ <>^\markup \bold \box #string #})
\relative c'' {
\tempo 4=50
@example
%%% definitions.ily
mpdolce =
-#(make-dynamic-script
- #@{ \markup @{ \hspace #0
- \translate #'(5 . 0)
- \line @{ \dynamic "mp"
- \text \italic "dolce" @} @}
- #@})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #@{ \markup @{ \dynamic mp \normal-text \italic \bold dolce @} #@})
inst =
#(define-music-function
(parser location string)
(string?)
- #@{ ^\markup \bold \box #string #@})
+ #@{ <>^\markup \bold \box #string #@})
\layout@{
\context @{
\Score
- \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.extra-offset = #'(-5 . 0)
\override MetronomeMark.padding = #'3
@}
\context @{
@lilypond[quote,ragged-right]
mpdolce =
-#(make-dynamic-script
- #{ \markup { \hspace #0
- \translate #'(5 . 0)
- \line { \dynamic "mp"
- \text \italic "dolce" } }
- #})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #{ \markup { \dynamic mp \normal-text \italic \bold dolce } #})
inst =
#(define-music-function
(parser location string)
(string?)
- #{ ^\markup \bold \box #string #})
+ #{ <>^\markup \bold \box #string #})
\layout{
\context {
\Score
- \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.extra-offset = #'(-5 . 0)
\override MetronomeMark.padding = #'3
}
\context {
@example
%%% web-publish.ily
mpdolce =
-#(make-dynamic-script
- #@{ \markup @{ \hspace #0
- \translate #'(5 . 0)
- \line @{ \dynamic "mp"
- \text \italic "dolce" @} @}
- #@})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #@{ \markup @{ \dynamic mp \normal-text \italic \bold dolce @} #@})
inst =
#(define-music-function
(parser location string)
(string?)
- #@{ ^\markup \bold \box #string #@})
+ #@{ <>^\markup \bold \box #string #@})
#(set-global-staff-size 23)
\layout@{
\context @{
\Score
- \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.extra-offset = #'(-5 . 0)
\override MetronomeMark.padding = #'3
@}
\context @{
@lilypond[quote,ragged-right]
mpdolce =
-#(make-dynamic-script
- #{ \markup { \hspace #0
- \translate #'(5 . 0)
- \line { \dynamic "mp"
- \text \italic "dolce" } }
- #})
+ \tweak self-alignment-X #-0.6
+ #(make-dynamic-script
+ #{ \markup { \dynamic mp \normal-text \italic \bold dolce } #})
inst =
#(define-music-function
(parser location string)
(string?)
- #{ ^\markup \bold \box #string #})
+ #{ <>^\markup \bold \box #string #})
#(set-global-staff-size 23)
\layout{
\context { \Score
- \override MetronomeMark.extra-offset = #'(-9 . 0)
+ \override MetronomeMark.extra-offset = #'(-5 . 0)
\override MetronomeMark.padding = #'3
}
\context { \Voice
compiled it from source, and (b) on which operating system it is
being used:
-@strong{Downloaded from lilypond.org}
+@subsubsubheading Downloaded from lilypond.org
@itemize @bullet
@item GNU/Linux
@end itemize
-@strong{Installed from a package manager or compiled from source}
+@subsubsubheading Installed from a package manager or compiled from source
Navigate to
@file{@var{PREFIX}/share/lilypond/@var{X.Y.Z}/}, where
projects / lilypond.git / blobdiff