This document presents proofs for LilyPond 2.10.33. When the text corresponds with the shown notation, we consider LilyPond Officially BugFree (tm). This document is intended for finding bugs and for documenting bugfixes.
In the web version of this document, you can click on the file name or figure for each example to see the corresponding input file.
TODO: order of tests (file names!), test only one feature per test. Smaller and neater tests.
Cautionary accidentals are indicated using either parentheses (default) or smaller accidentals.
Accidentals are reset for clef changes.
accidentals avoid stems of other notes too.
If two forced accidentals happen at the same time, only one sharp sign is printed.
Accidentals can be forced with ! and ? even if the notes are tied.
Ledger lines are shortened when there are accidentals. This happens only for the single ledger line close to the note head, and only if the accidental is horizontally close to the head.
This shows how accidentals in different octaves are handled. The note names are also automatically printed but the octavation has been dropped out.
In piano accidental style, notes in both staves influence each other. In this example, each note should have an accidental.
Accidentals are placed as closely as possible. Accidentals in corresponding octaves are aligned. The top accidental should be nearest to the chord. The flats in a sixth should be staggered.
Quarter tone notation is supported, including threequarters flat.
A sharp sign after a double sharp sign, as well as a flat sign after a double flat sign is automatically prepended with a natural sign.
setting the suggestAccidentals will print
accidentals vertically relative to the note. This is useful for
denoting Musica Ficta.
The second and third notes should not get accidentals, 6 because they are tied to a note. However, an accidental is present if the line is broken at the tie, which happens for the G sharp.
accidental-unbroken-tie-spacing.ly
Tied accidentaled notes (which cause reminder accidentals) do not wreak havoc in the spacing when unbroken.
This shows how modern cross voice auto cautionary accidentals are handled. The first two fisses get accidentals because they belong to different voices. The first f gets cautionary natural because of previous measure. The last f gets cautionary natural because fis was only in the other voice.
Accidentals work: the second note does not get a sharp. The third and fourth show forced and courtesy accidentals.
In 'modern accidental style, the last note should have an accidental sign.
Newly created contexts can be inserted anywhere in the vertical alignment.
alignment-vertical-manual-setting.ly
Alignments may be changed pre system by setting
alignment-offsets in the line-break-system-details
property
By setting properties in NonMusicalPaperColumn, vertical
spacing of alignments can be adjusted per system.
By setting alignment-extra-space or
fixed-alignment-extra-space an individual system may be
stretched vertically.
For technical reasons, overrideProperty has to be used for
setting properties on individual object. \override in a
\context block may still be used for global overrides.
Ambituses indicate pitch ranges for voices.
Accidentals only show up if they're not part of key
signature. AmbitusNoteHead grobs also have ledger lines.
With \applyContext, \properties can be modified
procedurally. Applications include: checking bar numbers, smart
octavation.
This example prints a bar-number during processing on stdout.
The \applyOutput expression is the most flexible way to
tune properties for individual grobs.
Here, the layout of a note head is changed depending on its vertical position.
A square bracket on the left indicates that the player should not arpeggiate the chord.
Arpeggio stays clear of accidentals and flipped note heads.
Arpeggios are supported, both cross-staff and broken single staff.
No auto beams will be put over (manual) repeat bars.
Autobeamer remembers subdivideBeams and other
beaming pattern related functions at the start of an autobeam.
The autobeamer may be switched off for a single note
with \noBeam.
Automatic beaming is also done on tuplets.
Tuplet-spanner should not put (visible) brackets on beams even if they're auto generated.
Beams are place automatically; the last measure should have a single beam.
Auto change piano staff switches voices between up and down staves automatically rests are switched along with the coming note. When central C is reached, staff is not yet switched (by default).
Excercise all output functions
With balloon texts, objects in the output can be marked, with lines and explanatory text added.
The meaning of | is stored in the
identifier pipeSymbol.
The dashes in a dashed bar line covers staff lines exactly. Dashed barlines between staves start and end on a half dash precisely.
Bar number may be set and their padding adjusted individually. The counting of bar numbers is started after the anacrusis.
To prevent clashes at the beginning of a line, the padding may have to be increased.
Markings can be attached to (invisible) barlines.
A knee is made automatically when a horizontal beam fits in a gap between note heads that is larger than a predefined threshold.
There are presets for the auto-beam engraver in the case of common
time signatures.
Beamlets in grace notes remain readable.
Beaming patterns obey the beatGrouping property.
Beams can be printed across line breaks, if forced.
Simple beams on middle staffline are allowed to be slightly sloped, even if the notes have ledgers. Beams reaching beyond middle line can have bigger slope.
Beams that are not strictly concave are damped according to their concaveness.
Fully concave beams should be horizontal. Informally spoken, concave refers to the shape of the notes that are opposite a beam. If an up-beam has high notes on its center stems, then we call it concave.
If a beam is fails a test, the desired slope is printed next to it.
Automatic cross-staff knees work also (here they were produced with explicit staff switches).
Cross staff (kneed) beams do not cause extreme slopes.
Beams can be typeset over fixed distance aligned staves, beam beautification does not really work, but knees do. Beams should be behave well, wherever the switching point is.
Beams are less steep than the notes they encompass.
Beamed stems have standard lengths if possible. Quantization is switched off in this example.
Beams should behave reasonably well, even under extreme circumstances.
Stems may be short, but noteheads should never touch the beam. Note that
under normal circumstances, these beams would get knees here
Beam.auto-knee-gap was set to false.
Specifying grow-direction on a beam, will cause
feathered beaming. The \featherDurations function can be used
to adjust note durations.
In french style beaming, the stems do not go between beams.
Funky kneed beams with beamlets also work. The beamlets should be pointing to the note head.
In complex configurations of knee beaming, according to Paul Roberts, the first stem of a beam determines the direction of the beam, and as such the way that following (kneed) stems attach to the beam. This is in disagreement with the current algorithm.
Beams can be placed across a PianoStaff.
Point-symmetric beams should receive the same quanting. There is no up/down bias in the quanting code.
Beams should look the same.
Beaming can be overidden for individual stems.
Kneed beams (often happens with cross-staff beams) should look good when there are multiple beams: all the beams should go on continuously at the staff change. Stems in both staves reach up to the last beam.
Beams may overshoot stems. This is also controlled with break-overshoot.
Explicit beams may cross barlines.
Beams on ledgered notes should always reach the middle staff
line. The second beam counting from the note head side, should never
be lower than the second staff line. This does not hold for grace
note beams. Override with no-stem-extend.
This file tests a few standard beam quants, taken from Ted Ross' book. If LilyPond finds another quant, the correct quant is printed over the beam.
Stem lengths take precedence over beam quants: `forbidden' quants are only avoided for 32nd beams when they are outside of the staff. However, that leads to very long stems, which is even worse.
In this test for beam quant positions for horizontal beams, staff lines should be covered in all cases. For 32nd beams, the free stem lengths are between 2 and 1.5.
Quarter notes may be beamed: the beam is halted momentarily.
The number of beams does not change on a rest.
Engraving second intervals is tricky. We used to have problems with seconds being too steep, or getting too long stems. In a file like this, showing seconds, you'll spot something fishy very quickly.
Beams in unnatural direction, have shortened stems, but do not look too short.
Single stem beams are also allowed. For such beams, clip-edges is switched off automatically.
For slope calculations, stemlets are treated as invisible stems.
By setting max-beam-connect, it is
possible to create pairs of unconnected beamlets.
Automatic beaming works also in ternary time sigs. In
this case, the 8th is a beat, so the 16ths are split into two
groups. This can be avoided by overriding beatLength to be 3
8th notes.
Beaming is generated automatically. Beams may cross bar lines. In that case, line breaks are forbidden.
Beaming can be also given explicitly.
Falls and doits can be created with bendAfter. They run to the next note, or to the next barline.
Breaks can be encouraged and discouraged using \break and
\noBreak.
Gregorian chant notation sometimes also uses commas and ticks, but in smaller font size (we call it 'virgula' and 'caesura'). However, the most common breathing signs are divisio minima/maior/maxima and finalis, the latter three looking similar to bar glyphs.
Breathing signs are available in different tastes: commas (default), ticks, vees and `railroad tracks' (caesura).
Property chordChanges: display chord names only when there's a change in the chords scheme, but always display the chord name after a line break.
The 11 is only added to major-13 if it is mentioned explicitly.
Chords can be produced with the new chordname entry
code (\chordmode mode), using a pitch and a suffix. Here,
the suffixes are printed below pitches.
The property chordNameExceptions can used
to store a list of special notations for specific chords.
The layout of the major 7 can be tuned with
majorSevenSymbol.
In ignatzek inversions, a note is dropped down to act as the bass note of the chord. Bass note may be also added explicitly. Above the staff: computed chord names. Below staff: entered chord name.
Scripts can also be attached to chord elements.
Tremolo repeats can be constructed for short tremolos (total duration smaller than 1/4) too. Only some of the beams are connected to the stems.
chord tremolos don't collide with whole notes.
Chord tremolos look like beams, but are a kind of repeat symbol. To avoid confusion, chord tremolo beams do not reach the stems, but leave a gap. Chord tremolo beams on half notes are not ambiguous, as half notes cannot appear in a regular beam, and should reach the stems.
In this example, each tremolo lasts exactly one measure.
(To ensure that the spacing engine is not confused we add some regular notes as well.)
Jazz chords may have unusual combinations.
Octavation signs may be added to clefs. These octavation signs may be placed below or above (meaning an octave higher or lower), and can take any value, including 15 for two octaves.
Clefs with full-size-change should be typeset in
full size. For octaviated clefs, the “8” should appear closely above
or below the clef respectively.
Clipping snippets from a finished score
Notes:
This file needs to be run separately with -dclip-systems; the
collated-files.html of the regression test does not adequately show
the results.
The result will be files named base-from-start-to-end[-count].eps.
Clusters behave well across line breaks.
Clusters can be written across staves.
don't crash on single chord clusters.
Clusters behave well across line breaks.
Clusters are a device to denote that a complete range of notes is to be played.
Single head notes may collide.
Notes in different staves should be aligned to the left-most note, in case of collisions.
When notes are colliding, the resolution depends on the dots: notes with dots should go to the right, if there could be confusion to which notes the dots belong.
If collision resolution finds dotted note head must remain on left hand side, move dots to the right.
Collision resolution tries to put notes with dots on the right side.
Note heads in collisions should be merged if they have the same positions in the extreme note heads.
Open and black note heads are not merged by default.
collision-merge-differently-dotted.ly
If NoteCollision has
merge-differently-dotted = ##t note
heads that have differing dot counts may be merged anyway. Dots
should not disappear when merging similar note heads.
collision-merge-differently-headed.ly
If merge-differently-headed is enabled, then
open note heads may be merged with black noteheads, but only
if the black note heads are from 8th or shorter notes.
When merging heads, the dots are merged too.
Oppositely stemmed chords, meshing into each other, are resolved.
Mixed collisions with whole notes require asymmetric shifts.
In addition to normal collision rules, there is support for polyphony, where the collosion are avoided by shifting middle voices horizontally.
Each grob can have a color assigned to it.
Use the \override and \revert expressions to set the
color property.
Completion heads are broken across bar lines. This was intended as a debugging tool, but it can be used to ease music entry. Completion heads are not fooled by polyphony with a different rhythm.
If the Note_heads_engraver is replaced by the Completion_heads_engraver, notes that cross bar lines are split into tied notes.
Custodes may be engraved in various styles.
Dot columns do not trigger beam slanting too early.
Dots move to the right when a collision with the (up)flag happens.
Noteheads can have dots, and rests too. Augmentation dots should never be printed on a staff line, but rather be shifted vertically. They should go up, but in case of multiple parts, the down stems have down shifted dots. In case of chords, all dots should be in a column. The dots follow the shift of rests when avoiding collisions.
The priorities to print the dots are (ranked in importance):
In drum notation, there is a special clef symbol, drums are placed to their own staff positions and have note heads according to the drum, an extra symbol may be attached to the drum, and the number of lines may be restricted.
Broken crescendi should be open on one side.
Dynamic letters are kerned, and their weight matches that of the hairpin signs. The dynamic scripts should be horizontally centered on the note head. Scripts that should appear closer to the note head (staccato, accent) are reckoned with.
Hairpins extend to the extremes of the bound if there is no adjacent hairpin of dynamic-text. If there is, the hairpin extends to the center of the column or the bound of the text respectively.
Dynamics appear below or above the staff. If multiple dynamics are linked with (de)crescendi, they should be on the same line. Isolated dynamics may be forced up or down.
dynamics-text-spanner-padding.ly
The 2nd half of the cresc. stays at a reasonable distance from the notes.
Crescendi may start off-notes, however, they should not collapse into flat lines.
Easy-notation (or Ez-notation) prints names in note heads. You also get ledger lines, of course.
Fermatas over multimeasure rests are positioned as over normal rests.
figured-bass-continuation-center.ly
Pairs of congruent figured bass extender lines are
vertically centered if figuredBassCenterContinuations is set to
true.
figured-bass-continuation-forbid.ly
By adorning a bass figure with \!, an extender
may be forbidden.
Figured bass extender lines run between repeated bass
figures. They are switched on with useBassFigureExtenders
Implicit bass figures are not printed, but they do get extenders.
Figured bass can also be added to Staff context directly.
In that case, the figures must be entered with \figuremode and be directed
to an existing Staff context.
Since these engravers are on Staff level, properties
controlling figured bass should be set in Staff context.
Figured bass is created by the FiguredBass context which
responds to figured bass events and rest events. You must enter these
using the special \figuremode { } mode, which allows you to
type numbers, like <4 6+> and add slashes and pluses.
You can also enter markup strings. The vertical alignment may also be tuned.
The fill-line markup command should align texts in columns. For examlpe, the characters in the center should form one column.
Scripts left of a chord avoid accidentals.
Ordering of the fingerings depends on vertical ordering of the notes, and is independent of up/down direction.
With the new chord syntax, it is possible to associate fingerings uniquely with notes. This makes it possible to add horizontal fingerings to notes.
Automatic fingering tries to put fingering instructions next to noteheads.
The line-spanners connects to the Y position of the note on the next line. When put across line breaks, only the part before the line break is printed.
TM and No should not be changed into trademark/number symbols. This may happen with incorrect font versions.
The default font families for text can be
overridden with make-pango-font-tree
Text set in TrueType Fonts that contain kerning tables, are kerned.
Other fonts can be used by setting font-name for
the appropriate object. The string should be a Pango font description
without size specification.
This file demonstrates how to load different
(postscript) fonts. The file font.scm shows how to define
the scheme-function make-century-schoolbook-tree.
This file should be run with the TeX and extra options should be passed to LaTeX and dvips to help it find the uncb font.
Frets can be assigned automatically. The results will be best when one string number is indicated in advance
As a last resort, the placement of grobs can be adjusted manually, by
setting the extra-offset of a grob.
Between notes, there may be simple glissando lines. Here, the first two glissandi are not consecutive.
The engraver does no time-keeping, so it involves some trickery to get << { s8 s8 s4 } { c4 \gliss d4 } >> working correctly.
The autobeamer is not confused by grace notes.
Bar line should come before the grace note.
Grace notes do tricky things with timing. If a measure starts with a grace note, the measure does not start at 0, but earlier. Nevertheless, lily should not get confused. For example, line breaks should be possible at grace notes, and the bar number should be printed correctly.
Grace beams and normal beams may occur simultaneously. Unbeamed grace notes are not put into normal beams.
The \voiceOne setting is retained after
finishing the grace section.
Grace notes after the last note do not confuse the timing code.
Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.
Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.
Grace code should not be confused by nested sequential musics, containing grace notes; practically speaking, this means that the end-bar and measure bar coincide in this example.
In nested syntax, graces are still properly handled.
Also in the nested syntax here, grace notes appear rightly.
Graces notes may have the same duration as the main note.
Grace notes may be put in a partcombiner.
A \partial may be combined with a
\grace.
Stripped version of trip.ly. Staves should be of correct length.
Pieces may begin with grace notes.
Stem lengths for grace notes should be shorter than normal notes, if possible. They should never be longer, even if that would lead to beam quanting program.
Here startGraceMusic should set no-stem-extend to
true; the two grace beams should be the same here.
Grace notes in different voices/staves are synchronized.
There are three different kinds of grace types: the base grace switches to smaller type, the appoggiatura inserts also a slur, and the acciaccatura inserts a slur and slashes the stem.
When grace notes are entered with unfolded repeats, line breaks take place before grace notes.
A volta repeat may begin with a grace. Consecutive
ending and starting repeat bars are merged into one :||:.
Repeated music can start with grace notes. Bar checks preceding the grace notes do not cause synchronization effects.
You can have beams, notes, chords, stems etc. within a
\grace section. If there are tuplets, the grace notes will not
be under the brace.
Main note scripts do not end up on the grace note.
With grid lines, vertical lines can be drawn between staves synchronized with the notes.
With the \tweak function, individual grobs that
are directly caused by events may be tuned directly.
If a hairpin ends on the first note of a new stave, we don't print that ending. But on the previous line, this hairpin should not be left open, and should end at the barline.
Hairpins can have circled tips. A decrescendo del niente followed by a crescendo al niente should only print one circle.
Hairpin crescendi may be dashed.
Hairpin dynamics start under notes if there are no text-dynamics. If there are text dynamics, the hairpin does not run into them.
hairpinToBarline is not confused by very long marks.
By setting hairpinToBarline, hairpins will stop at
the barline preceding the ending note.
Hairpins end at the left edge of a rest.
Hara-kiri staves kill themselves if they are empty. This example really contains three staves, but as they progress, empty ones are removed: this example has three staves, but some of them disappear: note how the 2nd line only has the bar number 2. (That the bar number is printed might be considered a bug, however, the scenario of all staves disappearing does not happen in practice.)
Any staff brackets and braces are removed, both in the single staff and no staff case.
This example was done with a pianostaff, which has fixed distance alignment; this should not confuse the mechanism.
stanza numbers remain, even on otherwise empty lyrics lines.
Horizontal brackets connect over line breaks.
Note grouping events are used to indicate where analysis brackets start and end.
Instrument names (aligned on axis group spanners) ignore dynamic and pedal line spanners.
PianoStaff.instrument and
PianoStaff.instr are removed when the staves are killed off.
In this example, the 2nd staff (marked by the barnumber 2) disappears as does the instrument name.
Instrument names are set with Staff.instrument and
Staff.instr. You can enter markup texts to create more funky names,
including alterations.
Instrument names are also printed on partial starting measures.
Staff margins are also markings attached to barlines. They should be left of the staff, and be centered vertically with respect to the staff. They may be on normal staves, but also on compound staves, like the PianoStaff.
The switchInstrument music function modifies
properties for an in staff instrument switch.
Each clef have own accidental placing rules.
key-signature-cancellation-extra-natural.ly
If extraNatural is set then keys that are not
altered farther away (eg from sharp to double sharp) are
cancelled. Otherwise only keys that does not accur in the new key
signature are cancelled.
Key cancellation signs consists of naturals for pitches that are not in the new key signature. Naturals get a little padding so the stems don't collide.
By setting Staff.keySignature directly,
key signatures can be set invidually per pitch.
Key signatures may appear on key changes, even without a barline.
In the case of a line break, the restoration accidentals are printed at
end of a line. If createKeyOnClefChange is set, key signatures
are created also on a clef change.
l.v. ties should avoid dots and staff lines, similar to normal ties.
They have fixed size. Their formatting can be tuned with
tie-configuration.
When ledgered notes are very close, for example, in grace notes, they are kept at a minimum distance to prevent the ledgers from disappearing.
Ledger lines are shortened when they are very close. This ensures that ledgers lines stay separate.
LilyPond syntax can be used inside scheme to
build music expressions, with the #{ ... #} syntax.
Scheme forms can be introduced inside these blocks by escaping
them with a $, both in a LilyPond context or in a Scheme
context.
In this example, the \withpaddingA, \withpaddingB and
\withpaddingC music functions set different kinds of padding on
the TextScript grob.
Arrows can be applied to text-spanners and line-spanners (such as the Glissando)
The period of a dashed line is adjusted such that it starts and ends on a full dash.
With the \lyricsto mechanism, individual lyric
lines can be associated with one melody line. For each lyric line,
can be tuned whether to follow melismata or not.
Polyphonic rhythms and rests do not disturb
\lyricsto.
lyric-combine-switch-voice-2.ly
switching voices halfway a lyricsto is possible.
Switching melody to a different voice works even the switch occurs together with context instantiation.
Lyrics can be set to a melody automatically. Excess lyrics will be discarded. Lyrics will not be set over rests. You can have melismata either by setting a property melismaBusy, or by setting automaticMelismas (which will set melismas during slurs and ties). If you want a different order than first Music, then Lyrics, you must precook a chord of staves/lyrics and label those. Of course, the lyrics ignores any other rhythms in the piece.
Lyric extenders run to the end of the line if it continues the next line. Otherwise, it should run to the last note of the melisma.
Extender engraver also notices the lack of note heads. Here the extender ends on the 2nd quarter note, despite the grace note without a lyric attached.
If extendersOverRests is set, an extender
is not terminated upon encountering a rest.
lyric-extender-right-margin.ly
extenders will not protude into the right margin
A LyricExtender may span several notes. A LyricExtender does not extend past a rest, or past the next lyric syllable.
Hyphens are print at the beginning of the line only when they go past the first note.
The minimum distance between lyrics are determined by the
minimum-distance of LyricHyphen and
LyricSpace.
The ideal length of a hyphen is determined by its length
property, but it may be shortened down to minimum-length in
tight situations. If in this it still does not fit, the hyphen will be
omitted.
Like all overrides within \lyricsto and \addlyrics, the
effect of a setting is delayed is one syllable.
In lyrics, hyphens may be used.
Melisma's may be entered manually by substituting
_ for lyrics on notes that are part of the melisma.
Normally, the lyric is centered on the note head. However, on melismata, the text is left aligned on the left-side of the note head.
Tildes in lyric syllables are converted to tie symbols.
Lyrics are ignored for aftergrace notes.
Adding a Bar_engraver to the Lyrics context makes sure that
lyrics do not collide with barlines.
Melismata are triggered by manual beams.
lyric syllables without note attachment are not centered; Centering may cause unintended effects when the papercolumn is very wide.
Lyrics are not lowered despite the presence of an octavation 8.
The feta font has arrow heads
A single pango string is considered to have one direction. The hebrew in this example (including punctuation) is set right-to-left, with the first word (containing 1) on the right.
The epsfile markup command reads an EPS file
A dotted whole note displayed via the \note
command must separate the note head and the dot. The dot avoids the upflag.
The note markup function may be used to make metronome markings. It works for a variety of flag, dot and duration settings.
There is a Scheme macro markup to produce markup
texts using a similar syntax as \markup.
Use \score block as markup command.
Markup scripts may be stacked.
Demo of markup texts, using LilyPond syntax.
Own markup commands may be defined by using the
define-markup-command scheme macro.
The markup commands \wordwrap and \justify
produce simple paragraph text.
The Measure_grouping_engraver adds triangles and
brackets above beats when the beats of a time signature are grouped.
Mensural ligatures show different shapes, depending on the rhythmical pattern and direction of the melody line.
There is limited support for mensural notation: note head shapes are available. Mensural stems are centered on the note heads, both for up and down stems.
Here \tempo directives are printed as metronome markings.
The marking is left aligned with the time signature, if there is one.
Midi also handles crescendo and decrescendo, either starting and ending from specified or unspecified sound level.
If Score.skipBars is set,
the signs for four, two, and one measure rest are combined to
produce the graphical representation of rests for up to 10 bars.
The number of bars will be written above the sign.
The multimeasure rest is centered exactly between bar lines.
Multi-measure rests are centered also in the case of grace notes.
multi-measure-rest-instr-name.ly
There are both long and short instrument names. Engraving instrument names should not be confused by the multimeasure rests.
multi-measure-rest-multi-staff-center.ly
The centering of multi-measure rests is independent on prefatory matter in other staves.
By setting texts starting with a multi-measure rest, an extra spacing column is created. This should not cause problems.
Texts may be added to the multi-measure rests.
By setting the appropriate spacing-procedure, we can make
measures stretch to accomodate wide texts.
Multi-measure rests do not collide with barlines and clefs. They
are not expanded when you set Score.skipBars. Although the
multi-measure-rest is a Spanner, minimum distances are set to keep it
colliding from barlines.
Rests over measures during longer than 2 wholes use breve rests. When
more than 10 or more measures (tunable through expand-limit)
are used then a different symbol is used.
Music function are generic music transformation functions,
which can be used to extend music syntax seamlessly. Here we
demonstrate a \myBar function, which works similar to
\bar, but is implemented completely in Scheme.
With music-map, you can apply functions operating on a
single piece of music to an entire music expression. In this example,
the the function notes-to-skip changes a note to a skip. When
applied to an entire music expression in the 1st measure, the scripts
and dynamics are left over. These are put onto the 2nd measure.
newlyrics, multiple stanzas, multiple lyric voices.
The printing of the staff lines may be suppressed by removing the corresponding engraver.
By default, text is set with empty horizontal dimensions.
The boolean property no-spacing-rods in TextScript is used
to control the horizontal size of text.
Note heads are flipped on the stem to prevent collisions. It also works for whole heads that have invisible stems.
A harmonic note head must be centered if the base note is a whole note.
The handling of stems for harmonic notes must be completely identical to normal note heads.
Harmonic heads do not get dots. If harmonicAccidentals is
unset, they also don't get accidentals.
With shapeNoteStyles, the style of the note head
is adjusted according to the step of the scale, as measured relative
to the tonic property.
Note head shapes may be set from several choices. The stem endings should be adjusted according to the note head. If you want different note head styles on one stem, you must create a special context.
Harmonic notes have a different shape and different dimensions.
Note head lines (e.g. glissando) run between centers of the note heads.
The number of stafflines of a staff can be set. Ledger lines both on note heads and rests, as well as barlines, are adjusted accordingly.
optimal-page-breaking-hstretch.ly
The optimal page breaker will stretch the systems horizontally so that the vertical spacing will be more acceptable. The page-spacing-weight parameter controls the relative importance of vertical/horizontal spacing. Because ragged-last-bottom is on, only the first page should be horizontally stretched.
At line breaks, ottava brackets have no vertical line and their horizontal line does not stick out. The dashed line runs until the end of the line (regardless of prefatory matter).
Ottava brackets are supported, through the
use of the scheme function set-octavation.
The spanner should go below a staff for 8va bassa, and the ottavation
string can be tuned with Staff.ottavation.
Sublist of grob property lists may be also tuned. In the
next example, the beamed-lengths property of the Stem
grob is tweaked.
Stress optimal page breaking. This should look nice and even on 4 a6 pages.
page-layout-manual-position.ly
By setting Y-offset and X-offset for the
line-break-system-details of NonMusicalPaperColumn,
systems may be placed absolutely on the printable area of the page.
Page breaking details can be stored for later reference.
This shows how different settings on \paper modify the general page layout. Basically \paper will set the values for the whole paper while \layout for each \score block.
This file is best viewed outside the collated files document.
By setting properties in NonMusicalPaperColumn, vertical spacing of page layout can be adjusted.
For technical reasons, overrideProperty has to be used for
setting properties on individual object. \override may still be
used for global overrides.
By setting annotate-spacing, we can see the effect of each property.
By setting page-top-space, the Y position of the
first system can be forced to be uniform.
page-turn-page-breaking-badturns.ly
If there are no good places to have a page turn, the optimal-breaker will just have to recover gracefully. This should appear on 3 pages.
The page-turn breaker will put a page turn after a rest unless there is a 'special' barline within the rest, in which case the turn will go after the special barline.
The parenthesize function is a special tweak that
encloses objects in parentheses. The associated grob is
Score.ParenthesesItem.
The a2 string is printed only on notes (i.e. not on rests), and only after chords, solo or polyphony.
The part combiner stays apart for crossing voices.
The analysis of the part combiner is non-local: in the following example, the decision for using separate voices in the 1st measure is made on the 2nd note, but influences the 1st note.
In the 2nd measure, the pattern without the tie, leads to combined voices.
part-combine-mmrest-after-solo.ly
Multimeasure rests are printed after solos, both for solo1 and for solo2.
SOLO is printed even if the solo voice ends before the other one. Unfortunately, the multi-rest of the 1st voice (which is 2 bars longer than the 2nd voice) does not get printed.
In this example, solo1 should not be printed over the 1st note, because of the slur which is present from the one-voice to the two-voice situation.
A solo string can only be printed when a note starts. Hence, in this example, there is no Solo-2 although the 2nd voice has a dotted quarter, while the first voice has a rest.
A Solo indication is only printed once; (shared) rests do not require reprinting a solo indication.
Solo 1/2 can not be used when a spanner is active, so there is no solo over any of the tied notes.
The new part combiner detects a2, solo1 and solo2, and prints i texts accordingly.
End tuplets events are sent to the starting context, so even after a switch, a tuplet ends correctly.
Tuplets in combined parts only print one bracket.
The new part combiner stays apart from:
The brackets of a piano pedal should start and end at the left side of the note. If a note is shared between two brackets, these ends are flared.
At a line-break, there are no vertical endings.
Unterminated piano pedal brackets run to the end of the piece.
The standard piano pedals style comes with Ped symbols. The pedal string can be also tuned, for example, to a shorter tilde/P variant at the end of the melody.
PhrasingSlurs go over normal slurs.
The A is atop an invisible barline. The barline, although invisible, is also translated because it is the last one of the break alignment.
Distances between prefatory items (e.g. clef, bar, etc.) are determined by engraving standards. These distances depend on which items are combined. Mid-line, the order for clef and bar-line is different from the start of line.
Property overrides and reverts from \grace do
not interfere with the overrides and reverts from polyphony.
Once properties take effect during a single time step only.
The cueDuring form of quotation will set stem
directions on both quoted and main voice, and deliver the quoted voice
in the cue Voice. The