@uref{http://@/lilypond@/.org/@/doc/@/stable/@/Documentation/@/user/@/lilypond@/-internals/,on@/-line},
but is also included with the LilyPond documentation package.
+@c TODO The following is at variance to what actually follows. Fix -td
+
There are four areas where the default settings may be changed:
@itemize
@node Using break-visibility
@unnumberedsubsubsec Using break-visibility
+@c TODO Add making other objects breakable
+
@cindex break-visibility
Most layout objects are printed only once, but some like
at the end of the previous line as well.
This behaviour is controlled by the @code{break-visibility}
-property, which is explained in @rlearning{Visibility and color of
-objects}. This property takes a vector of three booleans which,
-in order, determine whether the object is printed at the end of,
-within the body of, or at the beginning of a line. Or to be more
-precise, before a line break, where there is no line break, or
-after a line break.
+property, which is explained in
+@c Leave this ref on a newline - formats incorrectly otherwise -td
+@rlearning{Visibility and color of objects}. This property takes
+a vector of three booleans which, in order, determine whether the
+object is printed at the end of, within the body of, or at the
+beginning of a line. Or to be more precise, before a line break,
+where there is no line break, or after a line break.
Alternatively, seven of the eight combinations may be specified
by pre-defined functions, defined in @file{scm/output-lib.scm},
where the last three columns indicate whether the layout objects
will be visible in the positions shown at the head of the columns:
-@multitable @columnfractions .40 .15 .15 .15 .15
+@multitable @columnfractions .40 .15 .1 .1 .1
@c TODO check these more carefully
@headitem Function @tab Vector @tab Before @tab At no @tab After
@headitem form @tab form @tab break @tab break @tab break
@node Rotating objects
@subsection Rotating objects
-@c FIXME Write this section
+Both layout objects and elements of markup text can be rotated by
+any angle about any point, but the method of doing so differs.
+
+@menu
+* Rotating layout objects::
+* Rotating markup::
+@end menu
+
+@node Rotating layout objects
+@unnumberedsubsubsec Rotating layout objects
+
+@cindex rotating objects
+@cindex objects, rotating
+
+All layout objects which support the @code{grob-interface} can be
+rotated by setting their @code{rotation} property. This takes a
+list of three items: the angle of rotation counter-clockwise,
+and the x and y coordinates of the point relative to the object's
+reference point about which the rotation is to be performed. The
+angle of rotation is specified in degrees and the coordinates in
+staff-spaces.
+
+The angle of rotation and the coordinates of the rotation point must
+be determined by trial and error.
+
+@cindex hairpins, angled
+@cindex angled hairpins
+
+There are only a few situations where the rotation of layout
+objects is useful; the following example shows one situation where
+they may be:
+
+@lilypond[quote,verbatim,relative=1]
+g4\< e' d' f\!
+\override Hairpin #'rotation = #'(20 -1 0)
+g,,4\< e' d' f\!
+@end lilypond
+
+@node Rotating markup
+@unnumberedsubsubsec Rotating markup
+
+All markup text can be rotated to lie at any angle by prefixing it
+with the @code{\rotate} command. The command takes two arguments:
+the angle of rotation in degrees counter-clockwise and the text to
+be rotated. The extents of the text are not rotated: they take
+their values from the extremes of the x and y coordinates of the
+rotated text. In the following example the
+@code{outside-staff-priority} property for text is set to @code{#f}
+to disable the automatic collision avoidance, which would push some
+of the text too high.
+
+@lilypond[quote,verbatim,relative=1]
+\override TextScript #'outside-staff-priority = ##f
+g4^\markup { \rotate #30 "a G" }
+b^\markup { \rotate #30 "a B" }
+des^\markup { \rotate #30 "a D-Flat" }
+fis^\markup { \rotate #30 "an F-Sharp" }
+@end lilypond
+
@node Aligning objects
@subsection Aligning objects
@example
\version @w{"@version{}"}
+\header @{ @}
\score @{
@var{...compound music expression...} % all the music goes here!
- \header @{ @}
\layout @{ @}
\midi @{ @}
@}
@cindex midi
@noindent
-Note that these three commands -- @code{\header}, @code{\layout}
-and @code{\midi} -- are special: unlike all other commands which
-begin with a backward slash (@code{\}) they are @emph{not} music
-expressions and are not part of any music expression.
-So they may be placed inside a @code{\score} block
-or outside it. In fact, these commands are commonly placed
-outside the @code{\score} block -- for example, @code{\header}
-is often placed above the @code{\score} command because headers
-naturally appear at the top of a score. That's just another
-shorthand that LilyPond accepts.
+Note that these three commands -- @code{\header}, @code{\layout} and
+@code{\midi} -- are special: unlike many other commands which begin
+with a backward slash (@code{\}) they are @emph{not} music expressions
+and are not part of any music expression. So they may be placed
+inside a @code{\score} block or outside it. In fact, these commands
+are commonly placed outside the @code{\score} block -- for example,
+@code{\header} is often placed above the @code{\score} command, as the
+example at the beginning of this section shows.
Two more commands you have not previously seen are
@code{\layout @{ @}} and @code{\midi @{@}}. If these appear as
shown they will cause LilyPond to produce a printed output and a
MIDI output respectively. They are described fully in the
-Notation Reference -- @ruser{Score layout} and
+Notation Reference -- @ruser{Score layout}, and
@ruser{Creating MIDI files}.
@cindex scores, multiple
In summary:
Every @code{\book} block creates a separate output file (e.g., a
-pdf file). If you haven't explicitly added one, LilyPond wraps
+PDF file). If you haven't explicitly added one, LilyPond wraps
your entire input code in a @code{\book} block implicitly.
Every @code{\score} block is a separate chunk of music within a
@noindent
To understand what is meant by a music expression and a compound
-music expression you may find it useful to review
+music expression, you may find it useful to review the tutorial,
@ref{Music expressions explained}. In that section, we saw how to
build big music expressions from small pieces -- we started from
notes, then chords, etc. Now we're going to start from a big
@}
@end example
-Remember that we use @code{<< ... >>} instead of
-@code{@{ ... @}} to show simultaneous
-music. And we definitely want to show the vocal part and piano
-part at the same time, not one after the other! However, the
-@code{<< ... >>} construct is not really necessary for the Singer
-staff, as it contains only one music expression, but Staves often
-do require simultaneous Voices within them, so using
-@code{<< ... >>}
-rather than braces is a good habit to adopt. We'll add some real
-music later; for now let's just put in some dummy notes and lyrics.
+Remember that we use @code{<< ... >>} instead of @code{@{ ... @}} to
+show simultaneous music. And we definitely want to show the vocal
+part and piano part at the same time, not one after the other! Note
+that the @code{<< ... >>} construct is not really necessary for the
+Singer staff, as it contains only one sequential music expression;
+however, using @code{<< ... >>} instead of braces is still necessary
+if the music in the Staff is made of two simultaneous expressions,
+e.g. two simultaneous Voices, or a Voice with lyrics. We'll add some
+real music later; for now let's just put in some dummy notes and
+lyrics.
@lilypond[verbatim,quote,ragged-right]
\score {
Be careful about the difference between notes, which are introduced
-with @code{\relative}, and lyrics, which are introduced with
+with @code{\relative} or which are directly included in a music
+expression, and lyrics, which are introduced with
@code{\lyricmode}. These are essential to tell LilyPond
to interpret the following content as music and text
respectively.
When writing (or reading) a @code{\score} section, just take it
-slowly and carefully. Start with the outer layer, then work on
-each smaller layer. It also really helps to be strict with
-indentation -- make sure that each item on the same layer starts
+slowly and carefully. Start with the outer level, then work on
+each smaller level. It also really helps to be strict with
+indentation -- make sure that each item on the same level starts
on the same horizontal position in your text editor.
@cindex staves, temporary
@cindex ossias
-It is not essential to declare all staves at the beginning;
-they may be introduced temporarily at any point. This is
-particularly useful for creating ossia sections
-(see @rglos{ossia}). Here is a simple example showing how
-to introduce a new staff temporarily for the duration of
-three notes:
+It is not essential to declare all staves at the beginning; they may
+be introduced temporarily at any point. This is particularly useful
+for creating ossia sections -- see @rglos{ossia}. Here is a simple
+example showing how to introduce a new staff temporarily for the
+duration of three notes:
@lilypond[verbatim,quote,ragged-right]
\new Staff {
Ossia are often written without clef and without
time signature and are usually in a smaller font.
These require further commands which
-have not yet been introduced. See @ref{Size of objects}
+have not yet been introduced. See @ref{Size of objects}.
@node On the un-nestedness of brackets and ties
@subsection On the un-nestedness of brackets and ties
@item @code{< .. >}
@tab Encloses the notes of a chord
@item @code{<< .. >>}
- @tab Encloses concurrent or simultaneous sections
+ @tab Encloses simultaneous music expressions
@item @code{( .. )}
@tab Marks the start and end of a slur
@item @code{\( .. \)}
- @tab Marks the start and end of a phrase mark
+ @tab Marks the start and end of a phrasing slur
@item @code{[ .. ]}
@tab Marks the start and end of a manual beam
@end multitable
different durations: the quarter-note D and the eighth-note
F-sharp. How are these to be coded? They cannot be written as
a chord because all the notes in a chord must have the same
-duration. And they cannot be written as two separate notes
+duration. And they cannot be written as two sequential notes
as they need to start at the same time. This is when two
voices are required.
@code{noteB} is relative to @code{noteA} @*
@code{noteC} is relative to @code{noteB}, not @code{noteA}; @*
@code{noteD} is relative to @code{noteB}, not @code{noteA} or
-@code{noteC}. @*
-@code{noteE} is relative to @code{noteD}, not @code{noteA}
+@code{noteC}; @*
+@code{noteE} is relative to @code{noteD}, not @code{noteA}.
An alternative way, which may be clearer if the notes in the
voices are widely separated, is to place a @code{\relative}
@end lilypond
@noindent
-We see that this fixes the stem direction, but exposes a
-problem sometimes encountered with multiple voices -- the
-stems of the notes in one voice can collide with the note heads
-in other voices. In laying out the notes, LilyPond allows the
-notes or chords from two voices to occupy the same vertical
-note column provided the stems are in opposite directions, but
-the notes from the third and fourth voices are displaced to if
-necessary to avoid the note heads
-colliding. This usually works well, but in this example the
-notes of the lowest voice are clearly not well placed by default.
-LilyPond provides several ways to adjust the horizontal placing
-of notes. We are not quite ready yet to see how to correct this,
-so we shall leave this problem until a later section
-(see the force-hshift property in @ref{Fixing overlapping
-notation} )
+We see that this fixes the stem direction, but exposes a problem
+sometimes encountered with multiple voices -- the stems of the notes
+in one voice can collide with the note heads in other voices. In
+laying out the notes, LilyPond allows the notes or chords from two
+voices to occupy the same vertical note column provided the stems are
+in opposite directions, but the notes from the third and fourth voices
+are displaced, if necessary, to avoid the note heads colliding. This
+usually works well, but in this example the notes of the lowest voice
+are clearly not well placed by default. LilyPond provides several ways
+to adjust the horizontal placing of notes. We are not quite ready yet
+to see how to correct this, so we shall leave this problem until a
+later section --- see the @code{force-hshift} property in @ref{Fixing
+overlapping notation}.
+
@node Explicitly instantiating voices
@subsection Explicitly instantiating voices
@end example
Note the distinction between the name of the context type,
-@code{Staff}, @code{Voice}, etc, and
-the identifying name of a particular instance of that type,
-which can be any sequence of letters invented by the user.
-The identifying name is used to refer back to that particular
-instance of a context. We saw this in use in the section on
-lyrics in @ref{Voices and vocals}.
+@code{Staff}, @code{Voice}, etc, and the identifying name of a
+particular instance of that type, which can be any sequence of letters
+and digits invented by the user. The identifying name is used to
+refer back to that particular instance of a context. We saw this in
+use in the section on lyrics in @ref{Voices and vocals}.
@node Engravers explained
@tab Engraves clefs
@item Completion_heads_engraver
@tab Splits notes which cross bar lines
-@item Dynamic_engraver
+@c The old Dynamic_engraver is deprecated. -jm
+@item New_dynamic_engraver
@tab Creates hairpins and dynamic texts
@item Forbid_line_break_engraver
@tab Prevents line breaks if a musical element is still active
further action took place. This is not an error, and no error
message is logged in the log file.
-Similarly, if the property name is mis-spelt no error message
-is produced, and clearly the expected action cannot be performed.
-If fact, you can set any (fictitious) @q{property} using any
-name you like in any context that exists by using the
-@code{\set} command. But if the name is not
-known to LilyPond it will not cause any action to be taken.
-This is one of the reasons why it is highly recommended to
-use a context-sensitive editor with syntax highlighting for
-editing LilyPond input files, such as Vim, Jedit, ConTEXT or Emacs,
-since unknown property names will be highlighted differently.
+Similarly, if the property name is mis-spelt no error message is
+produced, and clearly the expected action cannot be performed. If
+fact, you can set any (fictitious) @q{property} using any name you
+like in any context that exists by using the @code{\set} command. But
+if the name is not known to LilyPond it will not cause any action to
+be taken. Some text editors with special support for LilyPond input
+files document property names with bullets when you hover them with
+the mouse, like JEdit with LilyPondTool, or highlight unknown property
+names differently, like ConTEXT. If you do not use an editor with
+such features, it is recommended to check the property name in the
+Internals Reference: see @rinternals{Tunable context properties}, or
+@rinternals{Contexts}.
The @code{instrumentName} property will take effect only
if it is set in the @code{Staff} context, but
a b
@end lilypond
-We have now seen how to set the values of several different
-types of property. Note that integers and numbers are always
-preceded by a hash sign, @code{#}, while a true or false value
-is specified by ##t and ##f, with two hash signs. A text
-property should be enclosed in double quotation signs, as above,
-although we shall see later that text can actually be specified
-in a much more general way by using the very powerful
-@code{markup} command.
+We have now seen how to set the values of several different types of
+property. Note that integers and numbers are always preceded by a
+hash sign, @code{#}, while a true or false value is specified by
+@code{##t} and @code{##f}, with two hash signs. A text property
+should be enclosed in double quotation signs, as above, although we
+shall see later that text can actually be specified in a much more
+general way by using the very powerful @code{markup} command.
@funindex \with
The @code{fontSize} property is treated differently. If this is
set in a @code{\with} clause it effectively resets the default
-value of the font size. If it is later changed with @code{\set}
+value of the font size. If it is later changed with @code{\set},
this new default value may be restored with the
@code{\unset fontSize} command.
+
@node Adding and removing engravers
@subsection Adding and removing engravers
We have seen that contexts each contain several engravers, each
of which is responsible for producing a particular part of the
output, like bar lines, staves, note heads, stems, etc. If an
-engraver is removed from a context it can no longer produce its
+engraver is removed from a context, it can no longer produce its
output. This is a crude way of modifying the output, but it
can sometimes be useful.
@code{\with} command placed immediately after the context creation
command, as in the previous section.
-As an
-illustration let's repeat an example from the previous
-section with the staff lines removed. Remember that the
-staff lines are produced by the Staff_symbol_engraver.
+As an illustration, let's repeat an example from the previous section
+with the staff lines removed. Remember that the staff lines are
+produced by the @code{Staff_symbol_engraver}.
@lilypond[quote,verbatim,ragged-right]
\new Staff \with {
Engravers can also be added to individual contexts.
The command to do this is
-@code{\consists @emph{Engraver_name}},
+@code{\consists @var{Engraver_name}},
-placed inside a @code{\with} block. Some vocal scores
-have an @rglos{ambitus} placed at the beginning of a
-staff to indicate the range of notes in that staff.
-The ambitus is produced by the @code{Ambitus_engraver},
-which is not normally included in any context. If
-we add it to the @code{Voice} context it calculates
-the range from that voice only:
+@noindent
+placed inside a @code{\with} block. Some vocal scores have an ambitus
+placed at the beginning of a staff to indicate the range of notes in
+that staff -- see @rglos{ambitus}. The ambitus is produced by the
+@code{Ambitus_engraver}, which is not normally included in any
+context. If we add it to the @code{Voice} context, it calculates the
+range from that voice only:
@lilypond[quote,verbatim,ragged-right]
\new Staff <<
@end lilypond
@noindent
-but if we add the Ambitus engraver to the
-@code{Staff} context it calculates the range from all
+but if we add the ambitus engraver to the
+@code{Staff} context, it calculates the range from all
the notes in all the voices on that staff:
@lilypond[quote,verbatim,ragged-right]
engravers to every context of a specific type by placing the
commands in the appropriate context in a @code{\layout}
block. For example, if we wanted to show an ambitus for every
-staff in a four-staff score we could write
+staff in a four-staff score, we could write
@lilypond[quote,verbatim,ragged-right]
\score {
@code{\set} command in a @code{\context} block in the
same way.
+
@node Extending the templates
@section Extending the templates
understand the fundamental concepts. But how can you
get the staves that you want? Well, you can find lots of
templates (see @ref{Templates}) which may give you a start.
-But what
-if you want something that isn't covered there? Read on.
-
-TODO Add links to templates after they have been moved to LSR
+But what if you want something that isn't covered there? Read on.
@menu
* Soprano and cello::
underneath the soprano stuff. We also need to add @code{<<} and
@code{>>} around the music -- that tells LilyPond that there's
more than one thing (in this case, two @code{Staves}) happening
-at once. The @code{\score} looks like this now
+at once. The @code{\score} looks like this now:
@c Indentation in this example is deliberately poor
@example
}
@end lilypond
+@seealso
+
+The starting templates can be found in the @q{Templates} appendix,
+see @ref{Single staff}.
+
@node Four-part SATB vocal score
@subsection Four-part SATB vocal score
}
@end lilypond
-None of the templates provides this layout exactly. The
-nearest is @q{SATB vocal score and automatic piano reduction},
-but we need to change the layout and add a piano
-accompaniment which is not derived automatically from the
-vocal parts. The variables holding the music and words for
-the vocal parts are fine, but we shall need to add variables for
-the piano reduction.
+None of the templates provides this layout exactly. The nearest is
+@q{SATB vocal score and automatic piano reduction} -- see @ref{Vocal
+ensembles} -- but we need to change the layout and add a piano
+accompaniment which is not derived automatically from the vocal parts.
+The variables holding the music and words for the vocal parts are
+fine, but we shall need to add variables for the piano reduction.
The order in which the contexts appear in the ChoirStaff of
the template do not correspond with the order in the vocal
@cindex template, writing your own
-After gaining some facility with writing LilyPond code you
+After gaining some facility with writing LilyPond code, you
may find that it is easier to build a score from scratch
rather than modifying one of the templates. You can also
develop your own style this way to suit the sort of music you
We simply mirror the staff structure we want.
Organ music is usually written on three staves,
one for each manual and one for the pedals. The
-manual staves should be bracketed together so we
+manual staves should be bracketed together, so we
need to use a PianoStaff for them. The first
manual part needs two voices and the second manual
part just one.
>>
@end example
-It is not strictly necessary to use the simultaneous construct
+It is not necessary to use the simultaneous construct
@code{<< .. >>} for the manual two staff and the pedal organ staff,
-since they contain only one music expression, but it does no harm
+since they contain only one music expression, but it does no harm,
and always using angle brackets after @code{\new Staff} is a good
habit to cultivate in case there are multiple voices. The opposite
is true for Voices: these should habitually be followed by braces
@code{@{ .. @}} in case your music is coded in several variables
which need to run consecutively.
-Let's add this structure to the score block, and adjust the
-indenting. We also add the appropriate clefs, ensure the
-second voice stems point down with @code{\voiceTwo} and
-enter the time signature and key to each staff using our
-predefined variable, @code{\TimeKey}.
+Let's add this structure to the score block, and adjust the indenting.
+We also add the appropriate clefs, ensure stems, ties and slurs in
+each voice on the upper staff point to the right direction with
+@code{\voiceOne} and @code{\voiceTwo}, and enter the time signature
+and key to each staff using our predefined variable, @code{\TimeKey}.
@example
\score @{
\new Staff = "ManualOne" <<
\TimeKey % set time signature and key
\clef "treble"
- \new Voice @{ \ManualOneVoiceOneMusic @}
+ \new Voice @{ \voiceOne \ManualOneVoiceOneMusic @}
\new Voice @{ \voiceTwo \ManualOneVoiceTwoMusic @}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" <<
\new Staff = "ManualOne" <<
\TimeKey % set time signature and key
\clef "treble"
- \new Voice { \ManualOneVoiceOneMusic }
+ \new Voice { \voiceOne \ManualOneVoiceOneMusic }
\new Voice { \voiceTwo \ManualOneVoiceTwoMusic }
>> % end ManualOne Staff context
\new Staff = "ManualTwo" <<
@end lilypond
-
-
-
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projects / lilypond.git / commitdiff