Tweaks and overrides
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Adding an ottava marking to a single voice
If you have more than one voice on the staff, setting octavation in one voice will transpose the position of notes in all voices for the duration of the ottava bracket. If the ottavation is only intended to apply to one voice, the middleCPosition and ottava bracket may be set explicitly. In this snippet, the bass clef usually has middleCPosition set to 6, six positions above the center line, so in the 8va portion middleCPosition is 7 positions (one octave) higher still.
{
\clef bass
<< { <g d'>1~ q2 <c' e'> }
\\
{
r2.
\set Staff.ottavation = #"8vb"
\once \override Staff.OttavaBracket.direction = #DOWN
\set Voice.middleCPosition = #(+ 6 7)
<b,,, b,,>4 ~ |
q2
\unset Staff.ottavation
\unset Voice.middleCPosition
<c e>2
}
>>
}
![[image of music]](../5c/lily-e5006f5e.png)
Adding links to objects
To add a link to a grob-stencil you could use add-link as
defined here. Works with \override and \tweak.
Drawback: point-and-click will be disturbed for the linked grobs.
Limitation: Works for PDF only.
The linked objects are colored with a separate command.
#(define (add-link url-strg)
(lambda (grob)
(let* ((stil (ly:grob-property grob 'stencil)))
(if (ly:stencil? stil)
(begin
(let* (
(x-ext (ly:stencil-extent stil X))
(y-ext (ly:stencil-extent stil Y))
(url-expr (list 'url-link url-strg `(quote ,x-ext) `(quote ,y-ext)))
(new-stil (ly:stencil-add
(ly:make-stencil url-expr x-ext y-ext) stil)))
(ly:grob-set-property! grob 'stencil new-stil)))
#f))))
%%%% test
urlI =
"http://lilypond.org/doc/v2.14/Documentation/notation/writing-pitches"
urlII =
"http://lilypond.org/doc/v2.14/Documentation/notation/rhythms"
urlIII =
"http://lilypond.org/doc/v2.14/Documentation/notation/note-heads"
urlIV =
"http://lilypond.org/doc/v2.14/Documentation/notation/beams"
urlV =
"http://lilypond.org/doc/v2.14/Documentation/notation/note-head-styles"
\relative c' {
\key cis \minor
\once \override Staff.Clef.color = #green
\once \override Staff.Clef.after-line-breaking =
#(add-link urlI)
\once \override Staff.TimeSignature.color = #green
\once \override Staff.TimeSignature.after-line-breaking =
#(add-link urlII)
\once \override NoteHead.color = #green
\once \override NoteHead.after-line-breaking =
#(add-link urlIII)
cis'1
\once \override Beam.color = #green
\once \override Beam.after-line-breaking =
#(add-link urlIV)
cis8 dis e fis gis2
<gis,
% With 2.17.9 you could use the command below to address the Accidental.
% \tweak Accidental.before-line-breaking #(add-link url)
\tweak color #green
\tweak after-line-breaking #(add-link urlV)
\tweak style #'harmonic
bis
dis
fis
>1
<cis, cis' e>
}
![[image of music]](../9b/lily-294ea220.png)
Adding markups in a tablature
By default markups does not show in a tablature. To make them appear,
simply use the command \revert TabStaff.TextScript.stencil
%% http://lsr.di.unimi.it/LSR/Item?id=919
% by P.P.Schneider on June 2014
high = { r4 r8 <g c'> q r8 r4 }
low = { c4 r4 c8 r8 g,8 b, }
pulse = { s8^"1" s^"&" s^"2" s^"&" s^"3" s^"&" s^"4" s^"&" }
\score {
\new TabStaff {
\repeat unfold 2 << \high \\ \low \\ \pulse >>
}
\layout {
\context {
\TabStaff
\clef moderntab
\revert TextScript.stencil
\override TextScript.font-series = #'bold
\override TextScript.font-size = #-2
\override TextScript.color = #red
}
\context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/8)
}
}
}
![[image of music]](../28/lily-a4ac69a4.png)
Adding timing marks to long glissandi
Skipped beats in very long glissandi are sometimes indicated by timing marks, often consisting of stems without noteheads. Such stems can also be used to carry intermediate expression markings.
If the stems do not align well with the glissando, they may need to be repositioned slightly.
glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
glissandoSkipOff = {
\revert NoteColumn.glissando-skip
\undo \hide NoteHead
\revert NoteHead.no-ledgers
}
\relative c'' {
r8 f8\glissando
\glissandoSkipOn
f4 g a a8\noBeam
\glissandoSkipOff
a8
r8 f8\glissando
\glissandoSkipOn
g4 a8
\glissandoSkipOff
a8 |
r4 f\glissando \<
\glissandoSkipOn
a4\f \>
\glissandoSkipOff
b8\! r |
}
![[image of music]](../15/lily-58d81ccc.png)
Adjusting grace note spacing
The space given to grace notes can be adjusted using the
spacing-increment property of Score.GraceSpacing.
graceNotes = {
\grace { c4 c8 c16 c32 }
c8
}
\relative c'' {
c8
\graceNotes
\override Score.GraceSpacing.spacing-increment = #2.0
\graceNotes
\revert Score.GraceSpacing.spacing-increment
\graceNotes
}
![[image of music]](../e5/lily-7a764d96.png)
Adjusting lyrics vertical spacing
This snippet shows how to bring the lyrics line closer to the staff.
% Default layout:
<<
\new Staff \new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Staff {
\new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
}
% Reducing the minimum space below the staff and above the lyrics:
\new Lyrics \with {
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 1))
}
\lyricsto melody { aa aa aa aa aa aa aa aa aa }
>>
![[image of music]](../8e/lily-6a2f611e.png)
Altering the length of beamed stems
Stem lengths on beamed notes can be varied by overriding the
beamed-lengths property of the details of the
Stem. If a single value is used as an argument, the length
applies to all stems. When multiple arguments are used, the first
applies to eighth notes, the second to sixteenth notes and so on. The
final argument also applies to all notes shorter than the note length
of the final argument. Non-integer arguments may also be used.
\relative c'' {
\override Stem.details.beamed-lengths = #'(2)
a8[ a] a16[ a] a32[ a]
\override Stem.details.beamed-lengths = #'(8 10 12)
a8[ a] a16[ a] a32[ a] r8
\override Stem.details.beamed-lengths = #'(8)
a8[ a]
\override Stem.details.beamed-lengths = #'(8.5)
a8[ a]
\revert Stem.details
a8[ a] a16[ a] a32[ a] r16
}
![[image of music]](../08/lily-87c42240.png)
Alternative bar numbering
Two alternative methods for bar numbering can be set, especially for when using repeated music.
\relative c'{
\set Score.alternativeNumberingStyle = #'numbers
\repeat volta 3 { c4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1 \break
\set Score.alternativeNumberingStyle = #'numbers-with-letters
\repeat volta 3 { c,4 d e f | }
\alternative {
{ c4 d e f | c2 d \break }
{ f4 g a b | f4 g a b | f2 a | \break }
{ c4 d e f | c2 d }
}
c1
}
![[image of music]](../6c/lily-d3871fdb.png)
Analysis brackets above the staff
Simple horizontal analysis brackets are added below the staff by default. The following example shows a way to place them above the staff instead.
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
\relative c'' {
\once \override HorizontalBracket.direction = #UP
c2\startGroup
d2\stopGroup
}
![[image of music]](../e2/lily-cd751e55.png)
Analysis brackets with labels
Text may be added to analysis brackets through the text property
of the HorizontalBracketText grob. Adding different texts to
brackets beginning at the same time requires the \tweak command.
Bracket text will be parenthesized after a line break.
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
\override HorizontalBracket.direction = #UP
}
}
{
\once\override HorizontalBracketText.text = "a"
c''\startGroup d''\stopGroup
\once\override HorizontalBracketText.text = "a'"
e''\startGroup d''\stopGroup
c''
-\tweak HorizontalBracketText.text \markup \bold \huge "b" \startGroup
-\tweak HorizontalBracketText.text "a" \startGroup
d''\stopGroup
e''-\tweak HorizontalBracketText.text "a'" \startGroup
d''\stopGroup\stopGroup
c''-\tweak HorizontalBracketText.text foo \startGroup d'' e'' f''
\break
g'' a'' b'' c'''\stopGroup
}
![[image of music]](../d4/lily-9aa2cd07.png)
Asymmetric slurs
Slurs can be made asymmetric to match an asymmetric pattern of notes better.
slurNotes = { d,8( a' d f a f' d, a) }
\relative c' {
\stemDown
\slurUp
\slurNotes
\once \override Slur.eccentricity = #3.0
\slurNotes
}
![[image of music]](../13/lily-0b483868.png)
Avoiding collisions with chord fingerings
Fingerings and string numbers applied to individual notes will automatically avoid beams and stems, but this is not true by default for fingerings and string numbers applied to the individual notes of chords. The following example shows how this default behavior can be overridden.
\relative c' {
\set fingeringOrientations = #'(up)
\set stringNumberOrientations = #'(up)
\set strokeFingerOrientations = #'(up)
% Default behavior
r8
<f c'-5>8
<f c'\5>8
<f c'-\rightHandFinger #2 >8
% No tweak needed
r8
<f c'-5>8
<f c'\5>8
% Corrected to avoid collisions
\override StrokeFinger.add-stem-support = ##t
<f c'-\rightHandFinger #2 >8
}
![[image of music]](../6d/lily-465697fc.png)
Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double “railtracks” breath mark with a fermata sign positioned above. This snippet shows an optically pleasing combination of railtracks and fermata.
\relative c'' {
c2.
% construct the symbol
\override BreathingSign.text = \markup {
\override #'(direction . 1)
\override #'(baseline-skip . 1.8)
\dir-column {
\translate #'(0.155 . 0)
\center-align \musicglyph #"scripts.caesura.curved"
\center-align \musicglyph #"scripts.ufermata"
}
}
\breathe c4
% set the breathe mark back to normal
\revert BreathingSign.text
c2. \breathe c4
\bar "|."
}
![[image of music]](../e5/lily-4ee7d1c1.png)
Changing a single note’s size in a chord
Individual note heads in a chord can be modified with the
\tweak command inside a chord, by altering the font-size
property.
Inside the chord (within the brackets < >), before the note to
be altered, place the \tweak command, followed by
#'font-size and define the proper size like #-2 (a tiny
note head).
\relative c' {
<\tweak font-size #+2 c e g c
\tweak font-size #-2 e>1
^\markup { A tiny e }_\markup { A big c }
}
![[image of music]](../ad/lily-137d8831.png)
Changing beam thickness and spacing
To make beams thicker or thinner alter the Beam.beam-thickness
property. To adjust the spacing between beams alter the
Beam.length-fraction property.
\relative f' {
\time 1/8
\override Beam.beam-thickness = #0.4
\override Beam.length-fraction = #0.8
c32 c c c
\revert Beam.beam-thickness % 0.48 is default thickness
\revert Beam.length-fraction % 1.0 is default spacing
c32 c c c
\override Beam.beam-thickness = #0.6
\override Beam.length-fraction = #1.3
c32 c c c
}
![[image of music]](../b6/lily-70a694ad.png)
Changing form of multi-measure rests
If there are ten or fewer measures of rests, a series of longa and
breve rests (called in German “Kirchenpausen” - church rests) is
printed within the staff; otherwise a simple line is shown. This
default number of ten may be changed by overriding the
expand-limit property.
\relative c'' {
\compressMMRests {
R1*2 | R1*5 | R1*9
\override MultiMeasureRest.expand-limit = #3
R1*2 | R1*5 | R1*9
}
}
![[image of music]](../b0/lily-db2953f8.png)
Changing properties for individual grobs
The \applyOutput command allows the tuning of any layout
object, in any context. It requires a Scheme function with three
arguments.
#(define (mc-squared grob grob-origin context)
(let ((sp (ly:grob-property grob 'staff-position)))
(ly:grob-set-property!
grob 'stencil
(grob-interpret-markup grob
#{ \markup \lower #0.5
#(case sp
((-5) "m")
((-3) "c ")
((-2) #{ \markup \teeny \bold 2 #})
(else "bla")) #}))))
\relative c' {
<d f g b>2
\applyOutput Voice.NoteHead #mc-squared
<d f g b>2
}
![[image of music]](../a2/lily-346a788f.png)
Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText and
decrescendoText.
The style of the spanner line can be changed by modifying the
'style property of DynamicTextSpanner. The default value
is 'dashed-line, and other possible values include 'line,
'dotted-line and 'none.
\relative c'' {
\set crescendoText = \markup { \italic { cresc. poco } }
\set crescendoSpanner = #'text
\override DynamicTextSpanner.style = #'dotted-line
a2\< a
a2 a
a2 a
a2 a\mf
}
![[image of music]](../ba/lily-cc7a7fde.png)
Changing the default text font family
The default font families for text can be overridden with
make-pango-font-tree.
\paper {
% change for other default global staff size.
myStaffSize = #20
%{
run
lilypond -dshow-available-fonts blabla
to show all fonts available in the process log.
%}
#(define fonts
(make-pango-font-tree "Times New Roman"
"Nimbus Sans,Nimbus Sans L"
"Luxi Mono"
;; "Helvetica"
;; "Courier"
(/ myStaffSize 20)))
}
\relative c'' {
c4^\markup {
roman: foo \bold bla \italic bar \italic \bold baz
}
c'4_\markup {
\override #'(font-family . sans)
{
sans: foo \bold bla \italic bar \italic \bold baz
}
}
c'2^\markup {
\override #'(font-family . typewriter)
{
mono: foo \bold bla \italic bar \italic \bold baz
}
}
}
![[image of music]](../be/lily-0064cb0d.png)
Changing the staff size
Though the simplest way to resize staves is to use
#(set-global-staff-size xx), an individual staff’s size can be
changed by scaling the properties 'staff-space and
fontSize.
<<
\new Staff {
\relative c'' {
\dynamicDown
c8\ff c c c c c c c
}
}
\new Staff \with {
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
} {
\clef bass
c8 c c c c\f c c c
}
>>
![[image of music]](../28/lily-bdd5f2f9.png)
Changing the tempo without a metronome mark
To change the tempo in MIDI output without printing anything, make the metronome mark invisible.
\score {
\new Staff \relative c' {
\tempo 4 = 160
c4 e g b
c4 b d c
\set Score.tempoHideNote = ##t
\tempo 4 = 96
d,4 fis a cis
d4 cis e d
}
\layout { }
\midi { }
}
![[image of music]](../87/lily-510c90fa.png)
Changing the text for sustain markings
Staff.pedalSustainStrings can be used to set the text used for
pedal down and up. Note that the only valid strings are those found in
the list of pedal glyphs - the values used this snippet constitute an
exhaustive list.
sustainNotes = { c4\sustainOn d e\sustainOff\sustainOn f\sustainOff }
\relative c' {
\sustainNotes
\set Staff.pedalSustainStrings = #'("P" "P-" "-")
\sustainNotes
\set Staff.pedalSustainStrings = #'("d" "de" "e")
\sustainNotes
\set Staff.pedalSustainStrings = #'("M" "M-" "-")
\sustainNotes
\set Staff.pedalSustainStrings = #'("Ped" "*Ped" "*")
\sustainNotes
}
![[image of music]](../91/lily-7704e9e8.png)
Controlling spanner visibility after a line break
The visibility of spanners which end on the first note following a line
break is controlled by the after-line-breaking callback
ly:spanner::kill-zero-spanned-time.
For objects such as glissandos and hairpins, the default behaviour is to hide the spanner after a break; disabling the callback will allow the left-broken span to be shown.
Conversely, spanners which are usually visible, such as text spans, can be hidden by enabling the callback.
\paper { ragged-right = ##t }
\relative c'' {
\override Hairpin.to-barline = ##f
\override Glissando.breakable = ##t
% show hairpin
\override Hairpin.after-line-breaking = ##t
% hide text span
\override TextSpanner.after-line-breaking =
#ly:spanner::kill-zero-spanned-time
e2\<\startTextSpan
% show glissando
\override Glissando.after-line-breaking = ##t
f2\glissando
\break
f,1\!\stopTextSpan
}
![[image of music]](../eb/lily-37d11b27.png)
Controlling the vertical ordering of scripts
The vertical ordering of scripts is controlled with the
'script-priority property. The lower this number, the closer it
will be put to the note. In this example, the TextScript (the
sharp symbol) first has the lowest priority, so it is put lowest in the
first example. In the second, the prall trill (the Script) has
the lowest, so it is on the inside. When two objects have the same
priority, the order in which they are entered determines which one
comes first.
\relative c''' {
\once \override TextScript.script-priority = #-100
a2^\prall^\markup { \sharp }
\once \override Script.script-priority = #-100
a2^\prall^\markup { \sharp }
}
![[image of music]](../e8/lily-7e01441c.png)
Controlling tuplet bracket visibility
The default behavior of tuplet-bracket visibility is to print a bracket
unless there is a beam of the same length as the tuplet. To control the
visibility of tuplet brackets, set the property
'bracket-visibility to either #t (always print a
bracket), #f (never print a bracket) or #'if-no-beam
(only print a bracket if there is no beam).
music = \relative c'' {
\tuplet 3/2 { c16[ d e } f8]
\tuplet 3/2 { c8 d e }
\tuplet 3/2 { c4 d e }
}
\new Voice {
\relative c' {
<< \music s4^"default" >>
\override TupletBracket.bracket-visibility = #'if-no-beam
<< \music s4^"'if-no-beam" >>
\override TupletBracket.bracket-visibility = ##t
<< \music s4^"#t" >>
\override TupletBracket.bracket-visibility = ##f
<< \music s4^"#f" >>
%% v2.18 :
\omit TupletBracket
<< \music s4^"omit" >>
}
}
![[image of music]](../5c/lily-0cebca2f.png)
Creating a delayed turn
Creating a delayed turn, where the lower note of the turn uses the
accidental, requires several overrides. The
outside-staff-priority property must be set to #f, as
otherwise this would take precedence over the avoid-slur
property. Changing the fractions 2/3 and 1/3 adjusts
the horizontal position.
\relative c'' {
c2*2/3 ( s2*1/3\turn d4) r
<<
{ c4.( d8) }
{ s4 s\turn }
>>
\transpose c d \relative c'' <<
{ c4.( d8) }
{
s4
\once \set suggestAccidentals = ##t
\once \override AccidentalSuggestion.outside-staff-priority = ##f
\once \override AccidentalSuggestion.avoid-slur = #'inside
\once \override AccidentalSuggestion.font-size = -3
\once \override AccidentalSuggestion.script-priority = -1
\single \hideNotes
b8-\turn \noBeam
s8
}
>>
}
![[image of music]](../9e/lily-e623a356.png)
Creating custom key signatures
LilyPond supports custom key signatures. In this example, print for D minor with an extended range of printed flats.
\new Staff \with {
\override StaffSymbol.line-count = #8
\override KeySignature.flat-positions = #'((-7 . 6))
\override KeyCancellation.flat-positions = #'((-7 . 6))
% presumably sharps are also printed in both octaves
\override KeySignature.sharp-positions = #'((-6 . 7))
\override KeyCancellation.sharp-positions = #'((-6 . 7))
\override Clef.stencil = #
(lambda (grob)(grob-interpret-markup grob
#{ \markup\combine
\musicglyph #"clefs.C"
\translate #'(-3 . -2)
\musicglyph #"clefs.F"
#}))
clefPosition = #3
middleCPosition = #3
middleCClefPosition = #3
}
{
\key d\minor
f bes, f bes,
}
![[image of music]](../e7/lily-35b90923.png)
Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
\relative c' {
c1-10
c1-50
c1-36
c1-29
}
![[image of music]](../53/lily-413a6723.png)
Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular
point in a score: only one RehearsalMark object is created.
Using an invisible measure and bar line, an extra rehearsal mark can be
added, giving the appearance of two marks in the same column. This
method may also prove useful for placing rehearsal marks at both the
end of one system and the start of the following system.
{
\key a \major
\set Score.markFormatter = #format-mark-box-letters
\once \override Score.RehearsalMark.outside-staff-priority = #5000
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\once \override Score.RehearsalMark.break-align-symbols = #'(key-signature)
\mark \markup { \bold { Senza denti } }
% the hidden measure and bar line
% \cadenzaOn turns off automatic calculation of bar numbers
\cadenzaOn
\once \override Score.TimeSignature.stencil = ##f
\time 1/16
s16 \bar ""
\cadenzaOff
\time 4/4
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\mark \markup { \box \bold Intro }
d'1
\mark \default
d'1
}
![[image of music]](../e4/lily-94c094d5.png)
Creating text spanners
The \startTextSpan and \stopTextSpan commands allow the
creation of text spanners as easily as pedal indications or
octavations. Override some properties of the TextSpanner object
to modify its output.
\paper { ragged-right = ##f }
\relative c'' {
\override TextSpanner.bound-details.left.text = #"bla"
\override TextSpanner.bound-details.right.text = #"blu"
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'line
\once \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\override TextSpanner.style = #'dashed-line
\override TextSpanner.bound-details.left.text =
\markup { \draw-line #'(0 . 1) }
\override TextSpanner.bound-details.right.text =
\markup { \draw-line #'(0 . -2) }
\once \override TextSpanner.bound-details.right.padding = #-2
a4 \startTextSpan
b4 c
a4 \stopTextSpan
\set Staff.middleCPosition = #-13
\override TextSpanner.dash-period = #10
\override TextSpanner.dash-fraction = #0.5
\override TextSpanner.thickness = #10
a4 \startTextSpan
b4 c
a4 \stopTextSpan
}
![[image of music]](../96/lily-3ca49b8e.png)
Cross-staff chords - beaming problems workaround
Sometimes it is better to use stems from the upper staff for creating
cross-staff chords, because no problems with automatic beam collision
avoidance then arise. If the stems from the lower staff were used in
the following example, it would be necessary to change the automatic
beam collision avoidance settings so that it doesn’t detect collisions
between staves using \override Staff.Beam.collision-voice-only =
##t
\new PianoStaff <<
\new Staff = up
\relative c' {
<<
{ r4
\override Stem.cross-staff = ##t
\override Stem.length = #19 % this is in half-spaces,
% so it makes stems 9.5 staffspaces long
\override Stem.Y-offset = #-6 % stems are normally lengthened
% upwards, so here we must lower the stem by the amount
% equal to the lengthening - in this case (19 - 7) / 2
% (7 is default stem length)
e e e }
{ s4
\change Staff = "bottom"
\override NoteColumn.ignore-collision = ##t
c, c c
}
>>
}
\new Staff = bottom
\relative c' {
\clef bass
\voiceOne
g8 a g a g a g a
}
>>
![[image of music]](../40/lily-ecd2f53a.png)
Cross staff stems
This snippet shows the use of the Span_stem_engraver and
\crossStaff to connect stems across staves automatically.
The stem length need not be specified, as the variable distance between noteheads and staves is calculated automatically.
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
{
\new PianoStaff <<
\new Staff {
<b d'>4 r d'16\> e'8. g8 r\!
e'8 f' g'4 e'2
}
\new Staff {
\clef bass
\voiceOne
\autoBeamOff
\crossStaff { <e g>4 e, g16 a8. c8} d
\autoBeamOn
g8 f g4 c2
}
>>
}
![[image of music]](../f6/lily-cc31242f.png)
Custodes
Custodes may be engraved in various styles.
\layout { ragged-right = ##t }
\new Staff \with { \consists "Custos_engraver" } \relative c' {
\override Staff.Custos.neutral-position = #4
\override Staff.Custos.style = #'hufnagel
c1^"hufnagel" \break
<d a' f'>1
\override Staff.Custos.style = #'medicaea
c1^"medicaea" \break
<d a' f'>1
\override Staff.Custos.style = #'vaticana
c1^"vaticana" \break
<d a' f'>1
\override Staff.Custos.style = #'mensural
c1^"mensural" \break
<d a' f'>1
}
![[image of music]](../a5/lily-7ceec8af.png)
Customizing fretboard fret diagrams
Fret diagram properties can be set through
'fret-diagram-details. For FretBoard fret diagrams, overrides
are applied to the FretBoards.FretBoard object. Like
Voice, FretBoards is a bottom level context, therefore
can be omitted in property overrides.
\include "predefined-guitar-fretboards.ly"
\storePredefinedDiagram #default-fret-table \chordmode { c' }
#guitar-tuning
#"x;1-1-(;3-2;3-3;3-4;1-1-);"
<<
\new ChordNames {
\chordmode { c1 | c | c | d }
}
\new FretBoards {
% Set global properties of fret diagram
\override FretBoards.FretBoard.size = #'1.2
\override FretBoard.fret-diagram-details.finger-code = #'in-dot
\override FretBoard.fret-diagram-details.dot-color = #'white
\chordmode {
c
\once \override FretBoard.size = #'1.0
\once \override FretBoard.fret-diagram-details.barre-type = #'straight
\once \override FretBoard.fret-diagram-details.dot-color = #'black
\once \override FretBoard.fret-diagram-details.finger-code = #'below-string
c'
\once \override FretBoard.fret-diagram-details.barre-type = #'none
\once \override FretBoard.fret-diagram-details.number-type = #'arabic
\once \override FretBoard.fret-diagram-details.orientation = #'landscape
\once \override FretBoard.fret-diagram-details.mute-string = #"M"
\once \override FretBoard.fret-diagram-details.label-dir = #LEFT
\once \override FretBoard.fret-diagram-details.dot-color = #'black
c'
\once \override FretBoard.fret-diagram-details.finger-code = #'below-string
\once \override FretBoard.fret-diagram-details.dot-radius = #0.35
\once \override FretBoard.fret-diagram-details.dot-position = #0.5
\once \override FretBoard.fret-diagram-details.fret-count = #3
d
}
}
\new Voice {
c'1 | c' | c' | d'
}
>>
![[image of music]](../c6/lily-2ebd583d.png)
Customizing markup fret diagrams
Fret diagram properties can be set through
'fret-diagram-details. For markup fret diagrams, overrides can
be applied to the Voice.TextScript object or directly to the
markup.
<<
\chords { c1 | c | c | d }
\new Voice = "mel" {
\textLengthOn
% Set global properties of fret diagram
\override TextScript.size = #'1.2
\override TextScript.fret-diagram-details.finger-code = #'in-dot
\override TextScript.fret-diagram-details.dot-color = #'white
%% C major for guitar, no barre, using defaults
% terse style
c'1^\markup { \fret-diagram-terse #"x;3-3;2-2;o;1-1;o;" }
%% C major for guitar, barred on third fret
% verbose style
% size 1.0
% roman fret label, finger labels below string, straight barre
c'1^\markup {
% standard size
\override #'(size . 1.0) {
\override #'(fret-diagram-details . (
(number-type . roman-lower)
(finger-code . in-dot)
(barre-type . straight))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
}
%% C major for guitar, barred on third fret
% verbose style
% landscape orientation, arabic numbers, M for mute string
% no barre, fret label down or left, small mute label font
c'1^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(number-type . arabic)
(label-dir . -1)
(mute-string . "M")
(orientation . landscape)
(barre-type . none)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
%% simple D chord
% terse style
% larger dots, centered dots, fewer frets
% label below string
d'1^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
}
>>
![[image of music]](../87/lily-6ed1c5d9.png)
Display bracket with only one staff in a system
If there is only one staff in one of the staff types ChoirStaff
or StaffGroup, by default the bracket and the starting bar line
will not be displayed. This can be changed by overriding
collapse-height to set its value to be less than the number of
staff lines in the staff.
Note that in contexts such as PianoStaff and GrandStaff
where the systems begin with a brace instead of a bracket, another
property has to be set, as shown on the second system in the example.
\score {
\new StaffGroup <<
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket.collapse-height = #4
\override Score.SystemStartBar.collapse-height = #4
\new Staff {
c'1
}
>>
}
\score {
\new PianoStaff <<
\override PianoStaff.SystemStartBrace.collapse-height = #4
\override Score.SystemStartBar.collapse-height = #4
\new Staff {
c'1
}
>>
}
![[image of music]](../74/lily-711aa227.png)
Displaying grob ancestry
When working with grob callbacks, it can be helpful to understand a grob’s ancestry. Most grobs have parents which influence the positioning of the grob. X- and Y-parents influence the horizontal and vertical positions for the grob, respectively. Additionally, each parent may have parents of its own.
Unfortunately, there are several aspects of a grob’s ancestry that can lead to confusion:
* The types of parents a grob has may depend on context.
* For some grobs, the X- and Y-parents are the same.
* A particular “ancestor” may be related to a grob in multiple ways.
* The concept of “generations” is misleading.
For example, the System grob can be both parent (on the Y-side)
and grandparent (twice on the X-side) to a VerticalAlignment
grob.
This macro prints (to the console) a textual representation of a grob’s ancestry.
When called this way:
{ \once \override NoteHead.before-line-breaking =
#display-ancestry c }
The following output is generated:
NoteHead X,Y: NoteColumn
X: PaperColumn
X,Y: System
Y: VerticalAxisGroup
X: NonMusicalPaperColumn
X,Y: System
Y: VerticalAlignment
X: NonMusicalPaperColumn
X,Y: System
Y: System
%% http://lsr.di.unimi.it/LSR/Item?id=622
%% see also http://www.lilypond.org/doc/v2.18/Documentation/snippets/tweaks-and-overrides#tweaks-and-overrides-displaying-grob-ancestry
%% Remark:
%% grob::name is in the source since 2.19.x could be deleted during next LSR-upgrade
#(define (grob::name grob)
(assq-ref (ly:grob-property grob 'meta) 'name))
#(define (get-ancestry grob)
(if (not (null? (ly:grob-parent grob X)))
(list (grob::name grob)
(get-ancestry (ly:grob-parent grob X))
(get-ancestry (ly:grob-parent grob Y)))
(grob::name grob)))
#(define (format-ancestry lst padding)
(string-append
(symbol->string (car lst))
"\n"
(let ((X-ancestry
(if (list? (cadr lst))
(format-ancestry (cadr lst) (+ padding 3))
(symbol->string (cadr lst))))
(Y-ancestry
(if (list? (caddr lst))
(format-ancestry (caddr lst) (+ padding 3))
(symbol->string (caddr lst)))))
(if (equal? X-ancestry Y-ancestry)
(string-append
(format #f "~&")
(make-string padding #\space)
"X,Y: "
(if (list? (cadr lst))
(format-ancestry (cadr lst) (+ padding 5))
(symbol->string (cadr lst))))
(string-append
(format #f "~&")
(make-string padding #\space)
"X: " X-ancestry
"\n"
(make-string padding #\space)
"Y: " Y-ancestry
(format #f "~&"))))
(format #f "~&")))
#(define (display-ancestry grob)
(format (current-error-port)
"~3&~a~2%~a~&"
(make-string 36 #\-)
(if (ly:grob? grob)
(format-ancestry (get-ancestry grob) 0)
(format #f "~a is not a grob" grob))))
\relative c' {
\once \override NoteHead.before-line-breaking = #display-ancestry
f4
\once \override Accidental.before-line-breaking = #display-ancestry
\once \override Arpeggio.before-line-breaking = #display-ancestry
<f as c>4\arpeggio
}
![[image of music]](../29/lily-f52ec2a8.png)
Dotted harmonics
Artificial harmonics using \harmonic do not show dots. To
override this behavior, set the context property harmonicDots.
\relative c''' {
\time 3/4
\key f \major
\set harmonicDots = ##t
<bes f'\harmonic>2. ~
<bes f'\harmonic>4. <a e'\harmonic>8( <gis dis'\harmonic> <g d'\harmonic>)
<fis cis'\harmonic>2.
<bes f'\harmonic>2.
}
![[image of music]](../5c/lily-45a21625.png)
Drawing boxes around grobs
The print-function can be overridden to draw a box around an
arbitrary grob.
\relative c'' {
\override TextScript.stencil =
#(make-stencil-boxer 0.1 0.3 ly:text-interface::print)
c'4^"foo"
\override Stem.stencil =
#(make-stencil-boxer 0.05 0.25 ly:stem::print)
\override Score.RehearsalMark.stencil =
#(make-stencil-boxer 0.15 0.3 ly:text-interface::print)
b8
\revert Stem.stencil
\revert Flag.stencil
c4. c4
\mark "F"
c1
}
![[image of music]](../f5/lily-b4e35338.png)
Drawing circles around various objects
The \circle markup command draws circles around various
objects, for example fingering indications. For other objects,
specific tweaks may be required: this example demonstrates two
strategies for rehearsal marks and measure numbers.
\relative c' {
c1
\set Score.markFormatter =
#(lambda (mark context)
(make-circle-markup (format-mark-numbers mark context)))
\mark \default
c2 d^\markup {
\override #'(thickness . 3) {
\circle \finger 2
}
}
\override Score.BarNumber.break-visibility = #all-visible
\override Score.BarNumber.stencil =
#(make-stencil-circler 0.1 0.25 ly:text-interface::print)
}
![[image of music]](../05/lily-07f9abf0.png)
Dynamics custom text spanner postfix
Postfix functions for custom crescendo text spanners. The spanners should start on the first note of the measure. One has to use -\mycresc, otherwise the spanner start will rather be assigned to the next note.
% Two functions for (de)crescendo spanners where you can explicitly give the
% spanner text.
mycresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
mydecresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'DecrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
\relative c' {
c4-\mycresc "custom cresc" c4 c4 c4 |
c4 c4 c4 c4 |
c4-\mydecresc "custom decresc" c4 c4 c4 |
c4 c4\! c4 c4
}
![[image of music]](../b4/lily-cd5cd662.png)
Dynamics text spanner postfix
Custom text spanners can be defined and used with hairpin and text
crescendos. \< and \> produce hairpins by default,
\cresc etc. produce text spanners by default.
% Some sample text dynamic spanners, to be used as postfix operators
crpoco =
#(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text "cresc. poco a poco")
\relative c' {
c4\cresc d4 e4 f4 |
g4 a4\! b4\crpoco c4 |
c4 d4 e4 f4 |
g4 a4\! b4\< c4 |
g4\dim a4 b4\decresc c4\!
}
![[image of music]](../bf/lily-8c70fd64.png)
Extending a TrillSpanner
For TrillSpanner, the minimum-length property becomes
effective only if the set-spacing-rods procedure is called
explicitly. To do this, the springs-and-rods property should be
set to ly:spanner::set-spacing-rods.
\relative c' {
\key c\minor
\time 2/4
c16( as') c,-. des-.
\once\override TrillSpanner.minimum-length = #15
\once\override TrillSpanner.springs-and-rods = #ly:spanner::set-spacing-rods
\afterGrace es4
\startTrillSpan { d16[( \stopTrillSpan es)] }
c( c' g es c g' es d
\hideNotes
c8)
}
![[image of music]](../c1/lily-51f8417a.png)
Extending glissandi across repeats
A glissando which extends into several \alternative blocks can
be simulated by adding a hidden grace note with a glissando at the
start of each \alternative block. The grace note should be at
the same pitch as the note which starts the initial glissando. This is
implemented here with a music function which takes the pitch of the
grace note as its argument.
Note that in polyphonic music the grace note must be matched with corresponding grace notes in all other voices.
repeatGliss = #(define-music-function (grace)
(ly:pitch?)
#{
% the next two lines ensure the glissando is long enough
% to be visible
\once \override Glissando.springs-and-rods
= #ly:spanner::set-spacing-rods
\once \override Glissando.minimum-length = #3.5
\once \hideNotes
\grace $grace \glissando
#})
\score {
\relative c'' {
\repeat volta 3 { c4 d e f\glissando }
\alternative {
{ g2 d }
{ \repeatGliss f g2 e }
{ \repeatGliss f e2 d }
}
}
}
music = \relative c' {
\voiceOne
\repeat volta 2 {
g a b c\glissando
}
\alternative {
{ d1 }
{ \repeatGliss c \once \omit StringNumber e1\2 }
}
}
\score {
\new StaffGroup <<
\new Staff <<
\context Voice { \clef "G_8" \music }
>>
\new TabStaff <<
\context TabVoice { \clef "moderntab" \music }
>>
>>
}
![[image of music]](../be/lily-4cbc0ad0.png)
Fine-tuning pedal brackets
The appearance of pedal brackets may be altered in different ways.
\paper { ragged-right = ##f }
\relative c'' {
c2\sostenutoOn c
c2\sostenutoOff c
\once \override Staff.PianoPedalBracket.shorten-pair = #'(-7 . -2)
c2\sostenutoOn c
c2\sostenutoOff c
\once \override Staff.PianoPedalBracket.edge-height = #'(0 . 3)
c2\sostenutoOn c
c2\sostenutoOff c
}
![[image of music]](../02/lily-59b6eb39.png)
Flat Ties
The function takes the default Tie.stencil as an argument,
calculating the result relying on the extents of this default. Further
tweaking is possible by overriding Tie.details.height-limit or
with \shape. It’s also possible to change the custom-definition
on the fly.
%% http://lsr.di.unimi.it/LSR/Item?id=1031
#(define ((flared-tie coords) grob)
(define (pair-to-list pair)
(list (car pair) (cdr pair)))
(define (normalize-coords goods x y dir)
(map
(lambda (coord)
;(coord-scale coord (cons x (* y dir)))
(cons (* x (car coord)) (* y dir (cdr coord))))
goods))
(define (my-c-p-s points thick)
(make-connected-path-stencil
points
thick
1.0
1.0
#f
#f))
;; outer let to trigger suicide
(let ((sten (ly:tie::print grob)))
(if (grob::is-live? grob)
(let* ((layout (ly:grob-layout grob))
(line-thickness (ly:output-def-lookup layout 'line-thickness))
(thickness (ly:grob-property grob 'thickness 0.1))
(used-thick (* line-thickness thickness))
(dir (ly:grob-property grob 'direction))
(xex (ly:stencil-extent sten X))
(yex (ly:stencil-extent sten Y))
(lenx (interval-length xex))
(leny (interval-length yex))
(xtrans (car xex))
(ytrans (if (> dir 0)(car yex) (cdr yex)))
(uplist
(map pair-to-list
(normalize-coords coords lenx (* leny 2) dir))))
(ly:stencil-translate
(my-c-p-s uplist used-thick)
(cons xtrans ytrans)))
'())))
#(define flare-tie
(flared-tie '((0 . 0)(0.1 . 0.2) (0.9 . 0.2) (1.0 . 0.0))))
\layout {
\context {
\Voice
\override Tie.stencil = #flare-tie
}
}
\paper { ragged-right = ##f }
\relative c' {
a4~a
\override Tie.height-limit = 4
a'4~a
a'4~a
<a,, c e a c e a c e>~ q
\break
a'4~a
\once \override Tie.details.height-limit = 14
a4~a
\break
a4~a
\once \override Tie.details.height-limit = 0.5
a4~a
\break
a4~a
\shape #'((0 . 0) (0 . 0.4) (0 . 0.4) (0 . 0)) Tie
a4~a
\break
a4~a
\once \override Tie.stencil =
#(flared-tie '((0 . 0)(0.1 . 0.4) (0.9 . 0.4) (1.0 . 0.0)))
a4~a
a4~a
\once \override Tie.stencil =
#(flared-tie '((0 . 0)(0.06 . 0.1) (0.94 . 0.1) (1.0 . 0.0)))
a4~a
}
![[image of music]](../d0/lily-0e8ba0eb.png)
Forcing horizontal shift of notes
When the typesetting engine cannot cope, the following syntax can be used to override typesetting decisions. The units of measure used here are staff spaces.
\relative c' <<
{
<d g>2 <d g>
}
\\
{
<b f'>2
\once \override NoteColumn.force-hshift = #1.7
<b f'>2
}
>>
![[image of music]](../8b/lily-6f0e31be.png)
Fret diagrams explained and developed
This snippet shows many possibilities for obtaining and tweaking fret diagrams.
<<
\chords {
a2 a
\repeat unfold 3 {
c c c d d
}
}
\new Voice = "mel" {
\textLengthOn
% Set global properties of fret diagram
\override TextScript.size = #1.2
\override TextScript.fret-diagram-details.finger-code = #'below-string
\override TextScript.fret-diagram-details.dot-color = #'black
%% A chord for ukulele
a'2^\markup {
\override #'(fret-diagram-details . (
(string-count . 4)
(dot-color . white)
(finger-code . in-dot))) {
\fret-diagram #"4-2-2;3-1-1;2-o;1-o;"
}
}
%% A chord for ukulele, with formatting defined in definition string
% 1.2 * size, 4 strings, 4 frets, fingerings below string
% dot radius .35 of fret spacing, dot position 0.55 of fret spacing
a'2^\markup {
\override #'(fret-diagram-details . (
(dot-color . white)
(open-string . "o"))) {
\fret-diagram #"s:1.2;w:4;h:3;f:2;d:0.35;p:0.55;4-2-2;3-1-1;2-o;1-o;"
}
}
%% These chords will be in normal orientation
%% C major for guitar, barred on third fret
% verbose style
% roman fret label, finger labels below string, straight barre
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-lower)
(finger-code . below-string)
(barre-type . straight))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
}
%% C major for guitar, barred on third fret
%% Double barre used to test barre function
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . arabic)
(dot-label-font-mag . 0.9)
(finger-code . in-dot)
(fret-label-font-mag . 0.6)
(fret-label-vertical-offset . 0)
(label-dir . -1)
(mute-string . "M")
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(string-thickness-factor . 0.3)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
% These chords will be in landscape orientation
\override TextScript.fret-diagram-details.orientation = #'landscape
%% C major for guitar, barred on third fret
% verbose style
% roman fret label, finger labels below string, straight barre
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-lower)
(finger-code . below-string)
(barre-type . straight))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
}
%% C major for guitar, barred on third fret
%% Double barre used to test barre function
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . arabic)
(dot-label-font-mag . 0.9)
(finger-code . in-dot)
(fret-label-font-mag . 0.6)
(fret-label-vertical-offset . 0)
(label-dir . -1)
(mute-string . "M")
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
% These chords will be in opposing-landscape orientation
\override TextScript.fret-diagram-details.orientation = #'opposing-landscape
%% C major for guitar, barred on third fret
% verbose style
% roman fret label, finger labels below string, straight barre
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-lower)
(finger-code . below-string)
(barre-type . straight))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 5 1 3))
}
}
}
%% C major for guitar, barred on third fret
%% Double barre used to test barre function
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . arabic)
(dot-label-font-mag . 0.9)
(finger-code . in-dot)
(fret-label-font-mag . 0.6)
(fret-label-vertical-offset . 0)
(label-dir . -1)
(mute-string . "M")
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(place-fret 5 3 1)
(place-fret 4 5 2)
(place-fret 3 5 3)
(place-fret 2 5 4)
(place-fret 1 3 1)
(barre 4 2 5)
(barre 5 1 3))
}
}
}
%% C major for guitar, with capo on third fret
% verbose style
c'2^\markup {
% 110% of default size
\override #'(size . 1.1) {
\override #'(fret-diagram-details . (
(number-type . roman-upper)
(dot-label-font-mag . 0.9)
(finger-code . none)
(fret-label-vertical-offset . 0.5)
(xo-font-magnification . 0.4)
(xo-padding . 0.3))) {
\fret-diagram-verbose #'((mute 6)
(capo 3)
(open 5)
(place-fret 4 5 1)
(place-fret 3 5 2)
(place-fret 2 5 3)
(open 1))
}
}
}
%% simple D chord
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
%% simple D chord, large top fret thickness
d'2^\markup {
\override #'(fret-diagram-details . (
(finger-code . below-string)
(dot-radius . 0.35)
(dot-position . 0.5)
(top-fret-thickness . 7)
(fret-count . 3))) {
\fret-diagram-terse #"x;x;o;2-1;3-2;2-3;"
}
}
}
>>
![[image of music]](../ae/lily-b565578c.png)
Generating custom flags
The stencil property of the Flag grob can be set to a
custom scheme function to generate the glyph for the flag.
#(define-public (weight-flag grob)
(let* ((stem-grob (ly:grob-parent grob X))
(log (- (ly:grob-property stem-grob 'duration-log) 2))
(is-up? (eqv? (ly:grob-property stem-grob 'direction) UP))
(yext (if is-up? (cons (* log -0.8) 0) (cons 0 (* log 0.8))))
(flag-stencil (make-filled-box-stencil '(-0.4 . 0.4) yext))
(stroke-style (ly:grob-property grob 'stroke-style))
(stroke-stencil (if (equal? stroke-style "grace")
(make-line-stencil 0.2 -0.9 -0.4 0.9 -0.4)
empty-stencil)))
(ly:stencil-add flag-stencil stroke-stencil)))
% Create a flag stencil by looking up the glyph from the font
#(define (inverted-flag grob)
(let* ((stem-grob (ly:grob-parent grob X))
(dir (if (eqv? (ly:grob-property stem-grob 'direction) UP) "d" "u"))
(flag (retrieve-glyph-flag "" dir "" grob))
(line-thickness (ly:staff-symbol-line-thickness grob))
(stem-thickness (ly:grob-property stem-grob 'thickness))
(stem-width (* line-thickness stem-thickness))
(stroke-style (ly:grob-property grob 'stroke-style))
(stencil (if (null? stroke-style)
flag
(add-stroke-glyph flag stem-grob dir stroke-style "")))
(rotated-flag (ly:stencil-rotate-absolute stencil 180 0 0)))
(ly:stencil-translate rotated-flag (cons (- (/ stem-width 2)) 0))))
snippetexamplenotes =
{
\autoBeamOff c'8 d'16 c'32 d'64 \acciaccatura {c'8} d'64
}
{
\override Score.RehearsalMark.self-alignment-X = #LEFT
\time 1/4
\mark "Normal flags"
\snippetexamplenotes
\mark "Custom flag: inverted"
\override Flag.stencil = #inverted-flag
\snippetexamplenotes
\mark "Custom flag: weight"
\override Flag.stencil = #weight-flag
\snippetexamplenotes
\mark "Revert to normal"
\revert Flag.stencil
\snippetexamplenotes
}
![[image of music]](../7f/lily-609598b1.png)
Glissandi can skip grobs
NoteColumn grobs can be skipped over by glissandi.
\relative c' {
a2 \glissando
\once \override NoteColumn.glissando-skip = ##t
f''4 d,
}
![[image of music]](../e4/lily-30f2f92d.png)
Hairpins with different line styles
Hairpins can take any style from line-interface - dashed-line,
dotted-line, line, trill or zigzag.
\relative c' {
c2\< c\!
\override Hairpin.style = #'dashed-line
c2\< c\!
\override Hairpin.style = #'dotted-line
c2\< c\!
\override Hairpin.style = #'line
c2\< c\!
\override Hairpin.style = #'trill
c2\< c\!
\override Hairpin.style = #'zigzag
c2\< c\!
\revert Hairpin.style
c2\< c\!
}
![[image of music]](../cd/lily-14fc0a1f.png)
Horizontally aligning custom dynamics (e.g. "sempre pp" "piu f" "subito p")
Some dynamic expressions involve additional text, like “sempre pp”. Since dynamics are usually centered under the note, the \pp would be displayed way after the note it applies to.
To correctly align the “sempre pp” horizontally, so that it is aligned as if it were only the \pp, there are several approaches:
* Simply use \once\override DynamicText.X-offset = #-9.2
before the note with the dynamics to manually shift it to the correct
position. Drawback: This has to be done manually each time you use that
dynamic markup...
* Add some padding (#:hspace 7.1) into the definition of your
custom dynamic mark, so that after lilypond center-aligns it, it is
already correctly aligned. Drawback: The padding really takes up that
space and does not allow any other markup or dynamics to be shown in
that position.
* Shift the dynamic script \once\override ... .X-offset = ...
Drawback: \once\override is needed for every invocation!
* Set the dimensions of the additional text to 0 (using
#:with-dimensions '(0 . 0) '(0 . 0)). Drawback: To LilyPond
“sempre” has no extent, so it might put other stuff there and create
collisions (which are not detected by the collision detection!). Also,
there seems to be some spacing, so it’s not exactly the same alignment
as without the additional text
* Add an explicit shifting directly inside the scheme function for the dynamic-script.
* Set an explicit alignment inside the dynamic-script. By default, this
won’t have any effect, only if one sets X-offset! Drawback: One needs
to set DynamicText.X-offset, which will apply to all dynamic
texts! Also, it is aligned at the right edge of the additional text,
not at the center of pp.
% Solution 1: Using a simple markup with a particular halign value
% Drawback: It's a markup, not a dynamic command, so \dynamicDown
% etc. will have no effect
semppMarkup = \markup { \halign #1.4 \italic "sempre" \dynamic "pp" }
% Solution 2: Using a dynamic script & shifting with
% \once \override ...X-offset = ..
% Drawback: \once \override needed for every invocation
semppK =
#(make-dynamic-script
(markup #:line
(#:normal-text
#:italic "sempre"
#:dynamic "pp")))
% Solution 3: Padding the dynamic script so the center-alignment
% puts it at the correct position
% Drawback: the padding really reserves the space, nothing else can be there
semppT =
#(make-dynamic-script
(markup #:line
(#:normal-text
#:italic "sempre"
#:dynamic "pp"
#:hspace 7.1)))
% Solution 4: Dynamic, setting the dimensions of the additional text to 0
% Drawback: To lilypond "sempre" has no extent, so it might put
% other stuff there => collisions
% Drawback: Also, there seems to be some spacing, so it's not exactly the
% same alignment as without the additional text
semppM =
#(make-dynamic-script
(markup #:line
(#:with-dimensions '(0 . 0) '(0 . 0)
#:right-align
#:normal-text
#:italic "sempre"
#:dynamic "pp")))
% Solution 5: Dynamic with explicit shifting inside the scheme function
semppG =
#(make-dynamic-script
(markup #:hspace 0
#:translate '(-18.85 . 0)
#:line (#:normal-text
#:italic "sempre"
#:dynamic "pp")))
% Solution 6: Dynamic with explicit alignment. This has only effect
% if one sets X-offset!
% Drawback: One needs to set DynamicText.X-offset!
% Drawback: Aligned at the right edge of the additional text,
% not at the center of pp
semppMII =
#(make-dynamic-script
(markup #:line (#:right-align
#:normal-text
#:italic "sempre"
#:dynamic "pp")))
\new StaffGroup <<
\new Staff = "s" \with { instrumentName = \markup \column { Normal } }
<<
\relative c'' {
\key es \major
c4\pp c\p c c | c\ff c c\pp c
}
>>
\new Staff = "sMarkup" \with {
instrumentName = \markup \column { Normal markup }
}
<<
\relative c'' {
\key es \major
c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c
}
>>
\new Staff = "sK" \with {
instrumentName = \markup \column { Explicit shifting }
}
<<
\relative c'' {
\key es \major
\once \override DynamicText.X-offset = #-9.2
c4\semppK c\p c c
c4\ff c
\once \override DynamicText.X-offset = #-9.2
c4\semppK c
}
>>
\new Staff = "sT" \with {
instrumentName = \markup \column { Right padding }
}
<<
\relative c'' {
\key es \major
c4\semppT c\p c c | c\ff c c\semppT c
}
>>
\new Staff = "sM" \with {
instrumentName = \markup \column { Set dimension "to zero" }
}
<<
\relative c'' {
\key es \major
c4\semppM c\p c c | c\ff c c\semppM c
}
>>
\new Staff = "sG" \with {
instrumentName = \markup \column { Shift inside dynamics}
}
<<
\relative c'' {
\key es \major
c4\semppG c\p c c | c\ff c c\semppG c
}
>>
\new Staff = "sMII" \with {
instrumentName = \markup \column { Alignment inside dynamics }
}
<<
\relative c'' {
\key es \major
% Setting to ##f (false) gives the same result
\override DynamicText.X-offset = #0
c4\semppMII c\p c c | c\ff c c\semppMII c
}
>>
>>
\layout { \override Staff.InstrumentName.self-alignment-X = #LEFT }
![[image of music]](../5c/lily-1724bbd9.png)
How to change fret diagram position
If you want to move the position of a fret diagram, for example, to avoid collision, or to place it between two notes, you have various possibilities:
1) modify #’padding or #’extra-offset values (as shown in the first snippet)
2) you can add an invisible voice and attach the fret diagrams to the invisible notes in that voice (as shown in the second example).
If you need to move the fret according with a rythmic position inside the bar (in the example, the third beat of the measure) the second example is better, because the fret is aligned with the third beat itself.
harmonies = \chordmode
{
a8:13
% THE FOLLOWING IS THE COMMAND TO MOVE THE CHORD NAME
\once \override ChordNames.ChordName.extra-offset = #'(10 . 0)
b8:13 s2.
% THIS LINE IS THE SECOND METHOD
s4 s4 b4:13
}
\score
{
<<
\new ChordNames \harmonies
\new Staff
{a8^\markup { \fret-diagram #"6-x;5-0;4-2;3-0;2-0;1-2;" }
% THE FOLLOWING IS THE COMMAND TO MOVE THE FRET DIAGRAM
\once \override TextScript.extra-offset = #'(10 . 0)
b4.~^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" } b4. a8\break
% HERE IS THE SECOND METHOD
<<
{ a8 b4.~ b4. a8}
{ s4 s4 s4^\markup { \fret-diagram #"6-x;5-2;4-4;3-2;2-2;1-4;" }
}
>>
}
>>
}
![[image of music]](../fd/lily-899855ab.png)
How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It shifts the lower rehearsal mark below the staff and then adds padding above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like a rehearsal mark it is possible to centre those above and below a bar line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset does not change the bounding
box of the mark from its original value.
\relative c'{
c d e f |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \circle 1 \box A }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \flat { \bold \small \italic Fine. } }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\mark \markup \center-column { \fermata \box z }
}
![[image of music]](../07/lily-41bbeb51.png)
How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one below, by creating two voices, adding the Rehearsal Mark engraver to each voice - without this no rehearsal mark is printed - and then placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for more flexibility, should it be needed to tweak each rehearsal mark independently of the other.
\score {
\relative c'
<<
\new Staff {
<<
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
}
{ c4 d e f
\mark \markup { \box A }
c4 d e f
}
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
\override RehearsalMark.direction = #DOWN
}
{ s4 s s s
\mark \markup { \circle 1 }
s4 s s s
}
>>
}
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
}
}
![[image of music]](../99/lily-c497ffda.png)
Inserting a caesura
Caesura marks can be created by overriding the 'text property of
the BreathingSign object. A curved caesura mark is also
available.
\relative c'' {
\override BreathingSign.text = \markup {
\musicglyph #"scripts.caesura.straight"
}
c8 e4. \breathe g8. e16 c4
\override BreathingSign.text = \markup {
\musicglyph #"scripts.caesura.curved"
}
g8 e'4. \breathe g8. e16 c4
}
![[image of music]](../a7/lily-8c7a8f65.png)
| [ << Tweaks and overrides ] | [Top][Contents][Index][ ? ] | [ Paper and layout >> ] | ||
| [ < Tweaks and overrides: Inserting a caesura ] | [ Up : Tweaks and overrides ] | [ Tweaks and overrides: Line arrows > ] | ||
Keep change clefs full sized
When a clef is changed, the clef sign displayed is smaller than the
initial clef. This can be overridden with full-size-change.
\relative c' {
\clef "treble"
c1
\clef "bass"
c1
\clef "treble"
c1
\override Staff.Clef.full-size-change = ##t
\clef "bass"
c1
\clef "treble"
c1
\revert Staff.Clef.full-size-change
\clef "bass"
c1
\clef "treble"
c1
}
![[image of music]](../47/lily-ccfbe696.png)
Line arrows
Arrows can be applied to text-spanners and line-spanners (such as the Glissando).
\relative c'' {
\override TextSpanner.bound-padding = #1.0
\override TextSpanner.style = #'line
\override TextSpanner.bound-details.right.arrow = ##t
\override TextSpanner.bound-details.left.text = #"fof"
\override TextSpanner.bound-details.right.text = #"gag"
\override TextSpanner.bound-details.right.padding = #0.6
\override TextSpanner.bound-details.right.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override Glissando.bound-details.right.arrow = ##t
\override Glissando.arrow-length = #0.5
\override Glissando.arrow-width = #0.25
a8\startTextSpan gis a4 b\glissando b,
g'4 c\stopTextSpan c2
}
![[image of music]](../05/lily-f557dad5.png)
| [ << Tweaks and overrides ] | [Top][Contents][Index][ ? ] | [ Paper and layout >> ] | ||
| [ < Tweaks and overrides: Line arrows ] | [ Up : Tweaks and overrides ] | [ Tweaks and overrides: Making glissandi breakable > ] | ||
Making an object invisible with the ’transparent property
Setting the transparent property will cause an object to be
printed in “invisible ink”: the object is not printed, but all its
other behavior is retained. The object still takes up space, it takes
part in collisions, and slurs, ties and beams can be attached to it.
This snippet demonstrates how to connect different voices using ties. Normally, ties only connect two notes in the same voice. By introducing a tie in a different voice, and blanking the first up-stem in that voice, the tie appears to cross voices.
\relative {
\time 2/4
<<
{
\once \hide Stem
\once \override Stem.length = #8
b'8 ~ 8\noBeam
\once \hide Stem
\once \override Stem.length = #8
g8 ~ 8\noBeam
}
\\
{
b8 g g e
}
>>
}
![[image of music]](../dc/lily-8e5a911e.png)
Making glissandi breakable
Setting the breakable property to #t in combination with
after-line-breaking allows a glissando to break if it occurs at
a line break:
glissandoSkipOn = {
\override NoteColumn.glissando-skip = ##t
\hide NoteHead
\override NoteHead.no-ledgers = ##t
}
\relative c'' {
\override Glissando.breakable = ##t
\override Glissando.after-line-breaking = ##t
f1\glissando |
\break
a4 r2. |
f1\glissando
\once \glissandoSkipOn
\break
a2 a4 r4 |
}
![[image of music]](../d0/lily-0ef56938.png)
Manually controlling beam positions
Beam positions may be controlled manually, by overriding the
positions setting of the Beam grob.
\relative c' {
\time 2/4
% from upper staff-line (position 2) to center (position 0)
\override Beam.positions = #'(2 . 0)
c8 c
% from center to one above center (position 1)
\override Beam.positions = #'(0 . 1)
c8 c
}
![[image of music]](../bb/lily-91289216.png)
Mensurstriche layout (bar lines between the staves)
The mensurstriche-layout where the bar lines do not show on the staves
but between staves can be achieved with a StaffGroup instead of
a ChoirStaff. The bar line on staves is blanked out using
\hide.
global = {
\hide Staff.BarLine
s1 s
% the final bar line is not interrupted
\undo \hide Staff.BarLine
\bar "|."
}
\new StaffGroup \relative c'' {
<<
\new Staff { << \global { c1 c } >> }
\new Staff { << \global { c c } >> }
>>
}
![[image of music]](../a8/lily-6697829e.png)
Modifying the Ottava spanner slope
It is possible to change the slope of the Ottava spanner.
\relative c'' {
\override Staff.OttavaBracket.stencil = #ly:line-spanner::print
\override Staff.OttavaBracket.bound-details =
#`((left . ((Y . 0) ; Change the integer here
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,CENTER)))
(right . ((Y . 5) ; Change the integer here
(padding . 0)
(attach-dir . ,RIGHT)
(text . ,(make-draw-dashed-line-markup (cons 0 -1.2))))))
\override Staff.OttavaBracket.left-bound-info =
#ly:line-spanner::calc-left-bound-info-and-text
\override Staff.OttavaBracket.right-bound-info =
#ly:line-spanner::calc-right-bound-info
\ottava #1
c1
c'''1
}
![[image of music]](../7f/lily-1df7a0af.png)
Moving dotted notes in polyphony
When a dotted note in the upper voice is moved to avoid a collision
with a note in another voice, the default is to move the upper note to
the right. This behaviour can be over-ridden by using the
prefer-dotted-right property of NoteCollision.
\new Staff \relative c' <<
{
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##f
f2. f4
\override Staff.NoteCollision.prefer-dotted-right = ##t
f2. f4
}
\\
{ e4 e e e e e e e e e e e }
>>
![[image of music]](../3b/lily-e1850258.png)
Moving slur positions vertically
The vertical position of a slur can be adjusted using the
positions property of Slur. The property has 2
parameters, the first referring to the left end of the slur and the
second to the right. The values of the parameters are not used by
LilyPond to make an exact movement of the slur - instead it selects
what placement of the slur looks best, taking into account the
parameter values. Positive values move the slur up, and are
appropriate for notes with stems down. Negative values move downward
slurs further down.
\relative c' {
\stemDown
e4( a)
\override Slur.positions = #'(1 . 1)
e4( a)
\override Slur.positions = #'(2 . 2)
e4( a)
\override Slur.positions = #'(3 . 3)
e4( a)
\override Slur.positions = #'(4 . 4)
e4( a)
\override Slur.positions = #'(5 . 5)
e4( a)
\override Slur.positions = #'(0 . 5)
e4( a)
\override Slur.positions = #'(5 . 0)
e4( a)
\stemUp
\override Slur.positions = #'(-5 . -5)
e4( a)
\stemDown
\revert Slur.positions
e4( a)
}
![[image of music]](../14/lily-ab1097d7.png)
Nesting staves
The property systemStartDelimiterHierarchy can be used to make
more complex nested staff groups. The command \set
StaffGroup.systemStartDelimiterHierarchy takes an alphabetical list of
the number of staves produced. Before each staff a system start
delimiter can be given. It has to be enclosed in brackets and takes as
much staves as the brackets enclose. Elements in the list can be
omitted, but the first bracket takes always the complete number of
staves. The possibilities are SystemStartBar,
SystemStartBracket, SystemStartBrace, and
SystemStartSquare.
\new StaffGroup
\relative c'' <<
\set StaffGroup.systemStartDelimiterHierarchy
= #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a
(SystemStartSquare b) ) c ) d)
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
\new Staff { c1 }
>>
![[image of music]](../35/lily-565e641a.png)
Overriding articulations of destinct type
Sometimes you may want to affect a single articulation-type. Although
it is always possible to use \tweak, it might become tedious to
do so for every single sign of a whole score. The following shows how
to tweak articulations with a list of custom-settings. One use-case
might be to create a style-sheet.
With 2.16.2 it is possible to put the proposed function,
\customScripts, into a \layout-block.
% Code by David Nalesnik and Thomas Morley
#(define (custom-script-tweaks ls)
(lambda (grob)
(let* ((type (ly:prob-property
(assoc-ref (ly:grob-properties grob) 'cause)
'articulation-type))
(tweaks (assoc-ref ls type)))
(if tweaks
(for-each
(lambda (x) (ly:grob-set-property! grob (car x) (cdr x)))
tweaks)))))
customScripts =
#(define-music-function (settings)(list?)
#{
\override Script.before-line-breaking =
#(custom-script-tweaks settings)
#})
revertCustomScripts = { \revert Script.before-line-breaking }
%%%%%%%%%%%%%
% Example:
%%%%%%%%%%%%%
% Predefine a list of desired tweaks.
#(define my-settings-1
'(
("staccato" . ((color . (1 0 0))(padding . 0.5)))
("accent" . ((font-size . 0)(color . (1 0 0))))
("tenuto" . ((rotation . (45 0 0)) (padding . 2)(font-size . 10)))
("staccatissimo" . ((padding . 1) (color . (1 0 0))))
("segno" . ((font-size . 0)(color . (1 0 0))))
))
#(define my-settings-2
'(
("staccato" . ((color . (0 1 0))))
("accent" . ((font-size . 4)(color . (0 1 0))(padding . 1.5)))
("tenuto" . ((font-size . 10)))
("staccatissimo" . ((padding . 2) (color . (0 1 0))))
("coda" . ((color . (0 1 0)) (padding . 1)))
))
one =
\relative c'' {
f1--
\customScripts #my-settings-1
f-. f-! f-> f-- f-!\segno
\revertCustomScripts
f-> f-.
}
two =
\relative c' {
f1--
\customScripts #my-settings-2
f-. f-! f-> f---> f-!
f-> f-.\coda
}
\new Staff <<
\new Voice { \voiceOne \one }
\new Voice { \voiceTwo \two }
>>
![[image of music]](../b6/lily-92c5326a.png)
Percent repeat count visibility
Percent repeat counters can be shown at regular intervals by setting
the context property repeatCountVisibility.
\relative c'' {
\set countPercentRepeats = ##t
\set repeatCountVisibility = #(every-nth-repeat-count-visible 5)
\repeat percent 10 { c1 } \break
\set repeatCountVisibility = #(every-nth-repeat-count-visible 2)
\repeat percent 6 { c1 d1 }
}
![[image of music]](../fa/lily-46ea40c3.png)
Positioning arpeggios
If you need to extend or shorten an arpeggio, you can modify the upper and lower start positions independently.
\relative c' {
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 0)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(0 . 5)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 5)
<c e g b>1\arpeggio
}
![[image of music]](../95/lily-a6ce2810.png)
Positioning multi-measure rests
Unlike ordinary rests, there is no predefined command to change the staff position of a multi-measure rest symbol of either form by attaching it to a note. However, in polyphonic music multi-measure rests in odd-numbered and even-numbered voices are vertically separated. The positioning of multi-measure rests can be controlled as follows:
\relative c'' {
% Multi-measure rests by default are set under the fourth line
R1
% They can be moved using an override
\override MultiMeasureRest.staff-position = #-2
R1
\override MultiMeasureRest.staff-position = #0
R1
\override MultiMeasureRest.staff-position = #2
R1
\override MultiMeasureRest.staff-position = #3
R1
\override MultiMeasureRest.staff-position = #6
R1
\revert MultiMeasureRest.staff-position
\break
% In two Voices, odd-numbered voices are under the top line
<< { R1 } \\ { a1 } >>
% Even-numbered voices are under the bottom line
<< { a1 } \\ { R1 } >>
% Multi-measure rests in both voices remain separate
<< { R1 } \\ { R1 } >>
% Separating multi-measure rests in more than two voices
% requires an override
<< { R1 } \\ { R1 } \\
\once \override MultiMeasureRest.staff-position = #0
{ R1 }
>>
% Using compressed bars in multiple voices requires another override
% in all voices to avoid multiple instances being printed
\compressMMRests
<<
\revert MultiMeasureRest.direction
{ R1*3 }
\\
\revert MultiMeasureRest.direction
{ R1*3 }
>>
}
![[image of music]](../fe/lily-15ff52a7.png)
Positioning text markups inside slurs
Text markups need to have the outside-staff-priority property
set to false in order to be printed inside slurs.
\relative c'' {
\override TextScript.avoid-slur = #'inside
\override TextScript.outside-staff-priority = ##f
c2(^\markup { \halign #-10 \natural } d4.) c8
}
![[image of music]](../7e/lily-e382e3e0.png)
Printing bar numbers inside boxes or circles
Bar numbers can also be printed inside boxes or circles.
\relative c' {
% Prevent bar numbers at the end of a line and permit them elsewhere
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 4)
% Increase the size of the bar number by 2
\override Score.BarNumber.font-size = #2
% Draw a box round the following bar number(s)
\override Score.BarNumber.stencil
= #(make-stencil-boxer 0.1 0.25 ly:text-interface::print)
\repeat unfold 5 { c1 }
% Draw a circle round the following bar number(s)
\override Score.BarNumber.stencil
= #(make-stencil-circler 0.1 0.25 ly:text-interface::print)
\repeat unfold 4 { c1 } \bar "|."
}
![[image of music]](../8d/lily-f40f0c36.png)
Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction property
of MetronomeMark or RehearsalMark appropriately.
\layout {
indent = 0
ragged-right = ##f
}
{
% Metronome marks below the staff
\override Score.MetronomeMark.direction = #DOWN
\tempo 8. = 120
c''1
% Rehearsal marks below the staff
\override Score.RehearsalMark.direction = #DOWN
\mark \default
c''1
}
![[image of music]](../03/lily-5f9ea4d2.png)
Printing note names with and without an octave marker
The NoteNames context can be used to print the text value of
notes. The printOctaveNames property turns on or off the
representation of the octave of the note.
scale = \relative c' {
a4 b c d
e4 f g a
}
\new Staff {
<<
\scale
\context NoteNames {
\set printOctaveNames = ##f
\scale
}
>>
R1
<<
\scale
\context NoteNames {
\set printOctaveNames = ##t
\scale
}
>>
}
![[image of music]](../82/lily-91b4dcfd.png)
Proportional strict notespacing
If strict-note-spacing is set spacing of notes is not influenced
by bars or clefs within a system. Rather, they are placed just before
the note that occurs at the same time. This may cause collisions.
\relative c'' <<
\override Score.SpacingSpanner.strict-note-spacing = ##t
\set Score.proportionalNotationDuration = #(ly:make-moment 1/16)
\new Staff {
c8[ c \clef alto c c \grace { d16 } c8 c] c4
c2 \grace { c16[ c16] } c2
}
\new Staff {
c2 \tuplet 3/2 { c8 \clef bass cis,, c } c4
c1
}
>>
![[image of music]](../39/lily-63aa6413.png)
Removing brace on first line of piano score
This snippet removes the first brace from a PianoStaff or a
GrandStaff. It may be useful when cutting and pasting the
engraved image into existing music.
It uses \alterBroken.
someMusic = {
\once \override Staff.Clef.stencil = ##f
\once \override Staff.TimeSignature.stencil = ##f
\repeat unfold 3 c1 \break
\repeat unfold 5 c1 \break
\repeat unfold 5 c1
}
\score {
\new PianoStaff
<<
\new Staff = "right" \relative c'' \someMusic
\new Staff = "left" \relative c' { \clef F \someMusic }
>>
\layout {
indent=75
\context {
\PianoStaff
\alterBroken transparent #'(#t) SystemStartBrace
}
}
}
![[image of music]](../54/lily-65276f1a.png)
Removing connecting bar lines on StaffGroup PianoStaff or GrandStaff
By default, bar lines in StaffGroup, PianoStaff, or GrandStaff groups are connected between the staves. This behaviour can be overridden on a staff-by-staff basis.
\relative c' {
\new StaffGroup <<
\new Staff {
e1 | e
\once \override Staff.BarLine.allow-span-bar = ##f
e1 | e | e
}
\new Staff {
c1 | c | c
\once \override Staff.BarLine.allow-span-bar = ##f
c1 | c
}
\new Staff {
a1 | a | a | a | a
}
>>
}
![[image of music]](../b0/lily-2da83b9c.png)
Removing the first empty line
The first empty staff can also be removed from the score by setting the
VerticalAxisGroup property remove-first. This can be done
globally inside the \layout block, or locally inside the
specific staff that should be removed. In the latter case, you have to
specify the context (Staff applies only to the current staff) in
front of the property.
The lower staff of the second staff group is not removed, because the setting applies only to the specific staff inside of which it is written.
\layout {
\context {
\Staff \RemoveEmptyStaves
% To use the setting globally, uncomment the following line:
% \override VerticalAxisGroup.remove-first = ##t
}
}
\new StaffGroup <<
\new Staff \relative c' {
e4 f g a \break
c1
}
\new Staff {
% To use the setting globally, comment this line,
% uncomment the line in the \layout block above
\override Staff.VerticalAxisGroup.remove-first = ##t
R1 \break
R
}
>>
\new StaffGroup <<
\new Staff \relative c' {
e4 f g a \break
c1
}
\new Staff {
R1 \break
R
}
>>
![[image of music]](../74/lily-41b71de7.png)
Rest styles
Rests may be used in various styles.
\new Staff \relative c {
\omit Score.TimeSignature
\cadenzaOn
\override Staff.Rest.style = #'mensural
r\maxima^\markup \typewriter { mensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'neomensural
r\maxima^\markup \typewriter { neomensural }
r\longa r\breve r1 r2 r4 r8 r16 s32 s64 s128 s128
\bar ""
\break
\override Staff.Rest.style = #'classical
r\maxima^\markup \typewriter { classical }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'z
r\maxima^\markup \typewriter { z-style }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
\bar ""
\break
\override Staff.Rest.style = #'default
r\maxima^\markup \typewriter { default }
r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r128 s128
}
![[image of music]](../1c/lily-18b7709f.png)
Rhythmic slashes
In “simple” lead-sheets, sometimes no actual notes are written,
instead only “rhythmic patterns” and chords above the measures are
notated giving the structure of a song. Such a feature is for example
useful while creating/transcribing the structure of a song and also
when sharing lead sheets with guitarists or jazz musicians. The
standard support for this using \repeat percent is unsuitable
here since the first beat has to be an ordinary note or rest. This
example shows two solutions to this problem, by redefining ordinary
rests to be printed as slashes. (If the duration of each beat is not a
quarter note, replace the r4 in the definitions with a rest of
the appropriate duration).
% Macro to print single slash
rs = {
\once \override Rest.stencil = #ly:percent-repeat-item-interface::beat-slash
\once \override Rest.thickness = #0.48
\once \override Rest.slope = #1.7
r4
}
% Function to print a specified number of slashes
comp = #(define-music-function (count) (integer?)
#{
\override Rest.stencil = #ly:percent-repeat-item-interface::beat-slash
\override Rest.thickness = #0.48
\override Rest.slope = #1.7
\repeat unfold $count { r4 }
\revert Rest.stencil
#}
)
\score {
\relative c' {
c4 d e f |
\rs \rs \rs \rs |
\comp #4 |
}
}
![[image of music]](../84/lily-2e268c6a.png)
Separating key cancellations from key signature changes
By default, the accidentals used for key cancellations are placed
adjacent to those for key signature changes. This behavior can be
changed by overriding the 'break-align-orders property of the
BreakAlignment grob.
The value of 'break-align-orders is a vector of length 3, with
quoted lists of breakable items as elements. This example only
modifies the second list, moving key-cancellation before
staff-bar; by modifying the second list, break alignment
behavior only changes in the middle of a system, not at the beginning
or the end.
\new Staff {
\override Score.BreakAlignment.break-align-orders =
##((left-edge ambitus breathing-sign clef staff-bar
key-cancellation key-signature time-signature custos)
(left-edge ambitus breathing-sign clef key-cancellation
staff-bar key-signature time-signature custos)
(left-edge ambitus breathing-sign clef key-cancellation
key-signature staff-bar time-signature custos))
\key des \major
c'1
\bar "||"
\key bes \major
c'1
}
![[image of music]](../ad/lily-a28fa83e.png)
Setting hairpin behavior at bar lines
If the note which ends a hairpin falls on a downbeat, the hairpin stops
at the bar line immediately preceding. This behavior can be controlled
by overriding the 'to-barline property.
\relative c'' {
e4\< e2.
e1\!
\override Hairpin.to-barline = ##f
e4\< e2.
e1\!
}
![[image of music]](../33/lily-54187d22.png)
Setting system separators
System separators can be inserted between systems. Any markup can be
used, but \slashSeparator has been provided as a sensible
default.
\paper {
system-separator-markup = \slashSeparator
line-width = 120
}
notes = \relative c' {
c1 | c \break
c1 | c \break
c1 | c
}
\book {
\score {
\new GrandStaff <<
\new Staff \notes
\new Staff \notes
>>
}
}
![[image of music]](../d5/lily-9e0995da.png)
Showing the same articulation above and below a note or chord
By default, LilyPond does not allow the same articulation (e.g., an
accent, a fermata, a flageolet, etc.) to be displayed above and below a
note. For example, c4_\fermata^\fermata will only show a fermata
below. The fermata above will simply be ignored. However, one can stick
scripts (just like fingerings) inside a chord, which means it is
possible to have as many articulations as desired. This approach has
the advantage that it ignores the stem and positions the articulation
relative to the note head. This can be seen in the case of the
flageolets in the snippet. To mimic the behaviour of scripts outside a
chord, ’add-stem-support would be required. So, the solution is to
write the note as a chord and add the articulations inside the <...>.
The direction will always be above, but one can tweak this via a
\tweak: <c-\tweak direction #DOWN-\fermata^\fermata>
% The same as \flageolet, just a little smaller
smallFlageolet =
#(let ((m (make-articulation "flageolet")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size -2
(ly:music-property m 'tweaks)))
m)
\relative c' {
s4^"Wrong:"
c4_\fermata^\fermata % The second fermata is ignored!
<e d'>4^\smallFlageolet_\smallFlageolet
s4^"Works if written inside a chord:"
<e_\smallFlageolet d'^\smallFlageolet>4
<e_\flageolet d'^\flageolet>4
<e_\smallFlageolet^\smallFlageolet>4
<e_\fermata^\fermata>4
}
![[image of music]](../52/lily-d84c6909.png)
String number extender lines
Make an extender line for string number indications, showing that a series of notes is supposed to be played all on the same string.
stringNumberSpanner =
#(define-music-function (StringNumber) (string?)
#{
\override TextSpanner.style = #'solid
\override TextSpanner.font-size = #-5
\override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
\override TextSpanner.bound-details.left.text =
\markup { \circle \number $StringNumber }
#})
\relative c {
\clef "treble_8"
\stringNumberSpanner "5"
\textSpannerDown
a8\startTextSpan
b c d e f\stopTextSpan
\stringNumberSpanner "4"
g\startTextSpan a
bes4 a g2\stopTextSpan
}
![[image of music]](../a5/lily-2fb3daf1.png)
Suppressing warnings for clashing note columns
If notes from two voices with stems in the same direction are placed at
the same position, and both voices have no shift or the same shift
specified, the error message ‘warning: ignoring too many clashing
note columns’ will appear when compiling the LilyPond file. This
message can be suppressed by setting the 'ignore-collision
property of the NoteColumn object to #t. Please note that
this does not just suppress warnings but stops LilyPond trying to
resolve collisions at all and so may have unintended results unless
used with care.
ignore = \override NoteColumn.ignore-collision = ##t
\relative c' {
\new Staff <<
\new Voice{ \ignore \stemDown f2 g }
\new Voice{ c2 \stemDown c, }
>>
}
![[image of music]](../ba/lily-e957203d.png)
Time signature in parentheses - method 3
Another way to put the time signature in parenthesis
\relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(parenthesize-stencil (ly:time-signature::print grob) 0.1 0.4 0.4 0.1 ))
\time 2/4
a4 b8 c
}
![[image of music]](../fb/lily-6736381b.png)
Time signature in parentheses
The time signature can be enclosed within parentheses.
\relative c'' {
\override Staff.TimeSignature.stencil = #(lambda (grob)
(bracketify-stencil (ly:time-signature::print grob) Y 0.1 0.2 0.1))
\time 2/4
a4 b8 c
}
![[image of music]](../61/lily-a9d006ff.png)
Time signature printing only the numerator as a number (instead of the fraction)
Sometimes, a time signature should not print the whole fraction (e.g.
7/4), but only the numerator (7 in this case). This can be easily done
by using \override Staff.TimeSignature.style = #'single-digit
to change the style permanently. By using \revert
Staff.TimeSignature.style, this setting can be reversed. To apply the
single-digit style to only one time signature, use the
\override command and prefix it with a \once.
\relative c'' {
\time 3/4
c4 c c
% Change the style permanently
\override Staff.TimeSignature.style = #'single-digit
\time 2/4
c4 c
\time 3/4
c4 c c
% Revert to default style:
\revert Staff.TimeSignature.style
\time 2/4
c4 c
% single-digit style only for the next time signature
\once \override Staff.TimeSignature.style = #'single-digit
\time 5/4
c4 c c c c
\time 2/4
c4 c
}
![[image of music]](../d8/lily-7db0cfe7.png)
Tuplet bracket and change staff
This snippet shows how to set a tuplet starting in a lower staff and finishing in the upper one.
aigues = \relative c' {
\time 6/8
s4.
\stemDown
c16[ bes' e]
\stemUp
g c e
\stemDown
g8
}
basses = \relative c {
\time 3/4
\clef F
\tweak positions #'(4.5 . 9.5)
\tweak edge-height #'(1 . -1)
\tuplet 7/6 {
c16[ bes' e]
\change Staff = md
\stemUp
g[ c e g]
}
s4.s8
}
\new PianoStaff
\with { \omit TimeSignature }
<<
\new Staff = md \aigues
\new Staff = mg \basses
>>
![[image of music]](../53/lily-d63543ed.png)
Tweaking clef properties
Changing the Clef glyph, its position, or the ottavation does not
change the position of subsequent notes on the staff. To get key
signatures on their correct staff lines middleCClefPosition must
also be specified, with positive or negative values moving middle
C up or down respectively, relative to the staff’s center line.
For example, \clef "treble_8" is equivalent to setting the
clefGlyph, clefPosition (the vertical position of the
clef itself on the staff), middleCPosition and
clefTransposition. Note that when any of these properties
(except middleCPosition) are changed a new clef symbol is
printed.
The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.
{
% The default treble clef
\key f \major
c'1
% The standard bass clef
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
\set Staff.middleCPosition = #6
\set Staff.middleCClefPosition = #6
\key g \major
c'1
% The baritone clef
\set Staff.clefGlyph = #"clefs.C"
\set Staff.clefPosition = #4
\set Staff.middleCPosition = #4
\set Staff.middleCClefPosition = #4
\key f \major
c'1
% The standard choral tenor clef
\set Staff.clefGlyph = #"clefs.G"
\set Staff.clefPosition = #-2
\set Staff.clefTransposition = #-7
\set Staff.middleCPosition = #1
\set Staff.middleCClefPosition = #1
\key f \major
c'1
% A non-standard clef
\set Staff.clefPosition = #0
\set Staff.clefTransposition = #0
\set Staff.middleCPosition = #-4
\set Staff.middleCClefPosition = #-4
\key g \major
c'1 \break
% The following clef changes do not preserve
% the normal relationship between notes, key signatures
% and clefs:
\set Staff.clefGlyph = #"clefs.F"
\set Staff.clefPosition = #2
c'1
\set Staff.clefGlyph = #"clefs.G"
c'1
\set Staff.clefGlyph = #"clefs.C"
c'1
\set Staff.clefTransposition = #7
c'1
\set Staff.clefTransposition = #0
\set Staff.clefPosition = #0
c'1
% Return to the normal clef:
\set Staff.middleCPosition = #0
c'1
}
![[image of music]](../ef/lily-e1ff70ae.png)
Tweaking grace layout within music
The layout of grace expressions can be changed throughout the music
using the functions add-grace-property and
remove-grace-property. The following example undefines the
Stem direction for this grace, so that stems do not always point
up, and changes the default note heads to crosses.
\relative c'' {
\new Staff {
$(remove-grace-property 'Voice 'Stem 'direction)
$(add-grace-property 'Voice 'NoteHead 'style 'cross)
\new Voice {
\acciaccatura { f16 } g4
\grace { d16 e } f4
\appoggiatura { f,32 g a } e2
}
}
}
![[image of music]](../a0/lily-6a9a4ac4.png)
Using alternative flag styles
Alternative styles of flag on eighth and shorter notes can be displayed
by overriding the stencil property of Flag. Valid values
are modern-straight-flag, old-straight-flag and
flat-flag.
testnotes = {
\autoBeamOff
c8 d16 c32 d64 \acciaccatura { c8 } d64 r4
}
\score {
\relative c' {
\time 2/4
\testnotes
\override Flag.stencil = #modern-straight-flag
\testnotes
\override Flag.stencil = #old-straight-flag
\testnotes
\override Flag.stencil = #flat-flag
\testnotes
\revert Flag.stencil
\testnotes
}
\layout {
indent = 0
\context {
\Score
\override NonMusicalPaperColumn.line-break-permission = ##f
}
}
}
![[image of music]](../d7/lily-cd18e176.png)
Using ly:grob-object to access grobs with \tweak
Some grobs can be accessed “laterally” from within another grob’s callback. These are usually listed as “layout objects” in the “Internal properties” section of a grob-interface. The function ly:grob-object is used to access these grobs.
Demonstrated below are some ways of accessing grobs from within a
NoteHead callback, but the technique is not limited to NoteHeads.
However, the NoteHead callback is particularly important, since it is
the implicit callback used by the \tweak command.
The example function defined below ("display-grobs") is probably not that useful, but it demonstrates that the grobs are indeed being accessed.
Example console output:
#Grob Accidental () #Grob Stem
#(define (notehead-get-accidental notehead)
;; notehead is grob
(ly:grob-object notehead 'accidental-grob))
#(define (notehead-get-arpeggio notehead)
;; notehead is grob
(let ((notecolumn (notehead-get-notecolumn notehead)))
(ly:grob-object notecolumn 'arpeggio)))
#(define (notehead-get-notecolumn notehead)
;; notehead is grob
(ly:grob-parent notehead X))
#(define (notehead-get-stem notehead)
;; notehead is grob
(let ((notecolumn (notehead-get-notecolumn notehead)))
(ly:grob-object notecolumn 'stem)))
#(define (display-grobs notehead)
;; notehead is grob
(let ((accidental (notehead-get-accidental notehead))
(arpeggio (notehead-get-arpeggio notehead))
(stem (notehead-get-stem notehead)))
(format (current-error-port) "~2&~a\n" (make-string 20 #\-))
(for-each
(lambda (x) (format (current-error-port) "~a\n" x))
(list accidental arpeggio stem))))
\relative c' {
%% display grobs for each note head:
%\override NoteHead.before-line-breaking = #display-grobs
<c
%% or just for one:
\tweak before-line-breaking #display-grobs
es
g>1\arpeggio
}
![[image of music]](../6d/lily-e99e057e.png)
Using PostScript to generate special note head shapes
When a note head with a special shape cannot easily be generated with graphic markup, PostScript code can be used to generate the shape. This example shows how a parallelogram-shaped note head is generated.
parallelogram =
#(ly:make-stencil (list 'embedded-ps
"gsave
currentpoint translate
newpath
0 0.25 moveto
1.3125 0.75 lineto
1.3125 -0.25 lineto
0 -0.75 lineto
closepath
fill
grestore" )
(cons 0 1.3125)
(cons -.75 .75))
myNoteHeads = \override NoteHead.stencil = \parallelogram
normalNoteHeads = \revert NoteHead.stencil
\relative c'' {
\myNoteHeads
g4 d'
\normalNoteHeads
<f, \tweak stencil \parallelogram b e>4 d
}
![[image of music]](../1e/lily-362946f3.png)
Using the \tweak command to tweak individual grobs
With the \tweak command, every grob can be tuned directly.
Here are some examples of available tweaks.
\relative c' {
\time 2/4
\set fingeringOrientations = #'(right)
<
\tweak font-size #3 c
\tweak color #red d-\tweak font-size #8 -4
\tweak style #'cross g
\tweak duration-log #2 a
>2
}
![[image of music]](../dd/lily-9ca94e6c.png)
Vertically aligned dynamics and textscripts
All DynamicLineSpanner objects (hairpins and dynamic texts) are
placed with their reference line at least 'staff-padding from
the staff, unless other notation forces them to be farther. Setting
'staff-padding to a sufficiently large value aligns the dynamics.
The same idea, together with \textLengthOn, is used to align
the text scripts along their baseline.
music = \relative c' {
a'2\p b\f
e4\p f\f\> g, b\p
c2^\markup { \huge gorgeous } c^\markup { \huge fantastic }
}
{
\music
\break
\override DynamicLineSpanner.staff-padding = #3
\textLengthOn
\override TextScript.staff-padding = #1
\music
}
![[image of music]](../f8/lily-e40ec56a.png)
Vertically aligning ossias and lyrics
This snippet demonstrates the use of the context properties
alignBelowContext and alignAboveContext to control the
positioning of lyrics and ossias.
\paper {
ragged-right = ##t
}
\relative c' <<
\new Staff = "1" { c4 c s2 }
\new Staff = "2" { c4 c s2 }
\new Staff = "3" { c4 c s2 }
{ \skip 2
<<
\lyrics {
\set alignBelowContext = #"1"
lyrics4 below
}
\new Staff \with {
alignAboveContext = #"3"
fontSize = #-2
\override StaffSymbol.staff-space = #(magstep -2)
\remove "Time_signature_engraver"
} {
\tuplet 6/4 {
\override TextScript.padding = #3
c8[^"ossia above" d e d e f]
}
}
>>
}
>>
![[image of music]](../c9/lily-f55b8b69.png)
| [ << Tweaks and overrides ] | [Top][Contents][Index][ ? ] | [ Paper and layout >> ] | ||
| [ < Tweaks and overrides: Vertically aligning ossias and lyrics ] | [ Up : Tweaks and overrides ] | [ Paper and layout > ] | ||
Vertically centering paired figured bass extenders
Where figured bass extender lines are being used by setting
useBassFigureExtenders to true, pairs of congruent figured bass
extender lines are vertically centered if
figuredBassCenterContinuations is set to true.
<<
\relative c' {
c8 c b b a a c16 c b b
c8 c b b a a c16 c b b
c8 c b b a a c c b b
}
\figures {
\set useBassFigureExtenders = ##t
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>16 r
\set figuredBassCenterContinuations = ##t
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>16 r
\set figuredBassCenterContinuations = ##f
<6+ 4 3>4 <6 4 3>8 r
<6+ 4 3>4 <6 4 3>8 <4 3+>8
}
>>
![[image of music]](../9f/lily-79d0e669.png)
| [ << Tweaks and overrides ] | [Top][Contents][Index][ ? ] | [ Paper and layout >> ] | ||
| [ < Tweaks and overrides: Vertically aligning ossias and lyrics ] | [ Up : Tweaks and overrides ] | [ Paper and layout > ] | ||