2 @node Changing defaults
3 @chapter Changing defaults
6 The purpose of LilyPond's design is to provide the finest output
7 quality as a default. Nevertheless, it may happen that you need to
8 change that default layout. The layout is controlled through a large
9 number of proverbial ``knobs and switches.'' This chapter does not
10 list each and every knob. Rather, it outlines what groups of controls
11 are available, and how to tune them.
13 Which controls are available for tuning is described in a separate
14 document, the @internalsref{Program reference} manual. This manual
15 lists all different variables, functions and options available in
16 LilyPond. It is available as a HTML document, which is available
17 @uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
18 but is also included with the LilyPond documentation package.
20 There are X areas where the default settings may be changed:
23 @item Output: changing the appearance of individual
24 objects. For example, changing stem directions, or the location of
27 @item Context: changing aspects of the translation from music events to
28 notation. For example, giving each staff a separate time signature.
30 @item Global layout: changing the appearance of the spacing, line
31 breaks and page dimensions.
34 Then, there are separate systems for typesetting text (like
35 @emph{ritardando}) and selecting different fonts. This chapter also
38 Internally, LilyPond uses Scheme (a LISP dialect) to provide
39 infrastructure. Overriding layout decisions in effect accesses the
40 program internals, so it is necessary to learn a (very small) subset
41 of Scheme. That is why this chapter starts with a short tutorial on
42 entering numbers, lists, strings and symbols in Scheme.
48 * Fine tuning layout::
52 * Interpretation context::
57 @section Scheme tutorial
61 @cindex Scheme, in-line code
62 @cindex accessing Scheme
63 @cindex evaluating Scheme
66 LilyPond uses the Scheme programming language, both as part of the
67 input syntax, and as internal mechanism to glue together modules of
68 the program. This section is a very brief overview of entering data in
69 Scheme.@footnote{If you want to know more about Scheme, see
70 @uref{http://www.schemers.org}.}
72 The most basic thing of a language is data: numbers, character
73 strings, lists, etc. Here is a list of data types that are relevant to
78 Boolean values are True or False. The Scheme for True is @code{#t}
79 and False is @code{#f}.
81 Numbers are entered in the standard fashion,
82 @code{1} is the (integer) number one, while @code{-1.5} is a
83 floating point number (a non-integer number).
85 Strings are enclosed in double quotes,
90 Strings may span several lines
97 Quotation marks and newlines can also be added with so-called escape
98 sequences. The string @code{a said "b"} is entered as
103 Newlines and backslashes are escaped with @code{\n} and @code{\\}
108 In a music file, snippets of Scheme code are introduced with the hash
109 mark @code{#}. So, the previous examples translated in LilyPondese are
120 For the rest of this section, we will assume that the data is entered
121 in a music file, so we add @code{#}s everywhere.
123 Scheme can be used to do calculations. It uses @emph{prefix}
124 syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
132 The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
133 is @code{3}. Calculations may be nested: the result of a function may
134 be used for another calculation.
142 These calculations are examples of evaluations: an expression (like
143 @code{(* 3 4)} is replaced by its value @code{12}. A similar thing
144 happens with variables. After defining a variable
150 variables can also be used in expressions, here
153 twentyFour = #(* 2 twelve)
156 the number 24 is stored in the variable @code{twentyFour}.
158 The @emph{name} of a variable is also an expression, similar to a
159 number or a string. It is entered as
165 The quote mark @code{'} prevents Scheme interpreter from substituting
166 @code{24} for the @code{twentyFour}. Instead, we get the name
169 This syntax will be used very frequently, since many of the layout
170 tweaks involve assigning (Scheme) values to internal variables, for
174 \override Stem #'thickness = #2.6
177 This instruction adjusts the appearance of stems. The value @code{2.6}
178 is put into a the @code{thickness} variable of a @code{Stem}
179 object. This makes stems almost twice as thick as their normal size.
180 To distinguish between variables defined in input files (like
181 @code{twentyFour} in the example above), and internal variables, we
182 will call the latter ``properties.'' So, the stem object has a
183 @code{thickness} property.
185 Two-dimensional offsets (X and Y coordinates) as well as object sizes
186 (intervals with a left and right point) are entered as @code{pairs}. A
187 pair@footnote{In Scheme terminology, the pair is called @code{cons},
188 and its two elements are called car and cdr respectively.} is entered
189 as @code{(first . second)}, and like symbols, they must be quoted,
192 \override TextScript #'extra-offset = #'(1 . 2)
195 This assigns the pair (1, 2) to @code{extra-offset} variable of the
196 TextScript object. This moves the object 1 staff space to the right,
199 The two elements of a pair may be arbitrary values, for example
204 #'("blah-blah" . 3.14159265)
207 A list is entered by enclosing its elements in parentheses, and adding
208 a quote. For example,
214 We have been using lists all along. A calculation, like @code{(+ 1
215 2)} is also a list (containing the symbol @code{+} and the numbers 1
216 and 2). For entering lists, use a quote @code{'} and for
217 calculations, do not use a quote.
219 Inside a quoted list or pair, there is no need to quote anymore. The
220 following is a pair of symbols, a list of symbols and a list of lists
225 #'(staff clef key-signature)
233 When music is printed, a lot of things notation elements must be added
234 to the input, which is often bare bones. For example, compare the
235 input and output of the following example
237 @lilypond[verbatim,relative=2]
241 The input is rather sparse, but in the output, bar lines, accidentals,
242 clef and time signature are added. LilyPond @emph{interprets} the
243 input. During this step, the musical information is inspected in time
244 order, similar to reading a score from left to right. While reading,
245 the program remembers where measure boundaries are, and what pitches
246 need explicit accidentals.
248 This information can be present on several levels. For example, the
249 effect of an accidental is limited to a single stave, while a bar line
250 must be synchronized across the entire score. To match this
251 hierarchy, LilyPond's interpretation step is hierarchical. There are
252 interpretation contexts, like @context{Voice}, Staff and Score, and each level
253 can maintain its own properties.
255 Full description of all available contexts is in the program
258 @internalsref{Contexts}
261 Translation @arrow{} Context.
265 * Creating contexts::
266 * Changing context properties on the fly ::
267 * Modifying context plug-ins::
268 * Defining context defaults ::
269 * which properties to change::
272 @node Creating contexts
273 @subsection Creating contexts
275 For simple scores, the correct contexts are created automatically. For
276 more complex scores, it is necessary to instantiate them by hand.
277 There are three commands to do this.
279 The easiest command is @code{\new}, and it also the quickest to type.
280 It is prepended to a music expression, for example
283 \new @var{type} @var{music expression}
287 where @var{type} is a context name (like @code{Staff} or
288 @code{Voice}). This command creates a new context, and starts
289 interpreting @var{music expression} with that.
291 A practical application of @code{\new} is a score with many
292 staves. Each part that should be on its own staff, gets a @code{\new
295 @lilypond[verbatim,relative=2,raggedright]
296 << \new Staff { c4 c }
302 The @code{\context} command also directs a music expression to a
303 context object, but gives the context an extra name. The syntax is
306 \context @var{type} = @var{id} @var{music}
309 This form will search for an existing context of type @var{type}
310 called @var{id}. If that context does not exist yet, it is created.
311 This is useful if the context referred to later on. For example, when
312 setting lyrics the melody is in a named context
315 \context Voice = "@b{tenor}" @var{music}
319 so the texts can be properly aligned to its notes,
322 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
327 Another possibility is funneling two different music expressions into
328 one context. In the following example, articulations and notes are
332 music = \notes { c4 c4 }
333 arts = \notes { s4-. s4-> }
336 They are combined by sending both to the same @context{Voice} context,
339 << \new Staff \context Voice = "A" \music
340 \context Voice = "A" \arts
343 @lilypond[raggedright]
344 music = \notes { c4 c4 }
345 arts = \notes { s4-. s4-> }
347 << \new Staff \context Voice = "A" \music
348 \context Voice = "A" \arts
355 The third command for creating contexts is
357 \context @var{type} @var{music}
362 This is similar to @code{\context} with @code{= @var{id}}, but matches
363 any context of type @var{type}, regardless of its given name.
365 This variant is used with music expressions that can be interpreted at
366 several levels. For example, the @code{\applyoutput} command (see
367 @ref{Running a function on all layout objects}). Without an explicit
368 @code{\context}, it is usually is applied to @context{Voice}
371 \applyoutput #@var{function} % apply to Voice
374 To have it interpreted at @context{Score} or @context{Staff} level use
378 \context Score \applyoutput #@var{function}
379 \context Staff \applyoutput #@var{function}
383 @node Changing context properties on the fly
384 @subsection Changing context properties on the fly
386 Each context can have different @emph{properties}, variables contained
387 in that context. They can be changed during the interpretation step.
388 This is achieved by inserting the @code{\set} command in the music,
391 @code{\set }[@var{context}]@code{.}@var{prop}@code{ = #}@var{value}
395 @lilypond[verbatim,relative=2]
397 \set Score.skipBars = ##t
401 This command skips measures that have no notes. The result is that
402 multi rests are condensed. The value assigned is a Scheme object. In
403 this case, it is @code{#t}, the boolean True value.
405 If the @var{context} argument is left out, then the current
406 bottom-most context (typically ChordNames, @context{Voice} or Lyrics)
407 is used. In this example,
409 @lilypond[verbatim,relative=2]
411 \set autoBeaming = ##f
416 the @var{context} argument to @code{\set} is left out, and the current
417 @internalsref{Voice} is used.
419 Contexts are hierarchical, so if a bigger context was specified, for
420 example @code{Staff}, then the change would also apply to all
421 @context{Voice}s in the current stave. The change is applied
422 `on-the-fly', during the music, so that the setting only affects the
423 second group of eighth notes.
425 There is also an @code{\unset} command,
427 @code{\set }[@var{context}]@code{.}@var{prop}
431 which removes the definition of @var{prop}. This command only removes
432 the definition if it is set in @var{context}. In
435 \set Staff.autoBeaming = ##f
436 \unset Voice.autoBeaming
440 the current @context{Voice} does not have the property, and the
441 definition at @context{Staff} level remains intact.
443 Settings that should only apply to a single time-step can be entered
444 easily with @code{\once}, for example in
446 @lilypond[verbatim,relative=2]
448 \once \set fontSize = #4.7
453 the property @code{fontSize} is unset automatically after the third
456 A full description of all available context properties is in the
457 program reference, see
459 @internalsref{Tunable-context-properties}.
462 Translation @arrow{} Tunable context properties.
466 @node Modifying context plug-ins
467 @subsection Modifying context plug-ins
469 Notation contexts (like Score and Staff) not only store properties,
470 they also contain plug-ins, called ``engravers'' that create notation
471 elements. For example, the Voice context contains a
472 @code{Note_head_engraver} and the Staff context contains a
473 @code{Key_signature_engraver}.
475 For a full a description of each plug-in, see
477 @internalsref{Engravers}
480 Program reference @arrow Translation @arrow{} Engravers.
482 Every context described in
484 @internalsref{Contexts}
487 Program reference @arrow Translation @arrow{} Context.
489 lists the engravers used for that context.
492 It can be useful to shuffle around these plug-ins. This is done by
493 starting a new context, with @code{\new} or @code{\context}, and
494 modifying them like this,
497 \new @var{context} \with @{
507 where the @dots{} should be the name of an engraver. Here is a simple
508 example which removes @code{Time_signature_engraver} and
509 @code{Clef_engraver} from a @code{Staff} context,
511 @lilypond[relative=1, verbatim]
516 \remove "Time_signature_engraver"
517 \remove "Clef_engraver"
524 In the second stave there are no time signature or clef symbols. This
525 is a rather crude method of making objects disappear, it will affect
526 the entire staff. More sophisticated methods are shown in (TODO).
528 The next example shows a practical application. Bar lines and time
529 signatures are normally synchronized across the score. This is done
530 by the @code{Timing_engraver}. This plug-in keeps an administration of
531 time signature, location within the measure, etc. By moving the
532 @code{Timing_engraver} engraver from Score to Staff context, we can
533 have score where each staff has its own time signature.
535 @cindex polymetric scores
538 @lilypond[relative=1,raggedright,verbatim]
540 \remove "Timing_engraver"
543 \consists "Timing_engraver"
549 \consists "Timing_engraver"
558 @node Defining context defaults
559 @subsection Defining context defaults
561 Context properties can be set as defaults, within the
562 @code{\paper} block. For example,
574 will set skipBars default
579 @node which properties to change
580 @subsection which properties to change
583 There are many different properties. Not all of them are listed in
584 this manual. However, the program reference lists them all in the
585 section @internalsref{Context-properties}, and most properties are
586 demonstrated in one of the
588 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
596 @node Fine tuning layout
597 @section Fine tuning layout
599 Sometimes it is necessary to change music layout by hand. When music
600 is formatted, layout objects are created for each symbol. For
601 example, every clef and every note head is represented by a layout
602 object. These layout objects also carry variables, which we call
603 @emph{layout properties}. By changing these variables from their
604 values, we can alter the look of a formatted score:
606 @lilypond[verbatim,relative]
608 \override Stem #'thickness = #3.0
613 In the example shown here, the layout property @code{thickness} (a
614 symbol) is set to 3 in the @code{Stem} layout objects of the current
615 As a result, the notes following @code{\override} have thicker
618 For the most part, a manual override is needed only on a case by
619 case basis and not for all subsequent instances of the altered
620 property. To accomplish this, simply prefix @code{\once} to the
621 @code{\override} statement and the override will apply only once,
622 immediately reverting to its default setting, i.e.
625 \once \override Stem #'thickness = #3.0
630 \once \override Stem #'thickness = #3.0
635 Some overrides are so common that predefined commands are provided as
636 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
637 commands are described in
641 @ref{Notation manual}, under the sections for slurs and stems
644 The exact tuning possibilities for each type of layout object are
645 documented in the program reference of the respective
646 object. However, many layout objects share properties, which can be
647 used to apply generic tweaks. We mention a couple of these:
650 @item The @code{extra-offset} property, which
651 @cindex @code{extra-offset}
652 has a pair of numbers as value, moves around objects in the printout.
653 The first number controls left-right movement; a positive number will
654 move the object to the right. The second number controls up-down
655 movement; a positive number will move it higher. The units of these
656 offsets are staff-spaces. The @code{extra-offset} property is a
657 low-level feature: the formatting engine is completely oblivious to
660 In the following example, the second fingering is moved a little to
661 the left, and 1.8 staff space downwards:
663 @cindex setting object properties
665 @lilypond[relative=1,verbatim]
668 \once \override Fingering
669 #'extra-offset = #'(-0.3 . -1.8)
674 Setting the @code{transparent} property will cause an object to be printed
675 in `invisible ink': the object is not printed, but all its other
676 behavior is retained. The object still takes up space, it takes part in
677 collisions, and slurs, and ties and beams can be attached to it.
679 @cindex transparent objects
680 @cindex removing objects
681 @cindex invisible objects
682 The following example demonstrates how to connect different voices
683 using ties. Normally, ties only connect two notes in the same
684 voice. By introducing a tie in a different voice, and blanking a stem
685 in that voice, the tie appears to cross voices:
687 @lilypond[fragment,relative=1,verbatim]
689 \once \override Stem #'transparent = ##t
697 The @code{padding} property for objects with
698 @cindex @code{padding}
699 @code{side-position-interface} can be set to increase distance between
700 symbols that are printed above or below notes. We only give an
701 example; a more elaborate explanation is in @ref{Constructing a
704 @lilypond[relative=1,verbatim]
706 \override Script #'padding = #3
712 More specific overrides are also possible. The notation manual
713 discusses in depth how to figure out these statements for yourself, in
720 @section Tuning output
722 There are situations where default layout decisions are not
723 sufficient. In this section we discuss ways to override these
726 Formatting is internally done by manipulating so called objects
727 (graphic objects). Each object carries with it a set of properties
728 (object or layout properties) specific to that object. For example, a
729 stem object has properties that specify its direction, length and
732 The most direct way of tuning the output is by altering the values of
733 these properties. There are two ways of doing that: first, you can
734 temporarily change the definition of one type of object, thus
735 affecting a whole set of objects. Second, you can select one specific
736 object, and set a layout property in that object.
738 Do not confuse layout properties with translation
739 properties. Translation properties always use a mixed caps style
740 naming, and are manipulated using @code{\set} and @code{\unset}:
742 \set Context.propertyName = @var{value}
745 Layout properties are use Scheme style variable naming, i.e. lower
746 case words separated with dashes. They are symbols, and should always
747 be quoted using @code{#'}. For example, this could be an imaginary
748 layout property name:
750 #'layout-property-name
756 * Constructing a tweak::
757 * Selecting font sizes::
764 @subsection Tuning objects
766 @cindex object description
768 The definition of an object is a list of default object
769 properties. For example, the definition of the Stem object (available
770 in @file{scm/define-grobs.scm}), includes the following definitions
771 for @internalsref{Stem}:
775 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
776 (Y-extent-callback . ,Stem::height)
781 Adding variables on top of this existing definition overrides the
782 system default, and alters the resulting appearance of the layout
787 Changing a variable for only one object is commonly achieved with
791 \once \override @var{context}.@var{objectname}
792 @var{symbol} = @var{value}
794 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
795 and @var{objectname} is a string and @var{value} is a Scheme expression.
796 This command applies a setting only during one moment in the score.
798 In the following example, only one @internalsref{Stem} object is
799 changed from its original setting:
801 @lilypond[verbatim,fragment,relative=1]
803 \once \override Voice.Stem #'thickness = #4
809 For changing more objects, the same command, without @code{\once} can
812 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
814 This command adds @code{@var{symbol} = @var{value}} to the definition
815 of @var{objectname} in the context @var{context}, and this definition
816 stays in place until it is removed.
818 An existing definition may be removed by the following command:
821 \property @var{context}.@var{objectname} \revert @var{symbol}
827 c'4 \override Stem #'thickness = #4.0
829 c'4 \revert Stem #'thickness
835 Reverting a setting which was not set in the first place has no
841 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
842 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
843 @internalsref{All-layout-objects}.
848 The back-end is not very strict in type-checking object properties.
849 Cyclic references in Scheme values for properties can cause hangs
853 @node Constructing a tweak
854 @subsection Constructing a tweak
857 @cindex internal documentation
858 @cindex finding graphical objects
859 @cindex graphical object descriptions
861 @cindex @code{\override}
863 @cindex internal documentation
867 Three pieces of information are required to use @code{\override} and
868 @code{\set}: the name of the layout object, the context and the name
869 of the property. We demonstrate how to glean this information from
870 the notation manual and the program reference.
872 The generated documentation is a set of HTML pages which should be
873 included if you installed a binary distribution, typically in
874 @file{/usr/share/doc/lilypond}. They are also available on the web:
875 go to the @uref{http://lilypond.org,LilyPond website}, click
876 ``Documentation'', select the correct version, and then click
877 ``Program reference.'' It is advisable to bookmark the local HTML
878 files. They will load faster than the ones on the web and matches the
879 version of LilyPond you are using.
883 @c [TODO: revise for new site.]
885 Suppose we want to move the fingering indication in the fragment
888 @lilypond[relative=2,verbatim]
894 If you visit the documentation of @code{Fingering} (in @ref{Fingering
895 instructions}), you will notice that there is written:
900 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
907 In other words, the fingerings once entered, are internally stored as
908 @code{FingerEvent} music objects. When printed, a @code{Fingering}
909 layout object is created for every @code{FingerEvent}.
911 The Fingering object has a number of different functions, and each of
912 those is captured in an interface. The interfaces are listed under
913 @internalsref{Fingering} in the program reference.
917 The @code{Fingering} object has a fixed size
918 (@internalsref{item-interface}), the symbol is a piece of text
919 (@internalsref{text-interface}), whose font can be set
920 (@internalsref{font-interface}). It is centered horizontally
921 (@internalsref{self-alignment-interface}), it is placed vertically
922 next to other objects (@internalsref{side-position-interface}), and
923 its placement is coordinated with other scripts
924 (@internalsref{text-script-interface}). It also has the standard
925 @internalsref{grob-interface} (grob stands for Graphical object)
927 @cindex graphical object
928 @cindex layout object
929 @cindex object, layout
930 with all the variables that come with
931 it. Finally, it denotes a fingering instruction, so it has
932 @internalsref{finger-interface}.
934 For the vertical placement, we have to look under
935 @code{side-position-interface}:
937 @code{side-position-interface}
939 Position a victim object (this one) next to other objects (the
940 support). In this case, the property @code{direction} signifies where to put the
941 victim object relative to the support (left or right, up or down?)
946 below this description, the variable @code{padding} is described as
950 (dimension, in staff space)
952 add this much extra space between objects that are next to each
953 other. Default value: @code{0.6}
957 By increasing the value of @code{padding}, we can move away the
958 fingering. The following command inserts 3 staff spaces of white
959 between the note and the fingering:
961 \once \override Fingering #'padding = #3
964 Inserting this command before the Fingering object is created,
965 i.e. before @code{c2}, yields the following result:
967 @lilypond[relative=2,fragment,verbatim]
968 \once \override Fingering
975 The context name @code{Voice} in the example above can be determined
976 as follows. In the documentation for @internalsref{Fingering}, it says
978 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
981 Clicking @code{Fingering_engraver} shows the documentation of
982 the module responsible for interpreting the fingering instructions and
983 translating them to a @code{Fingering} object. Such a module is called
984 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
987 Fingering_engraver is part of contexts: Voice
989 so tuning the settings for Fingering should be done with
991 \override Fingering @dots{}
994 Of course, the tweak may also done in a larger context than
995 @code{Voice}, for example, @internalsref{Staff} or
996 @internalsref{Score}.
1000 Internals: the program reference also contains alphabetical lists of
1001 @internalsref{Contexts}, @internalsref{All-layout-objects} and
1002 @internalsref{Music-expressions}, so you can also find which objects
1003 to tweak by browsing the internals document.
1006 @node Selecting font sizes
1007 @subsection Selecting font sizes
1009 The most common thing to change about the appearance of fonts is their
1010 size. The font size of any context can be easily changed by setting
1011 the @code{fontSize} property for that context. Its value is a number:
1012 negative numbers make the font smaller, positive numbers larger. An
1013 example is given below:
1015 @lilypond[fragment,relative=1,verbatim]
1016 c4 c4 \set fontSize = #-3
1019 This command will set @code{font-size} (see below) in all layout
1020 objects in the current context. It does not change the size of
1021 variable symbols, such as beams or slurs.
1023 The font size is set by modifying the @code{font-size} property. Its
1024 value is a number indicating the size relative to the standard size.
1025 Each step up is an increase of approximately 12% of the font size. Six
1026 steps is exactly a factor two. The Scheme function @code{magstep}
1027 converts a @code{font-size} number to a scaling factor.
1029 LilyPond has fonts in different design sizes: the music fonts for
1030 smaller sizes are chubbier, while the text fonts are relatively wider.
1031 Font size changes are achieved by scaling the design size that is
1032 closest to the desired size.
1034 The @code{font-size} mechanism does not work for fonts selected
1035 through @code{font-name}. These may be scaled with
1036 @code{font-magnification}.
1039 One of the uses of @code{fontSize} is to get smaller symbols for cue
1040 notes. An elaborate example of those is in
1041 @inputfileref{input/test,cue-notes.ly}.
1043 @cindex @code{font-style}
1047 The following commands set @code{fontSize} for the current voice.
1049 @cindex @code{\tiny}
1051 @cindex @code{\small}
1053 @cindex @code{\normalsize}
1058 @cindex magnification
1062 @node Font selection
1063 @subsection Font selection
1065 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1066 can also be adjusted with a more fine-grained mechanism. By setting
1067 the object properties described below, you can select a different font;
1068 all three mechanisms work for every object that supports
1069 @code{font-interface}:
1073 @item @code{font-encoding}
1074 is a symbol that sets layout of the glyphs. Choices include
1075 @code{text} for normal text, @code{braces} (for piano staff braces),
1076 @code{music} (the standard music font, including ancient glyphs),
1077 @code{dynamic} (for dynamic signs) and @code{number} for the number
1081 @item @code{font-family}
1082 is a symbol indicating the general class of the typeface. Supported are
1083 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1085 @item @code{font-shape}
1086 is a symbol indicating the shape of the font, there are typically
1087 several font shapes available for each font family. Choices are
1088 @code{italic}, @code{caps} and @code{upright}.
1090 @item @code{font-series}
1091 is a symbol indicating the series of the font. There are typically several
1092 font series for each font family and shape. Choices are @code{medium}
1097 Fonts selected in the way sketched above come from a predefined style
1100 The font used for printing a object can be selected by setting
1101 @code{font-name}, e.g.
1103 \override Staff.TimeSignature
1104 #'font-name = #"cmr17"
1108 Any font can be used, as long as it is available to @TeX{}. Possible
1109 fonts include foreign fonts or fonts that do not belong to the
1110 Computer Modern font family. The size of fonts selected in this way
1111 can be changed with the @code{font-magnification} property. For
1112 example, @code{2.0} blows up all letters by a factor 2 in both
1116 @cindex font magnification
1122 Init files: @file{ly/declarations-init.ly} contains hints how new
1123 fonts may be added to LilyPond.
1127 No style sheet is provided for other fonts besides the @TeX{}
1128 Computer Modern family.
1130 @cindex font selection
1131 @cindex font magnification
1132 @cindex @code{font-interface}
1136 @section Text markup
1141 @cindex typeset text
1143 LilyPond has an internal mechanism to typeset texts. You can access it
1144 with the keyword @code{\markup}. Within markup mode, you can enter texts
1145 similar to lyrics: simply enter them, surrounded by spaces:
1148 @lilypond[verbatim,fragment,relative=1]
1149 c1^\markup { hello }
1150 c1_\markup { hi there }
1151 c1^\markup { hi \bold there, is \italic anyone home? }
1154 @cindex font switching
1156 The markup in the example demonstrates font switching commands. The
1157 command @code{\bold} and @code{\italic} only apply to the first
1158 following word; enclose a set of texts with braces to apply a command
1161 \markup @{ \bold @{ hi there @} @}
1165 For clarity, you can also do this for single arguments, e.g.
1168 \markup { is \italic { anyone } home }
1171 @cindex font size, texts
1174 In markup mode you can compose expressions, similar to mathematical
1175 expressions, XML documents and music expressions. The braces group
1176 notes into horizontal lines. Other types of lists also exist: you can
1177 stack expressions grouped with @code{<}, and @code{>} vertically with
1178 the command @code{\column}. Similarly, @code{\center-align} aligns
1179 texts by their center lines:
1181 @lilypond[verbatim,fragment,relative=1]
1182 c1^\markup { \column < a bbbb c > }
1183 c1^\markup { \center-align < a bbbb c > }
1184 c1^\markup { \line < a b c > }
1188 Markups can be stored in variables, and these variables
1189 may be attached to notes, like
1191 allegro = \markup { \bold \large { Allegro } }
1192 \notes { a^\allegro b c d }
1196 Some objects have alignment procedures of their own, which cancel out
1197 any effects of alignments applied to their markup arguments as a
1198 whole. For example, the @internalsref{RehearsalMark} is horizontally
1199 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1202 Similarly, for moving whole texts over notes with
1203 @code{\raise}, use the following trick:
1205 "" \raise #0.5 raised
1208 The text @code{raised} is now raised relative to the empty string
1209 @code{""} which is not visible. Alternatively, complete objects can
1210 be moved with layout properties such as @code{padding} and
1211 @code{extra-offset}.
1217 Init files: @file{scm/new-markup.scm}.
1222 Text layout is ultimately done by @TeX{}, which does kerning of
1223 letters. LilyPond does not account for kerning, so texts will be
1224 spaced slightly too wide.
1226 Syntax errors for markup mode are confusing.
1228 Markup texts cannot be used in the titling of the @code{\header}
1229 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1235 * Overview of text markup commands::
1238 @node Overview of text markup commands
1239 @subsection Overview of text markup commands
1241 @include markup-commands.tely
1245 @section Global layout
1247 The global layout determined by three factors: the page layout, the
1248 line breaks and the spacing. These all influence each other. The
1249 choice of spacing determines how densely each system of music is set,
1250 which influences where line breaks breaks are chosen, and thus
1251 ultimately how many pages a piece of music takes. This section
1252 explains how to tune the algorithm for spacing.
1254 Globally spoken, this procedure happens in three steps: first,
1255 flexible distances (``springs'') are chosen, based on durations. All
1256 possible line breaking combination are tried, and the one with the
1257 best results---a layout that has uniform density and requires as
1258 little stretching or cramping as possible---is chosen. When the score
1259 is processed by @TeX{}, each page is filled with systems, and page breaks
1260 are chosen whenever the page gets full.
1265 * Vertical spacing::
1266 * Horizontal spacing::
1273 @node Vertical spacing
1274 @subsection Vertical spacing
1276 @cindex vertical spacing
1277 @cindex distance between staves
1278 @cindex staff distance
1279 @cindex between staves, distance
1280 @cindex staves per page
1281 @cindex space between staves
1283 The height of each system is determined automatically by LilyPond, to
1284 keep systems from bumping into each other, some minimum distances are
1285 set. By changing these, you can put staves closer together, and thus
1286 put more systems onto one page.
1288 Normally staves are stacked vertically. To make
1289 staves maintain a distance, their vertical size is padded. This is
1290 done with the property @code{minimumVerticalExtent}. It takes a pair
1291 of numbers, so if you want to make it smaller from its, then you could
1294 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1296 This sets the vertical size of the current staff to 4 staff spaces on
1297 either side of the center staff line. The argument of
1298 @code{minimumVerticalExtent} is interpreted as an interval, where the
1299 center line is the 0, so the first number is generally negative. The
1300 staff can be made larger at the bottom by setting it to @code{(-6
1303 The piano staves are handled a little differently: to make cross-staff
1304 beaming work correctly, it is necessary that the distance between staves
1305 is fixed beforehand. This is also done with a
1306 @internalsref{VerticalAlignment} object, created in
1307 @internalsref{PianoStaff}. In this object the distance between the
1308 staves is fixed by setting @code{forced-distance}. If you want to
1309 override this, use a @code{\context} block as follows:
1314 \override VerticalAlignment #'forced-distance = #9
1319 This would bring the staves together at a distance of 9 staff spaces,
1320 measured from the center line of each staff.
1324 Internals: Vertical alignment of staves is handled by the
1325 @internalsref{VerticalAlignment} object.
1330 @node Horizontal spacing
1331 @subsection Horizontal Spacing
1333 The spacing engine translates differences in durations into
1334 stretchable distances (``springs'') of differing lengths. Longer
1335 durations get more space, shorter durations get less. The shortest
1336 durations get a fixed amount of space (which is controlled by
1337 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1338 The longer the duration, the more space it gets: doubling a
1339 duration adds a fixed amount (this amount is controlled by
1340 @code{spacing-increment}) of space to the note.
1342 For example, the following piece contains lots of half, quarter and
1343 8th notes, the eighth note is followed by 1 note head width (NHW).
1344 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1345 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1349 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1350 width of a note head, and @code{shortest-duration-space} is set to
1351 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1352 @code{shortest-duration-space}) of space. For normal notes, this space
1353 is always counted from the left edge of the symbol, so the shortest
1354 notes are generally followed by one NHW of space.
1356 If one would follow the above procedure exactly, then adding a single
1357 32th note to a score that uses 8th and 16th notes, would widen up the
1358 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1359 thus adding 1 NHW to every note. To prevent this, the
1360 shortest duration for spacing is not the shortest note in the score,
1361 but the most commonly found shortest note. Notes that are even
1362 shorter this are followed by a space that is proportional to their
1363 duration relative to the common shortest note. So if we were to add
1364 only a few 16th notes to the example above, they would be followed by
1367 @lilypond[fragment,verbatim,relative=2]
1368 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1371 The most common shortest duration is determined as follows: in every
1372 measure, the shortest duration is determined. The most common short
1373 duration, is taken as the basis for the spacing, with the stipulation
1374 that this shortest duration should always be equal to or shorter than
1375 1/8th note. The shortest duration is printed when you run lilypond
1376 with @code{--verbose}. These durations may also be customized. If you
1377 set the @code{common-shortest-duration} in
1378 @internalsref{SpacingSpanner}, then this sets the base duration for
1379 spacing. The maximum duration for this base (normally 1/8th), is set
1380 through @code{base-shortest-duration}.
1382 @cindex @code{common-shortest-duration}
1383 @cindex @code{base-shortest-duration}
1384 @cindex @code{stem-spacing-correction}
1385 @cindex @code{spacing}
1387 In the introduction it was explained that stem directions influence
1388 spacing. This is controlled with @code{stem-spacing-correction}
1389 property in @internalsref{NoteSpacing}, which are generated for every
1390 @internalsref{Voice} context. The @code{StaffSpacing} object
1391 (generated at @internalsref{Staff} context) contains the same property
1392 for controlling the stem/bar line spacing. The following example
1393 shows these corrections, once with default settings, and once with
1394 exaggerated corrections:
1400 \override Staff.NoteSpacing #'stem-spacing-correction
1402 \override Staff.StaffSpacing #'stem-spacing-correction
1407 \paper { raggedright = ##t } }
1410 @cindex SpacingSpanner, overriding properties
1412 Properties of the @internalsref{SpacingSpanner} must be overridden
1413 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1414 created before any property commands are interpreted.
1416 \paper @{ \context @{
1418 SpacingSpanner \override #'spacing-increment = #3.0
1425 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1426 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1427 @internalsref{SeparatingGroupSpanner}.
1431 Spacing is determined on a score wide basis. If you have a score that
1432 changes its character (measured in durations) halfway during the
1433 score, the part containing the longer durations will be spaced too
1436 There is no convenient mechanism to manually override spacing.
1441 @subsection Font size
1443 @cindex font size, setting
1444 @cindex staff size, setting
1445 @cindex @code{paper} file
1447 The Feta font provides musical symbols at eight different
1448 sizes. Each font is tuned for a different staff size: at smaller sizes
1449 the font gets heavier, to match the relatively heavier staff lines.
1450 The recommended font sizes are listed in the following table:
1452 @multitable @columnfractions .25 .25 .25 .25
1455 @tab @b{staff height (pt)}
1456 @tab @b{staff height (mm)}
1498 @c modern rental material ?
1502 These fonts are available in any sizes. The context property
1503 @code{fontSize} and the layout property @code{staff-space} (in
1504 @internalsref{StaffSymbol}) can be used to tune size for individual
1505 staves. The size of individual staves are relative to the global size,
1506 which can be set in the following manner:
1509 #(set-global-staff-size 14)
1512 This sets the global default size to 14pt staff height, and scales all
1517 This manual: @ref{Selecting font sizes}.
1521 @subsection Line breaking
1524 @cindex breaking lines
1526 Line breaks are normally computed automatically. They are chosen such
1527 that lines look neither cramped nor loose, and that consecutive lines
1528 have similar density.
1530 Occasionally you might want to override the automatic breaks; you can
1531 do this by specifying @code{\break}. This will force a line break at
1532 this point. Line breaks can only occur at places where there are bar
1533 lines. If you want to have a line break where there is no bar line,
1534 you can force an invisible bar line by entering @code{\bar
1535 ""}. Similarly, @code{\noBreak} forbids a line break at a
1539 @cindex regular line breaks
1540 @cindex four bar music.
1542 For line breaks at regular intervals use @code{\break} separated by
1543 skips and repeated with @code{\repeat}:
1545 << \repeat unfold 7 @{
1546 s1 \noBreak s1 \noBreak
1547 s1 \noBreak s1 \break @}
1548 @emph{the real music}
1553 This makes the following 28 measures (assuming 4/4 time) be broken every
1554 4 measures, and only there.
1558 @code{\break}, @code{\noBreak}
1559 @cindex @code{\break}
1560 @cindex @code{\noBreak}
1564 Internals: @internalsref{BreakEvent}.
1568 @subsection Page layout
1571 @cindex breaking pages
1573 @cindex @code{indent}
1574 @cindex @code{linewidth}
1576 The most basic settings influencing the spacing are @code{indent} and
1577 @code{linewidth}. They are set in the @code{\paper} block. They
1578 control the indentation of the first line of music, and the lengths of
1581 If @code{raggedright} is set to true in the @code{\paper}
1582 block, then the lines are justified at their natural length. This
1583 useful for short fragments, and for checking how tight the natural
1587 @cindex vertical spacing
1589 The page layout process happens outside the LilyPond formatting
1590 engine: variables controlling page layout are passed to the output,
1591 and are further interpreted by @code{lilypond} wrapper program. It
1592 responds to the following variables in the @code{\paper} block. The
1593 spacing between systems is controlled with @code{interscoreline}, its
1594 default is 16pt. The distance between the score lines will stretch in
1595 order to fill the full page @code{interscorelinefill} is set to a
1596 positive number. In that case @code{interscoreline} specifies the
1599 @cindex @code{textheight}
1600 @cindex @code{interscoreline}
1601 @cindex @code{interscorelinefill}
1603 If the variable @code{lastpagefill} is defined,
1604 @c fixme: this should only be done if lastpagefill= #t
1605 systems are evenly distributed vertically on the last page. This
1606 might produce ugly results in case there are not enough systems on the
1607 last page. The @command{lilypond-book} command ignores
1608 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1611 @cindex @code{lastpagefill}
1613 Page breaks are normally computed by @TeX{}, so they are not under
1614 direct control of LilyPond. However, you can insert a commands into
1615 the @file{.tex} output to instruct @TeX{} where to break pages. This
1616 is done by setting the @code{between-systems-strings} on the
1617 @internalsref{NonMusicalPaperColumn} where the system is broken.
1618 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1619 The predefined command @code{\newpage} also does this.
1623 @cindex @code{papersize}
1625 To change the paper size, use the following Scheme code:
1628 #(set-paper-size "a4")
1635 @cindex @code{\newpage}
1641 In this manual: @ref{Invoking lilypond}.
1643 Examples: @inputfileref{input/regression,between-systems.ly}.
1645 Internals: @internalsref{NonMusicalPaperColumn}.
1649 LilyPond has no concept of page layout, which makes it difficult to
1650 reliably choose page breaks in longer pieces.
1653 @node Interpretation context
1654 @section Interpretation context
1657 * Context properties::
1658 * Defining contexts::
1659 * Changing contexts locally::
1660 * Engravers and performers::
1661 * Defining new contexts::
1665 Interpretation contexts are objects that only exist during program
1666 run. During the interpretation phase (when @code{interpreting music}
1667 is printed on the standard output), the music expression in a
1668 @code{\score} block is interpreted in time order, the same order in
1669 which we hear and play the music. During this phase, the interpretation
1670 context holds the state for the current point within the music, for
1673 @item What notes are playing at this point?
1675 @item What symbols will be printed at this point?
1677 @item What is the current key signature, time signature, point within
1681 Contexts are grouped hierarchically: A @internalsref{Voice} context is
1682 contained in a @internalsref{Staff} context (because a staff can contain
1683 multiple voices at any point), a @internalsref{Staff} context is contained in
1684 @internalsref{Score}, @internalsref{StaffGroup}, or
1685 @internalsref{ChoirStaff} context.
1687 Contexts associated with sheet music output are called @emph{notation
1688 contexts}, those for sound output are called @emph{performance
1689 contexts}. The default definitions of the standard notation and
1690 performance contexts can be found in @file{ly/engraver-init.ly} and
1691 @file{ly/performer-init.ly}, respectively.
1695 @node Context properties
1696 @subsection Context properties
1698 Contexts have properties. These properties are set from the @file{.ly}
1699 file using the following expression:
1700 @cindex context properties
1701 @cindex properties, context
1704 \set @var{contextname}.@var{propname} = @var{value}
1708 Sets the @var{propname} property of the context @var{contextname} to
1709 the specified Scheme expression @var{value}. Both @var{propname} and
1710 @var{contextname} are strings, which can often be written unquoted.
1713 Properties that are set in one context are inherited by all of the
1714 contained contexts. This means that a property valid for the
1715 @internalsref{Voice} context can be set in the @internalsref{Score} context
1716 (for example) and thus take effect in all @internalsref{Voice} contexts.
1718 Properties can be unset using the following statement.
1720 \unset @var{contextname}.@var{propname}
1723 @cindex properties, unsetting
1724 @cindex @code{\unset}
1727 This removes the definition of @var{propname} in @var{contextname}. If
1728 @var{propname} was not defined in @var{contextname} (but was inherited
1729 from a higher context), then this has no effect.
1731 If @var{contextname} is left out, then it defaults to the current
1732 ``bottom'' context: this is a context like @internalsref{Voice} that
1733 cannot contain any other contexts.
1736 @node Defining contexts
1737 @subsection Defining contexts
1739 @cindex context definition
1740 @cindex translator definition
1742 The most common way to create a new context definition is by extending
1743 an existing one. An existing context from the paper block is copied
1744 by referencing a context identifier:
1749 @var{context-identifier}
1755 Every predefined context has a standard identifier. For example, the
1756 @code{Staff} context can be referred to as @code{\StaffContext}.
1758 The context can then be modified by setting or changing properties,
1763 Stem \set #'thickness = #2.0
1764 defaultBarType = #"||"
1767 These assignments happen before interpretation starts, so a property
1768 command will override any predefined settings.
1774 It is not possible to collect multiple property assignments in a
1775 variable, and apply to one @code{\context} definition by
1776 referencing that variable.
1778 @node Changing contexts locally
1779 @subsection Changing contexts locally
1782 Extending an existing context can also be done locally. A piece of
1783 music can be interpreted in a changed context by using the following syntax
1787 @var{context modifications}
1791 These statements comes between @code{\new} or @code{\context} and the
1792 music to be interpreted. The @var{context modifications} property
1793 settings and @code{\remove}, @code{\consists} and @code{\consistsend}
1794 commands. The syntax is similar to the @code{\context} block.
1796 The following example shows how a staff is created with bigger spaces,
1797 and without a @code{Clef_engraver}.
1799 @lilypond[relative=1,fragment,verbatim]
1801 \new Staff { c4 es4 g2 }
1803 \override StaffSymbol #'staff-space = #(magstep 1.5)
1805 \remove "Clef_engraver"
1813 The command @code{\with} has no effect on contexts that already
1817 @node Engravers and performers
1818 @subsection Engravers and performers
1821 Each context is composed of a number of building blocks, or plug-ins
1822 called engravers. An engraver is a specialized C++ class that is
1823 compiled into the executable. Typically, an engraver is responsible
1824 for one function: the @code{Slur_engraver} creates only @code{Slur}
1825 objects, and the @code{Skip_event_swallow_translator} only swallows
1826 (silently gobbles) @code{SkipEvent}s.
1833 An existing context definition can be changed by adding or removing an
1834 engraver. The syntax for these operations is
1836 \consists @var{engravername}
1837 \remove @var{engravername}
1840 @cindex @code{\consists}
1841 @cindex @code{\remove}
1844 Here @var{engravername} is a string, the name of an engraver in the
1845 system. In the following example, the @code{Clef_engraver} is removed
1846 from the Staff context. The result is a staff without a clef, where
1847 the middle C is at its default position, the center line:
1849 @lilypond[verbatim,raggedright]
1857 \remove Clef_engraver
1863 A list of all engravers is in the internal documentation,
1864 see @internalsref{Engravers}.
1866 @node Defining new contexts
1867 @subsection Defining new contexts
1870 It is also possible to define new contexts from scratch. To do this,
1871 you must define give the new context a name. In the following
1872 example, a very simple Staff context is created: one that will put
1873 note heads on a staff symbol.
1877 \type "Engraver_group_engraver"
1880 \consists "Staff_symbol_engraver"
1881 \consists "Note_head_engraver"
1882 \consistsend "Axis_group_engraver"
1887 The argument of @code{\type} is the name for a special engraver that
1888 handles cooperation between simple engravers such as
1889 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
1890 should always be @code{Engraver_group_engraver} (unless you are
1891 defining a Score context from scratch, in which case
1892 @code{Score_engraver} must be used).
1894 The complete list of context modifiers is the following:
1896 @item @code{\alias} @var{alternate-name}:
1897 This specifies a different name. In the above example,
1898 @code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
1900 @item @code{\consistsend} @var{engravername}:
1901 Analogous to @code{\consists}, but makes sure that
1902 @var{engravername} is always added to the end of the list of
1905 Engravers that group context objects into axis groups or alignments
1906 need to be at the end of the list. @code{\consistsend} insures that
1907 engravers stay at the end even if a user adds or removes engravers.
1909 @item @code{\accepts} @var{contextname}:
1910 This context can contains @var{contextname} contexts. The first
1911 @code{\accepts} is created as a default context when events (e.g. notes
1912 or rests) are encountered.
1914 @item @code{\denies}:
1915 The opposite of @code{\accepts}.
1917 @item @code{\name} @var{contextname}:
1918 This sets the type name of the context, e.g. @code{Staff},
1919 @code{Voice}. If the name is not specified, the translator will not
1928 @node Output details
1929 @section Output details
1931 The default output format is La@TeX{}, which should be run
1932 through La@TeX{}. Using the option @option{-f}
1933 (or @option{--format}) other output formats can be selected also, but
1934 none of them work reliably.
1936 Now the music is output system by system (a `system' consists of all
1937 staves belonging together). From @TeX{}'s point of view, a system is an
1938 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
1939 vertically on the baseline of the text. Between systems,
1940 @code{\interscoreline} is inserted vertically to have stretchable space.
1941 The horizontal dimension of the @code{\hbox} is given by the
1942 @code{linewidth} parameter from LilyPond's @code{\paper} block.
1944 After the last system LilyPond emits a stronger variant of
1945 @code{\interscoreline} only if the macro
1946 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
1947 to the top of the page). You can avoid that by setting the variable
1948 @code{lastpagefill} in LilyPond's @code{\paper} block.
1950 It is possible to fine-tune the vertical offset further by defining the
1951 macro @code{\lilypondscoreshift}:
1954 \def\lilypondscoreshift@{0.25\baselineskip@}
1958 where @code{\baselineskip} is the distance from one text line to the next.
1960 Here an example how to embed a small LilyPond file @code{foo.ly} into
1961 running La@TeX{} text without using the @code{lilypond-book} script
1962 (@pxref{lilypond-book manual}):
1965 \documentclass@{article@}
1967 \def\lilypondpaperlastpagefill@{@}
1969 \def\lilypondscoreshift@{0.25\baselineskip@}
1972 This is running text which includes an example music file
1978 The file @file{foo.tex} has been simply produced with
1984 The call to @code{\lineskip} assures that there is enough vertical space
1985 between the LilyPond box and the surrounding text lines.