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.
47 * Interpretation contexts::
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)
230 @node Interpretation contexts
231 @section Interpretation contexts
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 is contextual information. and it can be present on several
249 levels. For example, the effect of an accidental is limited to a
250 single stave, while a bar line must be synchronized across the entire
251 score. To match this hierarchy, LilyPond's interpretation step is
252 hierarchical. There are interpretation contexts, like
253 @context{Voice}, Staff and Score, and each level can maintain its own
256 Full description of all available contexts is in the program
259 @internalsref{Contexts}
262 Translation @arrow{} Context.
266 * Creating contexts::
267 * Changing context properties on the fly ::
268 * Modifying context plug-ins::
269 * Layout tunings within contexts::
270 * Defining context defaults ::
271 * Which properties to change::
274 @node Creating contexts
275 @subsection Creating contexts
279 For scores with only one voice and one staff, correct contexts are
280 created automatically. For more complex scores, it is necessary to
281 instantiate them by hand. There are three commands to do this.
283 The easiest command is @code{\new}, and it also the quickest to type.
284 It is prepended to a music expression, for example
287 \new @var{type} @var{music expression}
291 where @var{type} is a context name (like @code{Staff} or
292 @code{Voice}). This command creates a new context, and starts
293 interpreting @var{music expression} with that.
295 A practical application of @code{\new} is a score with many
296 staves. Each part that should be on its own staff, gets a @code{\new
299 @lilypond[verbatim,relative=2,raggedright]
300 << \new Staff { c4 c }
305 Like @code{\new}, the @code{\context} command also directs a music
306 expression to a context object, but gives the context an extra name. The
310 \context @var{type} = @var{id} @var{music}
313 This form will search for an existing context of type @var{type}
314 called @var{id}. If that context does not exist yet, it is created.
315 This is useful if the context referred to later on. For example, when
316 setting lyrics the melody is in a named context
319 \context Voice = "@b{tenor}" @var{music}
323 so the texts can be properly aligned to its notes,
326 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
331 Another possibility is funneling two different music expressions into
332 one context. In the following example, articulations and notes are
336 music = \notes { c4 c4 }
337 arts = \notes { s4-. s4-> }
340 They are combined by sending both to the same @context{Voice} context,
343 << \new Staff \context Voice = "A" \music
344 \context Voice = "A" \arts
347 @lilypond[raggedright]
348 music = \notes { c4 c4 }
349 arts = \notes { s4-. s4-> }
351 \notes \relative c'' << \new Staff \context Voice = "A" \music
352 \context Voice = "A" \arts
359 The third command for creating contexts is
361 \context @var{type} @var{music}
366 This is similar to @code{\context} with @code{= @var{id}}, but matches
367 any context of type @var{type}, regardless of its given name.
369 This variant is used with music expressions that can be interpreted at
370 several levels. For example, the @code{\applyoutput} command (see
371 @ref{Running a function on all layout objects}). Without an explicit
372 @code{\context}, it is usually is applied to @context{Voice}
375 \applyoutput #@var{function} % apply to Voice
378 To have it interpreted at @context{Score} or @context{Staff} level use
382 \context Score \applyoutput #@var{function}
383 \context Staff \applyoutput #@var{function}
387 @node Changing context properties on the fly
388 @subsection Changing context properties on the fly
390 Each context can have different @emph{properties}, variables contained
391 in that context. They can be changed during the interpretation step.
392 This is achieved by inserting the @code{\set} command in the music,
395 @code{\set } @var{context}@code{.}@var{prop}@code{ = #}@var{value}
399 @lilypond[verbatim,relative=2]
401 \set Score.skipBars = ##t
405 This command skips measures that have no notes. The result is that
406 multi rests are condensed. The value assigned is a Scheme object. In
407 this case, it is @code{#t}, the boolean True value.
409 If the @var{context} argument is left out, then the current bottom-most
410 context (typically @context{ChordNames}, @context{Voice} or
411 @context{Lyrics}) is used. In this example,
413 @lilypond[verbatim,relative=2]
415 \set autoBeaming = ##f
420 the @var{context} argument to @code{\set} is left out, and the current
421 @internalsref{Voice} is used.
423 Contexts are hierarchical, so if a bigger context was specified, for
424 example @context{Staff}, then the change would also apply to all
425 @context{Voice}s in the current stave. The change is applied
426 `on-the-fly', during the music, so that the setting only affects the
427 second group of eighth notes.
429 There is also an @code{\unset} command,
431 @code{\set }@var{context}@code{.}@var{prop}
435 which removes the definition of @var{prop}. This command only removes
436 the definition if it is set in @var{context}. In
439 \set Staff.autoBeaming = ##f
440 \unset Voice.autoBeaming
444 the current @context{Voice} does not have the property, and the
445 definition at @context{Staff} level remains intact. Like @code{\set},
446 the @var{context} argument does not have to be specified for a bottom
449 Settings that should only apply to a single time-step can be entered
450 easily with @code{\once}, for example in
452 @lilypond[verbatim,relative=2]
454 \once \set fontSize = #4.7
459 the property @code{fontSize} is unset automatically after the second
462 A full description of all available context properties is in the
463 program reference, see
465 @internalsref{Tunable-context-properties}.
468 Translation @arrow{} Tunable context properties.
472 @node Modifying context plug-ins
473 @subsection Modifying context plug-ins
475 Notation contexts (like Score and Staff) not only store properties,
476 they also contain plug-ins, called ``engravers'' that create notation
477 elements. For example, the Voice context contains a
478 @code{Note_head_engraver} and the Staff context contains a
479 @code{Key_signature_engraver}.
481 For a full a description of each plug-in, see
483 @internalsref{Engravers}
486 Program reference @arrow Translation @arrow{} Engravers.
488 Every context described in
490 @internalsref{Contexts}
493 Program reference @arrow Translation @arrow{} Context.
495 lists the engravers used for that context.
498 It can be useful to shuffle around these plug-ins. This is done by
499 starting a new context, with @code{\new} or @code{\context}, and
500 modifying it like this,
503 \new @var{context} \with @{
513 where the @dots{} should be the name of an engraver. Here is a simple
514 example which removes @code{Time_signature_engraver} and
515 @code{Clef_engraver} from a @code{Staff} context,
517 @lilypond[relative=1, verbatim]
522 \remove "Time_signature_engraver"
523 \remove "Clef_engraver"
530 In the second stave there are no time signature or clef symbols. This
531 is a rather crude method of making objects disappear, it will affect the
532 entire staff. The spacing will be adversely influenced too. More
533 sophisticated methods of blanking objects are shown in (TODO).
535 The next example shows a practical application. Bar lines and time
536 signatures are normally synchronized across the score. This is done
537 by the @code{Timing_engraver}. This plug-in keeps an administration of
538 time signature, location within the measure, etc. By moving the
539 @code{Timing_engraver} engraver from Score to Staff context, we can
540 have score where each staff has its own time signature.
542 @cindex polymetric scores
545 @lilypond[relative=1,raggedright,verbatim]
547 \remove "Timing_engraver"
550 \consists "Timing_engraver"
556 \consists "Timing_engraver"
565 @node Layout tunings within contexts
566 @subsection Layout tunings within contexts
568 Each context is responsible for creating certain types of graphical
569 objects. The settings used for printing these objects are also stored by
570 context. By changing these settings, the appearance of objects can be
573 The syntax for this is
576 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
579 Here @var{name} is the name of a graphical object, like @code{Stem} or
580 @code{NoteHead}. @var{property} is an internal variable of the
581 formatting system (`grob property' or `layout property'). It is a
582 symbol, so it must be quoted. The subsection refTODO explains what to
583 fill in for @var{name}, @var{property} and @var{value}. Here we only
584 discuss functionality of this command.
589 \override Staff.Stem #'thickness = #4.0
593 makes stems thicker (the default is 1.3, with staff line thickness as a
594 unit). Since the command specifies @context{Staff} as context, it only
595 applies to the current staff. Other staves will keep their normal
596 appearance. Here we see the command in action:
598 @lilypond[verbatim,relative=2]
600 \override Staff.Stem #'thickness = #4.0
606 The @code{\override} command is executed during the interpreting phase,
607 and changes the definition of the @code{Stem} within
608 @context{Staff}. After the command all stems are thickened.
610 Analogous to @code{\set}, the @var{context} argument may be left out,
611 causing it to default to @context{Voice} and adding @code{\once} applies
612 the change during only one timestep
614 @lilypond[verbatim,relative=2]
616 \once \override Stem #'thickness = #4.0
621 The @code{\override} must be done before the object is
622 started. Therefore, when altering @emph{Spanner} objects, like slurs or
623 beams, the @code{\override} command must be executed at the moment that
624 the object is created. In this example,
627 @lilypond[verbatim,relative=2]
628 \override Slur #'thickness = #3.0
630 \override Beam #'thickness = #0.6
635 the slur is fatter and the beam is not. This is because the command for
636 @code{Beam} comes after the Beam is started. Therefore it has no effect.
638 Analogous to @code{\unset}, the @code{\revert} command for a context
639 undoes a @code{\override} command; like with @code{\unset}, it only
640 affects settings that were made in the same context. In other words, the
641 @code{\revert} in the next example does not do anything.
644 \override Voice.Stem #'thickness = #4.0
645 \revert Staff.Stem #'thickness
653 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
654 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
655 @internalsref{All-layout-objects}.
660 The back-end is not very strict in type-checking object properties.
661 Cyclic references in Scheme values for properties can cause hangs
665 @node Defining context defaults
666 @subsection Defining context defaults
668 The adjustments of the previous chapters can also be entered separate
669 from the music, in the @code{\paper} block,
678 \override Stem #'thickness
679 \remove "Time_signature_engraver"
690 takes the existing definition @context{Staff}, and adds
691 changes some settings,
695 \override Stem #'thickness
696 \remove "Time_signature_engraver"
701 Context properties can be set as defaults, within the
702 @code{\paper} block. For example,
714 will set skipBars default
716 @node Which properties to change
717 @subsection Which properties to change
720 There are many different properties. Not all of them are listed in
721 this manual. However, the program reference lists them all in the
722 section @internalsref{Context-properties}, and most properties are
723 demonstrated in one of the
725 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
734 @section Tuning output
739 There are situations where default layout decisions are not
740 sufficient. In this section we discuss ways to override these
743 Formatting is internally done by manipulating so called objects
744 (graphic objects). Each object carries with it a set of properties
745 (object or layout properties) specific to that object. For example, a
746 stem object has properties that specify its direction, length and
749 The most direct way of tuning the output is by altering the values of
750 these properties. There are two ways of doing that: first, you can
751 temporarily change the definition of one type of object, thus
752 affecting a whole set of objects. Second, you can select one specific
753 object, and set a layout property in that object.
755 Do not confuse layout properties with translation
756 properties. Translation properties always use a mixed caps style
757 naming, and are manipulated using @code{\set} and @code{\unset}:
759 \set Context.propertyName = @var{value}
762 Layout properties are use Scheme style variable naming, i.e. lower
763 case words separated with dashes. They are symbols, and should always
764 be quoted using @code{#'}. For example, this could be an imaginary
765 layout property name:
767 #'layout-property-name
773 * Constructing a tweak::
779 @subsection Common tweaks
781 Some overrides are so common that predefined commands are provided as
782 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
783 commands are described in
787 @ref{Notation manual}, under the sections for slurs and stems
790 The exact tuning possibilities for each type of layout object are
791 documented in the program reference of the respective
792 object. However, many layout objects share properties, which can be
793 used to apply generic tweaks. We mention a couple of these:
796 @item The @code{extra-offset} property, which
797 @cindex @code{extra-offset}
798 has a pair of numbers as value, moves around objects in the printout.
799 The first number controls left-right movement; a positive number will
800 move the object to the right. The second number controls up-down
801 movement; a positive number will move it higher. The units of these
802 offsets are staff-spaces. The @code{extra-offset} property is a
803 low-level feature: the formatting engine is completely oblivious to
806 In the following example, the second fingering is moved a little to
807 the left, and 1.8 staff space downwards:
809 @cindex setting object properties
811 @lilypond[relative=1,verbatim]
814 \once \override Fingering
815 #'extra-offset = #'(-0.3 . -1.8)
820 Setting the @code{transparent} property will cause an object to be printed
821 in `invisible ink': the object is not printed, but all its other
822 behavior is retained. The object still takes up space, it takes part in
823 collisions, and slurs, and ties and beams can be attached to it.
825 @cindex transparent objects
826 @cindex removing objects
827 @cindex invisible objects
828 The following example demonstrates how to connect different voices
829 using ties. Normally, ties only connect two notes in the same
830 voice. By introducing a tie in a different voice, and blanking a stem
831 in that voice, the tie appears to cross voices:
833 @lilypond[fragment,relative=2,verbatim]
835 \once \override Stem #'transparent = ##t
843 The @code{padding} property for objects with
844 @cindex @code{padding}
845 @code{side-position-interface} can be set to increase distance between
846 symbols that are printed above or below notes. We only give an
847 example; a more elaborate explanation is in @ref{Constructing a
850 @lilypond[relative=1,verbatim]
852 \override Script #'padding = #3
858 More specific overrides are also possible. The following section
859 discusses in depth how to figure out these statements for yourself.
862 @node Constructing a tweak
863 @subsection Constructing a tweak
866 @cindex internal documentation
867 @cindex finding graphical objects
868 @cindex graphical object descriptions
870 @cindex @code{\override}
872 @cindex internal documentation
876 Three pieces of information are required to use @code{\override} and
877 @code{\set}: the name of the layout object, the context and the name
878 of the property. We demonstrate how to glean this information from
879 the notation manual and the program reference.
881 The generated documentation is a set of HTML pages which should be
882 included if you installed a binary distribution, typically in
883 @file{/usr/share/doc/lilypond}. They are also available on the web:
884 go to the @uref{http://lilypond.org,LilyPond website}, click
885 ``Documentation'', select the correct version, and then click
886 ``Program reference.'' It is advisable to bookmark the local HTML
887 files. They will load faster than the ones on the web and matches the
888 version of LilyPond you are using.
892 @c [TODO: revise for new site.]
894 Suppose we want to move the fingering indication in the fragment
897 @lilypond[relative=2,verbatim]
903 If you visit the documentation of @code{Fingering} (in @ref{Fingering
904 instructions}), you will notice that there is written:
909 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
916 In other words, the fingerings once entered, are internally stored as
917 @code{FingerEvent} music objects. When printed, a @code{Fingering}
918 layout object is created for every @code{FingerEvent}.
920 The Fingering object has a number of different functions, and each of
921 those is captured in an interface. The interfaces are listed under
922 @internalsref{Fingering} in the program reference.
926 The @code{Fingering} object has a fixed size
927 (@internalsref{item-interface}), the symbol is a piece of text
928 (@internalsref{text-interface}), whose font can be set
929 (@internalsref{font-interface}). It is centered horizontally
930 (@internalsref{self-alignment-interface}), it is placed vertically
931 next to other objects (@internalsref{side-position-interface}), and
932 its placement is coordinated with other scripts
933 (@internalsref{text-script-interface}). It also has the standard
934 @internalsref{grob-interface} (grob stands for Graphical object)
936 @cindex graphical object
937 @cindex layout object
938 @cindex object, layout
939 with all the variables that come with
940 it. Finally, it denotes a fingering instruction, so it has
941 @internalsref{finger-interface}.
943 For the vertical placement, we have to look under
944 @code{side-position-interface}:
946 @code{side-position-interface}
948 Position a victim object (this one) next to other objects (the
949 support). In this case, the property @code{direction} signifies where to put the
950 victim object relative to the support (left or right, up or down?)
955 below this description, the variable @code{padding} is described as
959 (dimension, in staff space)
961 add this much extra space between objects that are next to each
962 other. Default value: @code{0.6}
966 By increasing the value of @code{padding}, we can move away the
967 fingering. The following command inserts 3 staff spaces of white
968 between the note and the fingering:
970 \once \override Fingering #'padding = #3
973 Inserting this command before the Fingering object is created,
974 i.e. before @code{c2}, yields the following result:
976 @lilypond[relative=2,fragment,verbatim]
977 \once \override Fingering
984 The context name @code{Voice} in the example above can be determined
985 as follows. In the documentation for @internalsref{Fingering}, it says
987 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
990 Clicking @code{Fingering_engraver} shows the documentation of
991 the module responsible for interpreting the fingering instructions and
992 translating them to a @code{Fingering} object. Such a module is called
993 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
996 Fingering_engraver is part of contexts: Voice
998 so tuning the settings for Fingering should be done with
1000 \override Fingering @dots{}
1003 Of course, the tweak may also done in a larger context than
1004 @code{Voice}, for example, @internalsref{Staff} or
1005 @internalsref{Score}.
1009 Internals: the program reference also contains alphabetical lists of
1010 @internalsref{Contexts}, @internalsref{All-layout-objects} and
1011 @internalsref{Music-expressions}, so you can also find which objects
1012 to tweak by browsing the internals document.
1018 * Selecting font sizes::
1022 @node Selecting font sizes
1023 @subsection Selecting font sizes
1025 The most common thing to change about the appearance of fonts is their
1026 size. The font size of any context can be easily changed by setting
1027 the @code{fontSize} property for that context. Its value is a number:
1028 negative numbers make the font smaller, positive numbers larger. An
1029 example is given below:
1031 @lilypond[fragment,relative=1,verbatim]
1032 c4 c4 \set fontSize = #-3
1035 This command will set @code{font-size} (see below) in all layout
1036 objects in the current context. It does not change the size of
1037 variable symbols, such as beams or slurs.
1039 The font size is set by modifying the @code{font-size} property. Its
1040 value is a number indicating the size relative to the standard size.
1041 Each step up is an increase of approximately 12% of the font size. Six
1042 steps is exactly a factor two. The Scheme function @code{magstep}
1043 converts a @code{font-size} number to a scaling factor.
1045 LilyPond has fonts in different design sizes: the music fonts for
1046 smaller sizes are chubbier, while the text fonts are relatively wider.
1047 Font size changes are achieved by scaling the design size that is
1048 closest to the desired size.
1050 The @code{font-size} mechanism does not work for fonts selected
1051 through @code{font-name}. These may be scaled with
1052 @code{font-magnification}.
1055 One of the uses of @code{fontSize} is to get smaller symbols for cue
1056 notes. An elaborate example of those is in
1057 @inputfileref{input/test,cue-notes.ly}.
1059 @cindex @code{font-style}
1063 The following commands set @code{fontSize} for the current voice.
1065 @cindex @code{\tiny}
1067 @cindex @code{\small}
1069 @cindex @code{\normalsize}
1074 @cindex magnification
1078 @node Font selection
1079 @subsection Font selection
1081 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1082 can also be adjusted with a more fine-grained mechanism. By setting
1083 the object properties described below, you can select a different font;
1084 all three mechanisms work for every object that supports
1085 @code{font-interface}:
1089 @item @code{font-encoding}
1090 is a symbol that sets layout of the glyphs. Choices include
1091 @code{text} for normal text, @code{braces} (for piano staff braces),
1092 @code{music} (the standard music font, including ancient glyphs),
1093 @code{dynamic} (for dynamic signs) and @code{number} for the number
1097 @item @code{font-family}
1098 is a symbol indicating the general class of the typeface. Supported are
1099 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1101 @item @code{font-shape}
1102 is a symbol indicating the shape of the font, there are typically
1103 several font shapes available for each font family. Choices are
1104 @code{italic}, @code{caps} and @code{upright}.
1106 @item @code{font-series}
1107 is a symbol indicating the series of the font. There are typically several
1108 font series for each font family and shape. Choices are @code{medium}
1113 Fonts selected in the way sketched above come from a predefined style
1116 The font used for printing a object can be selected by setting
1117 @code{font-name}, e.g.
1119 \override Staff.TimeSignature
1120 #'font-name = #"cmr17"
1124 Any font can be used, as long as it is available to @TeX{}. Possible
1125 fonts include foreign fonts or fonts that do not belong to the
1126 Computer Modern font family. The size of fonts selected in this way
1127 can be changed with the @code{font-magnification} property. For
1128 example, @code{2.0} blows up all letters by a factor 2 in both
1132 @cindex font magnification
1138 Init files: @file{ly/declarations-init.ly} contains hints how new
1139 fonts may be added to LilyPond.
1143 No style sheet is provided for other fonts besides the @TeX{}
1144 Computer Modern family.
1146 @cindex font selection
1147 @cindex font magnification
1148 @cindex @code{font-interface}
1152 @section Text markup
1157 @cindex typeset text
1159 LilyPond has an internal mechanism to typeset texts. You can access it
1160 with the keyword @code{\markup}. Within markup mode, you can enter texts
1161 similar to lyrics: simply enter them, surrounded by spaces:
1164 @lilypond[verbatim,fragment,relative=1]
1165 c1^\markup { hello }
1166 c1_\markup { hi there }
1167 c1^\markup { hi \bold there, is \italic anyone home? }
1170 @cindex font switching
1172 The markup in the example demonstrates font switching commands. The
1173 command @code{\bold} and @code{\italic} only apply to the first
1174 following word; enclose a set of texts with braces to apply a command
1177 \markup @{ \bold @{ hi there @} @}
1181 For clarity, you can also do this for single arguments, e.g.
1184 \markup { is \italic { anyone } home }
1187 @cindex font size, texts
1190 In markup mode you can compose expressions, similar to mathematical
1191 expressions, XML documents and music expressions. The braces group
1192 notes into horizontal lines. Other types of lists also exist: you can
1193 stack expressions grouped with @code{<}, and @code{>} vertically with
1194 the command @code{\column}. Similarly, @code{\center-align} aligns
1195 texts by their center lines:
1197 @lilypond[verbatim,fragment,relative=1]
1198 c1^\markup { \column < a bbbb c > }
1199 c1^\markup { \center-align < a bbbb c > }
1200 c1^\markup { \line < a b c > }
1204 Markups can be stored in variables, and these variables
1205 may be attached to notes, like
1207 allegro = \markup { \bold \large { Allegro } }
1208 \notes { a^\allegro b c d }
1212 Some objects have alignment procedures of their own, which cancel out
1213 any effects of alignments applied to their markup arguments as a
1214 whole. For example, the @internalsref{RehearsalMark} is horizontally
1215 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1218 Similarly, for moving whole texts over notes with
1219 @code{\raise}, use the following trick:
1221 "" \raise #0.5 raised
1224 The text @code{raised} is now raised relative to the empty string
1225 @code{""} which is not visible. Alternatively, complete objects can
1226 be moved with layout properties such as @code{padding} and
1227 @code{extra-offset}.
1233 Init files: @file{scm/new-markup.scm}.
1238 Text layout is ultimately done by @TeX{}, which does kerning of
1239 letters. LilyPond does not account for kerning, so texts will be
1240 spaced slightly too wide.
1242 Syntax errors for markup mode are confusing.
1244 Markup texts cannot be used in the titling of the @code{\header}
1245 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1251 * Overview of text markup commands::
1254 @node Overview of text markup commands
1255 @subsection Overview of text markup commands
1257 @include markup-commands.tely
1261 @section Global layout
1263 The global layout determined by three factors: the page layout, the
1264 line breaks and the spacing. These all influence each other. The
1265 choice of spacing determines how densely each system of music is set,
1266 which influences where line breaks breaks are chosen, and thus
1267 ultimately how many pages a piece of music takes. This section
1268 explains how to tune the algorithm for spacing.
1270 Globally spoken, this procedure happens in three steps: first,
1271 flexible distances (``springs'') are chosen, based on durations. All
1272 possible line breaking combination are tried, and the one with the
1273 best results---a layout that has uniform density and requires as
1274 little stretching or cramping as possible---is chosen. When the score
1275 is processed by @TeX{}, each page is filled with systems, and page breaks
1276 are chosen whenever the page gets full.
1281 * Vertical spacing::
1282 * Horizontal spacing::
1286 @node Vertical spacing
1287 @subsection Vertical spacing
1289 @cindex vertical spacing
1290 @cindex distance between staves
1291 @cindex staff distance
1292 @cindex between staves, distance
1293 @cindex staves per page
1294 @cindex space between staves
1296 The height of each system is determined automatically by LilyPond, to
1297 keep systems from bumping into each other, some minimum distances are
1298 set. By changing these, you can put staves closer together, and thus
1299 put more systems onto one page.
1301 Normally staves are stacked vertically. To make
1302 staves maintain a distance, their vertical size is padded. This is
1303 done with the property @code{minimumVerticalExtent}. It takes a pair
1304 of numbers, so if you want to make it smaller from its, then you could
1307 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1309 This sets the vertical size of the current staff to 4 staff spaces on
1310 either side of the center staff line. The argument of
1311 @code{minimumVerticalExtent} is interpreted as an interval, where the
1312 center line is the 0, so the first number is generally negative. The
1313 staff can be made larger at the bottom by setting it to @code{(-6
1316 The piano staves are handled a little differently: to make cross-staff
1317 beaming work correctly, it is necessary that the distance between staves
1318 is fixed beforehand. This is also done with a
1319 @internalsref{VerticalAlignment} object, created in
1320 @internalsref{PianoStaff}. In this object the distance between the
1321 staves is fixed by setting @code{forced-distance}. If you want to
1322 override this, use a @code{\context} block as follows:
1327 \override VerticalAlignment #'forced-distance = #9
1332 This would bring the staves together at a distance of 9 staff spaces,
1333 measured from the center line of each staff.
1337 Internals: Vertical alignment of staves is handled by the
1338 @internalsref{VerticalAlignment} object.
1343 @node Horizontal spacing
1344 @subsection Horizontal Spacing
1346 The spacing engine translates differences in durations into
1347 stretchable distances (``springs'') of differing lengths. Longer
1348 durations get more space, shorter durations get less. The shortest
1349 durations get a fixed amount of space (which is controlled by
1350 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1351 The longer the duration, the more space it gets: doubling a
1352 duration adds a fixed amount (this amount is controlled by
1353 @code{spacing-increment}) of space to the note.
1355 For example, the following piece contains lots of half, quarter and
1356 8th notes, the eighth note is followed by 1 note head width (NHW).
1357 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1358 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1362 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1363 width of a note head, and @code{shortest-duration-space} is set to
1364 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1365 @code{shortest-duration-space}) of space. For normal notes, this space
1366 is always counted from the left edge of the symbol, so the shortest
1367 notes are generally followed by one NHW of space.
1369 If one would follow the above procedure exactly, then adding a single
1370 32th note to a score that uses 8th and 16th notes, would widen up the
1371 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1372 thus adding 1 NHW to every note. To prevent this, the
1373 shortest duration for spacing is not the shortest note in the score,
1374 but the most commonly found shortest note. Notes that are even
1375 shorter this are followed by a space that is proportional to their
1376 duration relative to the common shortest note. So if we were to add
1377 only a few 16th notes to the example above, they would be followed by
1380 @lilypond[fragment,verbatim,relative=2]
1381 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1384 The most common shortest duration is determined as follows: in every
1385 measure, the shortest duration is determined. The most common short
1386 duration, is taken as the basis for the spacing, with the stipulation
1387 that this shortest duration should always be equal to or shorter than
1388 1/8th note. The shortest duration is printed when you run lilypond
1389 with @code{--verbose}. These durations may also be customized. If you
1390 set the @code{common-shortest-duration} in
1391 @internalsref{SpacingSpanner}, then this sets the base duration for
1392 spacing. The maximum duration for this base (normally 1/8th), is set
1393 through @code{base-shortest-duration}.
1395 @cindex @code{common-shortest-duration}
1396 @cindex @code{base-shortest-duration}
1397 @cindex @code{stem-spacing-correction}
1398 @cindex @code{spacing}
1400 In the introduction it was explained that stem directions influence
1401 spacing. This is controlled with @code{stem-spacing-correction}
1402 property in @internalsref{NoteSpacing}, which are generated for every
1403 @internalsref{Voice} context. The @code{StaffSpacing} object
1404 (generated at @internalsref{Staff} context) contains the same property
1405 for controlling the stem/bar line spacing. The following example
1406 shows these corrections, once with default settings, and once with
1407 exaggerated corrections:
1413 \override Staff.NoteSpacing #'stem-spacing-correction
1415 \override Staff.StaffSpacing #'stem-spacing-correction
1420 \paper { raggedright = ##t } }
1423 @cindex SpacingSpanner, overriding properties
1425 Properties of the @internalsref{SpacingSpanner} must be overridden
1426 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1427 created before any property commands are interpreted.
1429 \paper @{ \context @{
1431 SpacingSpanner \override #'spacing-increment = #3.0
1438 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1439 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1440 @internalsref{SeparatingGroupSpanner}.
1444 Spacing is determined on a score wide basis. If you have a score that
1445 changes its character (measured in durations) halfway during the
1446 score, the part containing the longer durations will be spaced too
1449 There is no convenient mechanism to manually override spacing.
1456 @cindex font size, setting
1457 @cindex staff size, setting
1458 @cindex @code{paper} file
1460 The Feta font provides musical symbols at eight different
1461 sizes. Each font is tuned for a different staff size: at smaller sizes
1462 the font gets heavier, to match the relatively heavier staff lines.
1463 The recommended font sizes are listed in the following table:
1465 @multitable @columnfractions .25 .25 .25 .25
1468 @tab @b{staff height (pt)}
1469 @tab @b{staff height (mm)}
1511 @c modern rental material ?
1515 These fonts are available in any sizes. The context property
1516 @code{fontSize} and the layout property @code{staff-space} (in
1517 @internalsref{StaffSymbol}) can be used to tune size for individual
1518 staves. The size of individual staves are relative to the global size,
1519 which can be set in the following manner:
1522 #(set-global-staff-size 14)
1525 This sets the global default size to 14pt staff height, and scales all
1530 This manual: @ref{Selecting font sizes}.
1536 * Defining contexts::
1537 * Defining new contexts::
1541 @subsection Line breaking
1544 @cindex breaking lines
1546 Line breaks are normally computed automatically. They are chosen such
1547 that lines look neither cramped nor loose, and that consecutive lines
1548 have similar density.
1550 Occasionally you might want to override the automatic breaks; you can
1551 do this by specifying @code{\break}. This will force a line break at
1552 this point. Line breaks can only occur at places where there are bar
1553 lines. If you want to have a line break where there is no bar line,
1554 you can force an invisible bar line by entering @code{\bar
1555 ""}. Similarly, @code{\noBreak} forbids a line break at a
1559 @cindex regular line breaks
1560 @cindex four bar music.
1562 For line breaks at regular intervals use @code{\break} separated by
1563 skips and repeated with @code{\repeat}:
1565 << \repeat unfold 7 @{
1566 s1 \noBreak s1 \noBreak
1567 s1 \noBreak s1 \break @}
1568 @emph{the real music}
1573 This makes the following 28 measures (assuming 4/4 time) be broken every
1574 4 measures, and only there.
1578 @code{\break}, @code{\noBreak}
1579 @cindex @code{\break}
1580 @cindex @code{\noBreak}
1584 Internals: @internalsref{BreakEvent}.
1588 @subsection Page layout
1591 @cindex breaking pages
1593 @cindex @code{indent}
1594 @cindex @code{linewidth}
1596 The most basic settings influencing the spacing are @code{indent} and
1597 @code{linewidth}. They are set in the @code{\paper} block. They
1598 control the indentation of the first line of music, and the lengths of
1601 If @code{raggedright} is set to true in the @code{\paper}
1602 block, then the lines are justified at their natural length. This
1603 useful for short fragments, and for checking how tight the natural
1607 @cindex vertical spacing
1609 The page layout process happens outside the LilyPond formatting
1610 engine: variables controlling page layout are passed to the output,
1611 and are further interpreted by @code{lilypond} wrapper program. It
1612 responds to the following variables in the @code{\paper} block. The
1613 spacing between systems is controlled with @code{interscoreline}, its
1614 default is 16pt. The distance between the score lines will stretch in
1615 order to fill the full page @code{interscorelinefill} is set to a
1616 positive number. In that case @code{interscoreline} specifies the
1619 @cindex @code{textheight}
1620 @cindex @code{interscoreline}
1621 @cindex @code{interscorelinefill}
1623 If the variable @code{lastpagefill} is defined,
1624 @c fixme: this should only be done if lastpagefill= #t
1625 systems are evenly distributed vertically on the last page. This
1626 might produce ugly results in case there are not enough systems on the
1627 last page. The @command{lilypond-book} command ignores
1628 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1631 @cindex @code{lastpagefill}
1633 Page breaks are normally computed by @TeX{}, so they are not under
1634 direct control of LilyPond. However, you can insert a commands into
1635 the @file{.tex} output to instruct @TeX{} where to break pages. This
1636 is done by setting the @code{between-systems-strings} on the
1637 @internalsref{NonMusicalPaperColumn} where the system is broken.
1638 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1639 The predefined command @code{\newpage} also does this.
1643 @cindex @code{papersize}
1645 To change the paper size, use the following Scheme code:
1648 #(set-paper-size "a4")
1655 @cindex @code{\newpage}
1661 In this manual: @ref{Invoking lilypond}.
1663 Examples: @inputfileref{input/regression,between-systems.ly}.
1665 Internals: @internalsref{NonMusicalPaperColumn}.
1669 LilyPond has no concept of page layout, which makes it difficult to
1670 reliably choose page breaks in longer pieces.
1675 @node Defining contexts
1676 @subsection Defining contexts
1678 @cindex context definition
1679 @cindex translator definition
1681 The most common way to create a new context definition is by extending
1682 an existing one. An existing context from the paper block is copied
1683 by referencing a context identifier:
1688 @var{context-identifier}
1694 Every predefined context has a standard identifier. For example, the
1695 @code{Staff} context can be referred to as @code{\StaffContext}.
1697 The context can then be modified by setting or changing properties,
1702 Stem \set #'thickness = #2.0
1703 defaultBarType = #"||"
1706 These assignments happen before interpretation starts, so a property
1707 command will override any predefined settings.
1713 It is not possible to collect multiple property assignments in a
1714 variable, and apply to one @code{\context} definition by
1715 referencing that variable.
1719 @node Defining new contexts
1720 @subsection Defining new contexts
1723 It is also possible to define new contexts from scratch. To do this,
1724 you must define give the new context a name. In the following
1725 example, a very simple Staff context is created: one that will put
1726 note heads on a staff symbol.
1730 \type "Engraver_group_engraver"
1733 \consists "Staff_symbol_engraver"
1734 \consists "Note_head_engraver"
1735 \consistsend "Axis_group_engraver"
1740 The argument of @code{\type} is the name for a special engraver that
1741 handles cooperation between simple engravers such as
1742 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
1743 should always be @code{Engraver_group_engraver} (unless you are
1744 defining a Score context from scratch, in which case
1745 @code{Score_engraver} must be used).
1747 The complete list of context modifiers is the following:
1749 @item @code{\alias} @var{alternate-name}:
1750 This specifies a different name. In the above example,
1751 @code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
1753 @item @code{\consistsend} @var{engravername}:
1754 Analogous to @code{\consists}, but makes sure that
1755 @var{engravername} is always added to the end of the list of
1758 Engravers that group context objects into axis groups or alignments
1759 need to be at the end of the list. @code{\consistsend} insures that
1760 engravers stay at the end even if a user adds or removes engravers.
1762 @item @code{\accepts} @var{contextname}:
1763 This context can contains @var{contextname} contexts. The first
1764 @code{\accepts} is created as a default context when events (e.g. notes
1765 or rests) are encountered.
1767 @item @code{\denies}:
1768 The opposite of @code{\accepts}.
1770 @item @code{\name} @var{contextname}:
1771 This sets the type name of the context, e.g. @code{Staff},
1772 @code{Voice}. If the name is not specified, the translator will not
1781 @node Output details
1782 @section Output details
1784 The default output format is La@TeX{}, which should be run
1785 through La@TeX{}. Using the option @option{-f}
1786 (or @option{--format}) other output formats can be selected also, but
1787 none of them work reliably.
1789 Now the music is output system by system (a `system' consists of all
1790 staves belonging together). From @TeX{}'s point of view, a system is an
1791 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
1792 vertically on the baseline of the text. Between systems,
1793 @code{\interscoreline} is inserted vertically to have stretchable space.
1794 The horizontal dimension of the @code{\hbox} is given by the
1795 @code{linewidth} parameter from LilyPond's @code{\paper} block.
1797 After the last system LilyPond emits a stronger variant of
1798 @code{\interscoreline} only if the macro
1799 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
1800 to the top of the page). You can avoid that by setting the variable
1801 @code{lastpagefill} in LilyPond's @code{\paper} block.
1803 It is possible to fine-tune the vertical offset further by defining the
1804 macro @code{\lilypondscoreshift}:
1807 \def\lilypondscoreshift@{0.25\baselineskip@}
1811 where @code{\baselineskip} is the distance from one text line to the next.
1813 Here an example how to embed a small LilyPond file @code{foo.ly} into
1814 running La@TeX{} text without using the @code{lilypond-book} script
1815 (@pxref{lilypond-book manual}):
1818 \documentclass@{article@}
1820 \def\lilypondpaperlastpagefill@{@}
1822 \def\lilypondscoreshift@{0.25\baselineskip@}
1825 This is running text which includes an example music file
1831 The file @file{foo.tex} has been simply produced with
1837 The call to @code{\lineskip} assures that there is enough vertical space
1838 between the LilyPond box and the surrounding text lines.