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 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
277 For simple scores, the correct contexts are created automatically. For
278 more complex scores, it is necessary to instantiate them by hand.
279 There are three commands to do this.
281 The easiest command is @code{\new}, and it also the quickest to type.
282 It is prepended to a music expression, for example
285 \new @var{type} @var{music expression}
289 where @var{type} is a context name (like @code{Staff} or
290 @code{Voice}). This command creates a new context, and starts
291 interpreting @var{music expression} with that.
293 A practical application of @code{\new} is a score with many
294 staves. Each part that should be on its own staff, gets a @code{\new
297 @lilypond[verbatim,relative=2,raggedright]
298 << \new Staff { c4 c }
304 The @code{\context} command also directs a music expression to a
305 context object, but gives the context an extra name. The syntax is
308 \context @var{type} = @var{id} @var{music}
311 This form will search for an existing context of type @var{type}
312 called @var{id}. If that context does not exist yet, it is created.
313 This is useful if the context referred to later on. For example, when
314 setting lyrics the melody is in a named context
317 \context Voice = "@b{tenor}" @var{music}
321 so the texts can be properly aligned to its notes,
324 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
329 Another possibility is funneling two different music expressions into
330 one context. In the following example, articulations and notes are
334 music = \notes { c4 c4 }
335 arts = \notes { s4-. s4-> }
338 They are combined by sending both to the same @context{Voice} context,
341 << \new Staff \context Voice = "A" \music
342 \context Voice = "A" \arts
345 @lilypond[raggedright]
346 music = \notes { c4 c4 }
347 arts = \notes { s4-. s4-> }
349 \notes \relative c'' << \new Staff \context Voice = "A" \music
350 \context Voice = "A" \arts
357 The third command for creating contexts is
359 \context @var{type} @var{music}
364 This is similar to @code{\context} with @code{= @var{id}}, but matches
365 any context of type @var{type}, regardless of its given name.
367 This variant is used with music expressions that can be interpreted at
368 several levels. For example, the @code{\applyoutput} command (see
369 @ref{Running a function on all layout objects}). Without an explicit
370 @code{\context}, it is usually is applied to @context{Voice}
373 \applyoutput #@var{function} % apply to Voice
376 To have it interpreted at @context{Score} or @context{Staff} level use
380 \context Score \applyoutput #@var{function}
381 \context Staff \applyoutput #@var{function}
385 @node Changing context properties on the fly
386 @subsection Changing context properties on the fly
388 Each context can have different @emph{properties}, variables contained
389 in that context. They can be changed during the interpretation step.
390 This is achieved by inserting the @code{\set} command in the music,
393 @code{\set }[@var{context}]@code{.}@var{prop}@code{ = #}@var{value}
397 @lilypond[verbatim,relative=2]
399 \set Score.skipBars = ##t
403 This command skips measures that have no notes. The result is that
404 multi rests are condensed. The value assigned is a Scheme object. In
405 this case, it is @code{#t}, the boolean True value.
407 If the @var{context} argument is left out, then the current
408 bottom-most context (typically ChordNames, @context{Voice} or Lyrics)
409 is used. In this example,
411 @lilypond[verbatim,relative=2]
413 \set autoBeaming = ##f
418 the @var{context} argument to @code{\set} is left out, and the current
419 @internalsref{Voice} is used.
421 Contexts are hierarchical, so if a bigger context was specified, for
422 example @code{Staff}, then the change would also apply to all
423 @context{Voice}s in the current stave. The change is applied
424 `on-the-fly', during the music, so that the setting only affects the
425 second group of eighth notes.
427 There is also an @code{\unset} command,
429 @code{\set }[@var{context}]@code{.}@var{prop}
433 which removes the definition of @var{prop}. This command only removes
434 the definition if it is set in @var{context}. In
437 \set Staff.autoBeaming = ##f
438 \unset Voice.autoBeaming
442 the current @context{Voice} does not have the property, and the
443 definition at @context{Staff} level remains intact.
445 Settings that should only apply to a single time-step can be entered
446 easily with @code{\once}, for example in
448 @lilypond[verbatim,relative=2]
450 \once \set fontSize = #4.7
455 the property @code{fontSize} is unset automatically after the second
458 A full description of all available context properties is in the
459 program reference, see
461 @internalsref{Tunable-context-properties}.
464 Translation @arrow{} Tunable context properties.
468 @node Modifying context plug-ins
469 @subsection Modifying context plug-ins
471 Notation contexts (like Score and Staff) not only store properties,
472 they also contain plug-ins, called ``engravers'' that create notation
473 elements. For example, the Voice context contains a
474 @code{Note_head_engraver} and the Staff context contains a
475 @code{Key_signature_engraver}.
477 For a full a description of each plug-in, see
479 @internalsref{Engravers}
482 Program reference @arrow Translation @arrow{} Engravers.
484 Every context described in
486 @internalsref{Contexts}
489 Program reference @arrow Translation @arrow{} Context.
491 lists the engravers used for that context.
494 It can be useful to shuffle around these plug-ins. This is done by
495 starting a new context, with @code{\new} or @code{\context}, and
496 modifying them like this,
499 \new @var{context} \with @{
509 where the @dots{} should be the name of an engraver. Here is a simple
510 example which removes @code{Time_signature_engraver} and
511 @code{Clef_engraver} from a @code{Staff} context,
513 @lilypond[relative=1, verbatim]
518 \remove "Time_signature_engraver"
519 \remove "Clef_engraver"
526 In the second stave there are no time signature or clef symbols. This
527 is a rather crude method of making objects disappear, it will affect
528 the entire staff. More sophisticated methods are shown in (TODO).
530 The next example shows a practical application. Bar lines and time
531 signatures are normally synchronized across the score. This is done
532 by the @code{Timing_engraver}. This plug-in keeps an administration of
533 time signature, location within the measure, etc. By moving the
534 @code{Timing_engraver} engraver from Score to Staff context, we can
535 have score where each staff has its own time signature.
537 @cindex polymetric scores
540 @lilypond[relative=1,raggedright,verbatim]
542 \remove "Timing_engraver"
545 \consists "Timing_engraver"
551 \consists "Timing_engraver"
560 @node Layout tunings within contexts
561 @subsection Layout tunings within contexts
563 Each context is responsible for creating certain types of graphical
564 objects. The settings used for printing these objects are also stored by
565 context. By changing these settings, the appearance of objects can be
568 The syntax for this is
571 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
574 Here @var{name} is the name of a graphical object, like @code{Stem} or
575 @code{NoteHead}. @var{property} is an internal variable of the
576 formatting system (`grob property' or `layout property'). It is a
577 symbol, so it must be quoted. The subsection refTODO explains what to
578 fill in for @var{name}, @var{property} and @var{value}. Here we only
579 discuss functionality of this command.
584 \override Staff.Stem #'thickness = #4.0
588 makes stems thicker (the default is 1.3, with staff line thickness as a
589 unit). Since the command specifies @context{Staff} as context, it only
590 applies to the current staff. Other staves will keep their normal
591 appearance. Here we see the command in action:
593 @lilypond[verbatim,relative=2]
595 \override Staff.Stem #'thickness = #4.0
601 The @code{\override} command is executed during the interpreting phase,
602 and changes the definition of the @code{Stem} within
603 @context{Staff}. After the command all stems are thickened.
605 Analogous to @code{\set}, the @var{context} argument may be left out,
606 causing it to default to @context{Voice} and adding @code{\once} applies
607 the change during only one timestep
609 @lilypond[verbatim,relative=2]
611 \once \override Stem #'thickness = #4.0
616 The @code{\override} must be done before the object is
617 started. Therefore, when altering @emph{Spanner} objects, like slurs or
618 beams, the @code{\override} command must be executed at the moment that
619 the object is created. In this example,
623 @lilypond[verbatim,relative=2]
624 \override Slur #'thickness = #2.0
626 \override Beam #'thickness = #0.6
631 the slur is fatter and the beam is not. This is because the command for
632 @code{Beam} comes after the Beam is started. Therefore it has no effect.
634 Analogous to @code{\unset}, the @code{\revert} command for a context
635 undoes a @code{\override} command; like with @code{\unset}, it only
636 affects settings that were made in the same context. In other words, the
637 @code{\revert} in the next example does not do anything.
640 \override Voice.Stem #'thickness = #4.0
641 \revert Staff.Stem #'thickness
645 @node Defining context defaults
646 @subsection Defining context defaults
648 Context properties can be set as defaults, within the
649 @code{\paper} block. For example,
661 will set skipBars default
663 @node Which properties to change
664 @subsection Which properties to change
667 There are many different properties. Not all of them are listed in
668 this manual. However, the program reference lists them all in the
669 section @internalsref{Context-properties}, and most properties are
670 demonstrated in one of the
672 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
680 @node Fine tuning layout
681 @section Fine tuning layout
683 Sometimes it is necessary to change music layout by hand. When music
684 is formatted, layout objects are created for each symbol. For
685 example, every clef and every note head is represented by a layout
686 object. These layout objects also carry variables, which we call
687 @emph{layout properties}. By changing these variables from their
688 values, we can alter the look of a formatted score:
690 @lilypond[verbatim,relative]
692 \override Stem #'thickness = #3.0
697 In the example shown here, the layout property @code{thickness} (a
698 symbol) is set to 3 in the @code{Stem} layout objects of the current
699 As a result, the notes following @code{\override} have thicker
702 For the most part, a manual override is needed only on a case by
703 case basis and not for all subsequent instances of the altered
704 property. To accomplish this, simply prefix @code{\once} to the
705 @code{\override} statement and the override will apply only once,
706 immediately reverting to its default setting, i.e.
709 \once \override Stem #'thickness = #3.0
714 \once \override Stem #'thickness = #3.0
719 Some overrides are so common that predefined commands are provided as
720 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
721 commands are described in
725 @ref{Notation manual}, under the sections for slurs and stems
728 The exact tuning possibilities for each type of layout object are
729 documented in the program reference of the respective
730 object. However, many layout objects share properties, which can be
731 used to apply generic tweaks. We mention a couple of these:
734 @item The @code{extra-offset} property, which
735 @cindex @code{extra-offset}
736 has a pair of numbers as value, moves around objects in the printout.
737 The first number controls left-right movement; a positive number will
738 move the object to the right. The second number controls up-down
739 movement; a positive number will move it higher. The units of these
740 offsets are staff-spaces. The @code{extra-offset} property is a
741 low-level feature: the formatting engine is completely oblivious to
744 In the following example, the second fingering is moved a little to
745 the left, and 1.8 staff space downwards:
747 @cindex setting object properties
749 @lilypond[relative=1,verbatim]
752 \once \override Fingering
753 #'extra-offset = #'(-0.3 . -1.8)
758 Setting the @code{transparent} property will cause an object to be printed
759 in `invisible ink': the object is not printed, but all its other
760 behavior is retained. The object still takes up space, it takes part in
761 collisions, and slurs, and ties and beams can be attached to it.
763 @cindex transparent objects
764 @cindex removing objects
765 @cindex invisible objects
766 The following example demonstrates how to connect different voices
767 using ties. Normally, ties only connect two notes in the same
768 voice. By introducing a tie in a different voice, and blanking a stem
769 in that voice, the tie appears to cross voices:
771 @lilypond[fragment,relative=1,verbatim]
773 \once \override Stem #'transparent = ##t
781 The @code{padding} property for objects with
782 @cindex @code{padding}
783 @code{side-position-interface} can be set to increase distance between
784 symbols that are printed above or below notes. We only give an
785 example; a more elaborate explanation is in @ref{Constructing a
788 @lilypond[relative=1,verbatim]
790 \override Script #'padding = #3
796 More specific overrides are also possible. The notation manual
797 discusses in depth how to figure out these statements for yourself, in
804 @section Tuning output
806 There are situations where default layout decisions are not
807 sufficient. In this section we discuss ways to override these
810 Formatting is internally done by manipulating so called objects
811 (graphic objects). Each object carries with it a set of properties
812 (object or layout properties) specific to that object. For example, a
813 stem object has properties that specify its direction, length and
816 The most direct way of tuning the output is by altering the values of
817 these properties. There are two ways of doing that: first, you can
818 temporarily change the definition of one type of object, thus
819 affecting a whole set of objects. Second, you can select one specific
820 object, and set a layout property in that object.
822 Do not confuse layout properties with translation
823 properties. Translation properties always use a mixed caps style
824 naming, and are manipulated using @code{\set} and @code{\unset}:
826 \set Context.propertyName = @var{value}
829 Layout properties are use Scheme style variable naming, i.e. lower
830 case words separated with dashes. They are symbols, and should always
831 be quoted using @code{#'}. For example, this could be an imaginary
832 layout property name:
834 #'layout-property-name
840 * Constructing a tweak::
841 * Selecting font sizes::
848 @subsection Tuning objects
850 @cindex object description
852 The definition of an object is a list of default object
853 properties. For example, the definition of the Stem object (available
854 in @file{scm/define-grobs.scm}), includes the following definitions
855 for @internalsref{Stem}:
859 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
860 (Y-extent-callback . ,Stem::height)
865 Adding variables on top of this existing definition overrides the
866 system default, and alters the resulting appearance of the layout
871 Changing a variable for only one object is commonly achieved with
875 \once \override @var{context}.@var{objectname}
876 @var{symbol} = @var{value}
878 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
879 and @var{objectname} is a string and @var{value} is a Scheme expression.
880 This command applies a setting only during one moment in the score.
882 In the following example, only one @internalsref{Stem} object is
883 changed from its original setting:
885 @lilypond[verbatim,fragment,relative=1]
887 \once \override Voice.Stem #'thickness = #4
893 For changing more objects, the same command, without @code{\once} can
896 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
898 This command adds @code{@var{symbol} = @var{value}} to the definition
899 of @var{objectname} in the context @var{context}, and this definition
900 stays in place until it is removed.
902 An existing definition may be removed by the following command:
905 \property @var{context}.@var{objectname} \revert @var{symbol}
911 c'4 \override Stem #'thickness = #4.0
913 c'4 \revert Stem #'thickness
919 Reverting a setting which was not set in the first place has no
925 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
926 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
927 @internalsref{All-layout-objects}.
932 The back-end is not very strict in type-checking object properties.
933 Cyclic references in Scheme values for properties can cause hangs
937 @node Constructing a tweak
938 @subsection Constructing a tweak
941 @cindex internal documentation
942 @cindex finding graphical objects
943 @cindex graphical object descriptions
945 @cindex @code{\override}
947 @cindex internal documentation
951 Three pieces of information are required to use @code{\override} and
952 @code{\set}: the name of the layout object, the context and the name
953 of the property. We demonstrate how to glean this information from
954 the notation manual and the program reference.
956 The generated documentation is a set of HTML pages which should be
957 included if you installed a binary distribution, typically in
958 @file{/usr/share/doc/lilypond}. They are also available on the web:
959 go to the @uref{http://lilypond.org,LilyPond website}, click
960 ``Documentation'', select the correct version, and then click
961 ``Program reference.'' It is advisable to bookmark the local HTML
962 files. They will load faster than the ones on the web and matches the
963 version of LilyPond you are using.
967 @c [TODO: revise for new site.]
969 Suppose we want to move the fingering indication in the fragment
972 @lilypond[relative=2,verbatim]
978 If you visit the documentation of @code{Fingering} (in @ref{Fingering
979 instructions}), you will notice that there is written:
984 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
991 In other words, the fingerings once entered, are internally stored as
992 @code{FingerEvent} music objects. When printed, a @code{Fingering}
993 layout object is created for every @code{FingerEvent}.
995 The Fingering object has a number of different functions, and each of
996 those is captured in an interface. The interfaces are listed under
997 @internalsref{Fingering} in the program reference.
1001 The @code{Fingering} object has a fixed size
1002 (@internalsref{item-interface}), the symbol is a piece of text
1003 (@internalsref{text-interface}), whose font can be set
1004 (@internalsref{font-interface}). It is centered horizontally
1005 (@internalsref{self-alignment-interface}), it is placed vertically
1006 next to other objects (@internalsref{side-position-interface}), and
1007 its placement is coordinated with other scripts
1008 (@internalsref{text-script-interface}). It also has the standard
1009 @internalsref{grob-interface} (grob stands for Graphical object)
1011 @cindex graphical object
1012 @cindex layout object
1013 @cindex object, layout
1014 with all the variables that come with
1015 it. Finally, it denotes a fingering instruction, so it has
1016 @internalsref{finger-interface}.
1018 For the vertical placement, we have to look under
1019 @code{side-position-interface}:
1021 @code{side-position-interface}
1023 Position a victim object (this one) next to other objects (the
1024 support). In this case, the property @code{direction} signifies where to put the
1025 victim object relative to the support (left or right, up or down?)
1030 below this description, the variable @code{padding} is described as
1034 (dimension, in staff space)
1036 add this much extra space between objects that are next to each
1037 other. Default value: @code{0.6}
1041 By increasing the value of @code{padding}, we can move away the
1042 fingering. The following command inserts 3 staff spaces of white
1043 between the note and the fingering:
1045 \once \override Fingering #'padding = #3
1048 Inserting this command before the Fingering object is created,
1049 i.e. before @code{c2}, yields the following result:
1051 @lilypond[relative=2,fragment,verbatim]
1052 \once \override Fingering
1059 The context name @code{Voice} in the example above can be determined
1060 as follows. In the documentation for @internalsref{Fingering}, it says
1062 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
1065 Clicking @code{Fingering_engraver} shows the documentation of
1066 the module responsible for interpreting the fingering instructions and
1067 translating them to a @code{Fingering} object. Such a module is called
1068 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
1071 Fingering_engraver is part of contexts: Voice
1073 so tuning the settings for Fingering should be done with
1075 \override Fingering @dots{}
1078 Of course, the tweak may also done in a larger context than
1079 @code{Voice}, for example, @internalsref{Staff} or
1080 @internalsref{Score}.
1084 Internals: the program reference also contains alphabetical lists of
1085 @internalsref{Contexts}, @internalsref{All-layout-objects} and
1086 @internalsref{Music-expressions}, so you can also find which objects
1087 to tweak by browsing the internals document.
1090 @node Selecting font sizes
1091 @subsection Selecting font sizes
1093 The most common thing to change about the appearance of fonts is their
1094 size. The font size of any context can be easily changed by setting
1095 the @code{fontSize} property for that context. Its value is a number:
1096 negative numbers make the font smaller, positive numbers larger. An
1097 example is given below:
1099 @lilypond[fragment,relative=1,verbatim]
1100 c4 c4 \set fontSize = #-3
1103 This command will set @code{font-size} (see below) in all layout
1104 objects in the current context. It does not change the size of
1105 variable symbols, such as beams or slurs.
1107 The font size is set by modifying the @code{font-size} property. Its
1108 value is a number indicating the size relative to the standard size.
1109 Each step up is an increase of approximately 12% of the font size. Six
1110 steps is exactly a factor two. The Scheme function @code{magstep}
1111 converts a @code{font-size} number to a scaling factor.
1113 LilyPond has fonts in different design sizes: the music fonts for
1114 smaller sizes are chubbier, while the text fonts are relatively wider.
1115 Font size changes are achieved by scaling the design size that is
1116 closest to the desired size.
1118 The @code{font-size} mechanism does not work for fonts selected
1119 through @code{font-name}. These may be scaled with
1120 @code{font-magnification}.
1123 One of the uses of @code{fontSize} is to get smaller symbols for cue
1124 notes. An elaborate example of those is in
1125 @inputfileref{input/test,cue-notes.ly}.
1127 @cindex @code{font-style}
1131 The following commands set @code{fontSize} for the current voice.
1133 @cindex @code{\tiny}
1135 @cindex @code{\small}
1137 @cindex @code{\normalsize}
1142 @cindex magnification
1146 @node Font selection
1147 @subsection Font selection
1149 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1150 can also be adjusted with a more fine-grained mechanism. By setting
1151 the object properties described below, you can select a different font;
1152 all three mechanisms work for every object that supports
1153 @code{font-interface}:
1157 @item @code{font-encoding}
1158 is a symbol that sets layout of the glyphs. Choices include
1159 @code{text} for normal text, @code{braces} (for piano staff braces),
1160 @code{music} (the standard music font, including ancient glyphs),
1161 @code{dynamic} (for dynamic signs) and @code{number} for the number
1165 @item @code{font-family}
1166 is a symbol indicating the general class of the typeface. Supported are
1167 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1169 @item @code{font-shape}
1170 is a symbol indicating the shape of the font, there are typically
1171 several font shapes available for each font family. Choices are
1172 @code{italic}, @code{caps} and @code{upright}.
1174 @item @code{font-series}
1175 is a symbol indicating the series of the font. There are typically several
1176 font series for each font family and shape. Choices are @code{medium}
1181 Fonts selected in the way sketched above come from a predefined style
1184 The font used for printing a object can be selected by setting
1185 @code{font-name}, e.g.
1187 \override Staff.TimeSignature
1188 #'font-name = #"cmr17"
1192 Any font can be used, as long as it is available to @TeX{}. Possible
1193 fonts include foreign fonts or fonts that do not belong to the
1194 Computer Modern font family. The size of fonts selected in this way
1195 can be changed with the @code{font-magnification} property. For
1196 example, @code{2.0} blows up all letters by a factor 2 in both
1200 @cindex font magnification
1206 Init files: @file{ly/declarations-init.ly} contains hints how new
1207 fonts may be added to LilyPond.
1211 No style sheet is provided for other fonts besides the @TeX{}
1212 Computer Modern family.
1214 @cindex font selection
1215 @cindex font magnification
1216 @cindex @code{font-interface}
1220 @section Text markup
1225 @cindex typeset text
1227 LilyPond has an internal mechanism to typeset texts. You can access it
1228 with the keyword @code{\markup}. Within markup mode, you can enter texts
1229 similar to lyrics: simply enter them, surrounded by spaces:
1232 @lilypond[verbatim,fragment,relative=1]
1233 c1^\markup { hello }
1234 c1_\markup { hi there }
1235 c1^\markup { hi \bold there, is \italic anyone home? }
1238 @cindex font switching
1240 The markup in the example demonstrates font switching commands. The
1241 command @code{\bold} and @code{\italic} only apply to the first
1242 following word; enclose a set of texts with braces to apply a command
1245 \markup @{ \bold @{ hi there @} @}
1249 For clarity, you can also do this for single arguments, e.g.
1252 \markup { is \italic { anyone } home }
1255 @cindex font size, texts
1258 In markup mode you can compose expressions, similar to mathematical
1259 expressions, XML documents and music expressions. The braces group
1260 notes into horizontal lines. Other types of lists also exist: you can
1261 stack expressions grouped with @code{<}, and @code{>} vertically with
1262 the command @code{\column}. Similarly, @code{\center-align} aligns
1263 texts by their center lines:
1265 @lilypond[verbatim,fragment,relative=1]
1266 c1^\markup { \column < a bbbb c > }
1267 c1^\markup { \center-align < a bbbb c > }
1268 c1^\markup { \line < a b c > }
1272 Markups can be stored in variables, and these variables
1273 may be attached to notes, like
1275 allegro = \markup { \bold \large { Allegro } }
1276 \notes { a^\allegro b c d }
1280 Some objects have alignment procedures of their own, which cancel out
1281 any effects of alignments applied to their markup arguments as a
1282 whole. For example, the @internalsref{RehearsalMark} is horizontally
1283 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1286 Similarly, for moving whole texts over notes with
1287 @code{\raise}, use the following trick:
1289 "" \raise #0.5 raised
1292 The text @code{raised} is now raised relative to the empty string
1293 @code{""} which is not visible. Alternatively, complete objects can
1294 be moved with layout properties such as @code{padding} and
1295 @code{extra-offset}.
1301 Init files: @file{scm/new-markup.scm}.
1306 Text layout is ultimately done by @TeX{}, which does kerning of
1307 letters. LilyPond does not account for kerning, so texts will be
1308 spaced slightly too wide.
1310 Syntax errors for markup mode are confusing.
1312 Markup texts cannot be used in the titling of the @code{\header}
1313 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1319 * Overview of text markup commands::
1322 @node Overview of text markup commands
1323 @subsection Overview of text markup commands
1325 @include markup-commands.tely
1329 @section Global layout
1331 The global layout determined by three factors: the page layout, the
1332 line breaks and the spacing. These all influence each other. The
1333 choice of spacing determines how densely each system of music is set,
1334 which influences where line breaks breaks are chosen, and thus
1335 ultimately how many pages a piece of music takes. This section
1336 explains how to tune the algorithm for spacing.
1338 Globally spoken, this procedure happens in three steps: first,
1339 flexible distances (``springs'') are chosen, based on durations. All
1340 possible line breaking combination are tried, and the one with the
1341 best results---a layout that has uniform density and requires as
1342 little stretching or cramping as possible---is chosen. When the score
1343 is processed by @TeX{}, each page is filled with systems, and page breaks
1344 are chosen whenever the page gets full.
1349 * Vertical spacing::
1350 * Horizontal spacing::
1357 @node Vertical spacing
1358 @subsection Vertical spacing
1360 @cindex vertical spacing
1361 @cindex distance between staves
1362 @cindex staff distance
1363 @cindex between staves, distance
1364 @cindex staves per page
1365 @cindex space between staves
1367 The height of each system is determined automatically by LilyPond, to
1368 keep systems from bumping into each other, some minimum distances are
1369 set. By changing these, you can put staves closer together, and thus
1370 put more systems onto one page.
1372 Normally staves are stacked vertically. To make
1373 staves maintain a distance, their vertical size is padded. This is
1374 done with the property @code{minimumVerticalExtent}. It takes a pair
1375 of numbers, so if you want to make it smaller from its, then you could
1378 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1380 This sets the vertical size of the current staff to 4 staff spaces on
1381 either side of the center staff line. The argument of
1382 @code{minimumVerticalExtent} is interpreted as an interval, where the
1383 center line is the 0, so the first number is generally negative. The
1384 staff can be made larger at the bottom by setting it to @code{(-6
1387 The piano staves are handled a little differently: to make cross-staff
1388 beaming work correctly, it is necessary that the distance between staves
1389 is fixed beforehand. This is also done with a
1390 @internalsref{VerticalAlignment} object, created in
1391 @internalsref{PianoStaff}. In this object the distance between the
1392 staves is fixed by setting @code{forced-distance}. If you want to
1393 override this, use a @code{\context} block as follows:
1398 \override VerticalAlignment #'forced-distance = #9
1403 This would bring the staves together at a distance of 9 staff spaces,
1404 measured from the center line of each staff.
1408 Internals: Vertical alignment of staves is handled by the
1409 @internalsref{VerticalAlignment} object.
1414 @node Horizontal spacing
1415 @subsection Horizontal Spacing
1417 The spacing engine translates differences in durations into
1418 stretchable distances (``springs'') of differing lengths. Longer
1419 durations get more space, shorter durations get less. The shortest
1420 durations get a fixed amount of space (which is controlled by
1421 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1422 The longer the duration, the more space it gets: doubling a
1423 duration adds a fixed amount (this amount is controlled by
1424 @code{spacing-increment}) of space to the note.
1426 For example, the following piece contains lots of half, quarter and
1427 8th notes, the eighth note is followed by 1 note head width (NHW).
1428 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1429 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1433 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1434 width of a note head, and @code{shortest-duration-space} is set to
1435 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1436 @code{shortest-duration-space}) of space. For normal notes, this space
1437 is always counted from the left edge of the symbol, so the shortest
1438 notes are generally followed by one NHW of space.
1440 If one would follow the above procedure exactly, then adding a single
1441 32th note to a score that uses 8th and 16th notes, would widen up the
1442 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1443 thus adding 1 NHW to every note. To prevent this, the
1444 shortest duration for spacing is not the shortest note in the score,
1445 but the most commonly found shortest note. Notes that are even
1446 shorter this are followed by a space that is proportional to their
1447 duration relative to the common shortest note. So if we were to add
1448 only a few 16th notes to the example above, they would be followed by
1451 @lilypond[fragment,verbatim,relative=2]
1452 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1455 The most common shortest duration is determined as follows: in every
1456 measure, the shortest duration is determined. The most common short
1457 duration, is taken as the basis for the spacing, with the stipulation
1458 that this shortest duration should always be equal to or shorter than
1459 1/8th note. The shortest duration is printed when you run lilypond
1460 with @code{--verbose}. These durations may also be customized. If you
1461 set the @code{common-shortest-duration} in
1462 @internalsref{SpacingSpanner}, then this sets the base duration for
1463 spacing. The maximum duration for this base (normally 1/8th), is set
1464 through @code{base-shortest-duration}.
1466 @cindex @code{common-shortest-duration}
1467 @cindex @code{base-shortest-duration}
1468 @cindex @code{stem-spacing-correction}
1469 @cindex @code{spacing}
1471 In the introduction it was explained that stem directions influence
1472 spacing. This is controlled with @code{stem-spacing-correction}
1473 property in @internalsref{NoteSpacing}, which are generated for every
1474 @internalsref{Voice} context. The @code{StaffSpacing} object
1475 (generated at @internalsref{Staff} context) contains the same property
1476 for controlling the stem/bar line spacing. The following example
1477 shows these corrections, once with default settings, and once with
1478 exaggerated corrections:
1484 \override Staff.NoteSpacing #'stem-spacing-correction
1486 \override Staff.StaffSpacing #'stem-spacing-correction
1491 \paper { raggedright = ##t } }
1494 @cindex SpacingSpanner, overriding properties
1496 Properties of the @internalsref{SpacingSpanner} must be overridden
1497 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1498 created before any property commands are interpreted.
1500 \paper @{ \context @{
1502 SpacingSpanner \override #'spacing-increment = #3.0
1509 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1510 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1511 @internalsref{SeparatingGroupSpanner}.
1515 Spacing is determined on a score wide basis. If you have a score that
1516 changes its character (measured in durations) halfway during the
1517 score, the part containing the longer durations will be spaced too
1520 There is no convenient mechanism to manually override spacing.
1525 @subsection Font size
1527 @cindex font size, setting
1528 @cindex staff size, setting
1529 @cindex @code{paper} file
1531 The Feta font provides musical symbols at eight different
1532 sizes. Each font is tuned for a different staff size: at smaller sizes
1533 the font gets heavier, to match the relatively heavier staff lines.
1534 The recommended font sizes are listed in the following table:
1536 @multitable @columnfractions .25 .25 .25 .25
1539 @tab @b{staff height (pt)}
1540 @tab @b{staff height (mm)}
1582 @c modern rental material ?
1586 These fonts are available in any sizes. The context property
1587 @code{fontSize} and the layout property @code{staff-space} (in
1588 @internalsref{StaffSymbol}) can be used to tune size for individual
1589 staves. The size of individual staves are relative to the global size,
1590 which can be set in the following manner:
1593 #(set-global-staff-size 14)
1596 This sets the global default size to 14pt staff height, and scales all
1601 This manual: @ref{Selecting font sizes}.
1605 @subsection Line breaking
1608 @cindex breaking lines
1610 Line breaks are normally computed automatically. They are chosen such
1611 that lines look neither cramped nor loose, and that consecutive lines
1612 have similar density.
1614 Occasionally you might want to override the automatic breaks; you can
1615 do this by specifying @code{\break}. This will force a line break at
1616 this point. Line breaks can only occur at places where there are bar
1617 lines. If you want to have a line break where there is no bar line,
1618 you can force an invisible bar line by entering @code{\bar
1619 ""}. Similarly, @code{\noBreak} forbids a line break at a
1623 @cindex regular line breaks
1624 @cindex four bar music.
1626 For line breaks at regular intervals use @code{\break} separated by
1627 skips and repeated with @code{\repeat}:
1629 << \repeat unfold 7 @{
1630 s1 \noBreak s1 \noBreak
1631 s1 \noBreak s1 \break @}
1632 @emph{the real music}
1637 This makes the following 28 measures (assuming 4/4 time) be broken every
1638 4 measures, and only there.
1642 @code{\break}, @code{\noBreak}
1643 @cindex @code{\break}
1644 @cindex @code{\noBreak}
1648 Internals: @internalsref{BreakEvent}.
1652 @subsection Page layout
1655 @cindex breaking pages
1657 @cindex @code{indent}
1658 @cindex @code{linewidth}
1660 The most basic settings influencing the spacing are @code{indent} and
1661 @code{linewidth}. They are set in the @code{\paper} block. They
1662 control the indentation of the first line of music, and the lengths of
1665 If @code{raggedright} is set to true in the @code{\paper}
1666 block, then the lines are justified at their natural length. This
1667 useful for short fragments, and for checking how tight the natural
1671 @cindex vertical spacing
1673 The page layout process happens outside the LilyPond formatting
1674 engine: variables controlling page layout are passed to the output,
1675 and are further interpreted by @code{lilypond} wrapper program. It
1676 responds to the following variables in the @code{\paper} block. The
1677 spacing between systems is controlled with @code{interscoreline}, its
1678 default is 16pt. The distance between the score lines will stretch in
1679 order to fill the full page @code{interscorelinefill} is set to a
1680 positive number. In that case @code{interscoreline} specifies the
1683 @cindex @code{textheight}
1684 @cindex @code{interscoreline}
1685 @cindex @code{interscorelinefill}
1687 If the variable @code{lastpagefill} is defined,
1688 @c fixme: this should only be done if lastpagefill= #t
1689 systems are evenly distributed vertically on the last page. This
1690 might produce ugly results in case there are not enough systems on the
1691 last page. The @command{lilypond-book} command ignores
1692 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1695 @cindex @code{lastpagefill}
1697 Page breaks are normally computed by @TeX{}, so they are not under
1698 direct control of LilyPond. However, you can insert a commands into
1699 the @file{.tex} output to instruct @TeX{} where to break pages. This
1700 is done by setting the @code{between-systems-strings} on the
1701 @internalsref{NonMusicalPaperColumn} where the system is broken.
1702 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1703 The predefined command @code{\newpage} also does this.
1707 @cindex @code{papersize}
1709 To change the paper size, use the following Scheme code:
1712 #(set-paper-size "a4")
1719 @cindex @code{\newpage}
1725 In this manual: @ref{Invoking lilypond}.
1727 Examples: @inputfileref{input/regression,between-systems.ly}.
1729 Internals: @internalsref{NonMusicalPaperColumn}.
1733 LilyPond has no concept of page layout, which makes it difficult to
1734 reliably choose page breaks in longer pieces.
1737 @node Interpretation context
1738 @section Interpretation context
1741 * Context properties::
1742 * Defining contexts::
1743 * Changing contexts locally::
1744 * Engravers and performers::
1745 * Defining new contexts::
1749 Interpretation contexts are objects that only exist during program
1750 run. During the interpretation phase (when @code{interpreting music}
1751 is printed on the standard output), the music expression in a
1752 @code{\score} block is interpreted in time order, the same order in
1753 which we hear and play the music. During this phase, the interpretation
1754 context holds the state for the current point within the music, for
1757 @item What notes are playing at this point?
1759 @item What symbols will be printed at this point?
1761 @item What is the current key signature, time signature, point within
1765 Contexts are grouped hierarchically: A @internalsref{Voice} context is
1766 contained in a @internalsref{Staff} context (because a staff can contain
1767 multiple voices at any point), a @internalsref{Staff} context is contained in
1768 @internalsref{Score}, @internalsref{StaffGroup}, or
1769 @internalsref{ChoirStaff} context.
1771 Contexts associated with sheet music output are called @emph{notation
1772 contexts}, those for sound output are called @emph{performance
1773 contexts}. The default definitions of the standard notation and
1774 performance contexts can be found in @file{ly/engraver-init.ly} and
1775 @file{ly/performer-init.ly}, respectively.
1779 @node Context properties
1780 @subsection Context properties
1782 Contexts have properties. These properties are set from the @file{.ly}
1783 file using the following expression:
1784 @cindex context properties
1785 @cindex properties, context
1788 \set @var{contextname}.@var{propname} = @var{value}
1792 Sets the @var{propname} property of the context @var{contextname} to
1793 the specified Scheme expression @var{value}. Both @var{propname} and
1794 @var{contextname} are strings, which can often be written unquoted.
1797 Properties that are set in one context are inherited by all of the
1798 contained contexts. This means that a property valid for the
1799 @internalsref{Voice} context can be set in the @internalsref{Score} context
1800 (for example) and thus take effect in all @internalsref{Voice} contexts.
1802 Properties can be unset using the following statement.
1804 \unset @var{contextname}.@var{propname}
1807 @cindex properties, unsetting
1808 @cindex @code{\unset}
1811 This removes the definition of @var{propname} in @var{contextname}. If
1812 @var{propname} was not defined in @var{contextname} (but was inherited
1813 from a higher context), then this has no effect.
1815 If @var{contextname} is left out, then it defaults to the current
1816 ``bottom'' context: this is a context like @internalsref{Voice} that
1817 cannot contain any other contexts.
1820 @node Defining contexts
1821 @subsection Defining contexts
1823 @cindex context definition
1824 @cindex translator definition
1826 The most common way to create a new context definition is by extending
1827 an existing one. An existing context from the paper block is copied
1828 by referencing a context identifier:
1833 @var{context-identifier}
1839 Every predefined context has a standard identifier. For example, the
1840 @code{Staff} context can be referred to as @code{\StaffContext}.
1842 The context can then be modified by setting or changing properties,
1847 Stem \set #'thickness = #2.0
1848 defaultBarType = #"||"
1851 These assignments happen before interpretation starts, so a property
1852 command will override any predefined settings.
1858 It is not possible to collect multiple property assignments in a
1859 variable, and apply to one @code{\context} definition by
1860 referencing that variable.
1862 @node Changing contexts locally
1863 @subsection Changing contexts locally
1866 Extending an existing context can also be done locally. A piece of
1867 music can be interpreted in a changed context by using the following syntax
1871 @var{context modifications}
1875 These statements comes between @code{\new} or @code{\context} and the
1876 music to be interpreted. The @var{context modifications} property
1877 settings and @code{\remove}, @code{\consists} and @code{\consistsend}
1878 commands. The syntax is similar to the @code{\context} block.
1880 The following example shows how a staff is created with bigger spaces,
1881 and without a @code{Clef_engraver}.
1883 @lilypond[relative=1,fragment,verbatim]
1885 \new Staff { c4 es4 g2 }
1887 \override StaffSymbol #'staff-space = #(magstep 1.5)
1889 \remove "Clef_engraver"
1897 The command @code{\with} has no effect on contexts that already
1901 @node Engravers and performers
1902 @subsection Engravers and performers
1905 Each context is composed of a number of building blocks, or plug-ins
1906 called engravers. An engraver is a specialized C++ class that is
1907 compiled into the executable. Typically, an engraver is responsible
1908 for one function: the @code{Slur_engraver} creates only @code{Slur}
1909 objects, and the @code{Skip_event_swallow_translator} only swallows
1910 (silently gobbles) @code{SkipEvent}s.
1917 An existing context definition can be changed by adding or removing an
1918 engraver. The syntax for these operations is
1920 \consists @var{engravername}
1921 \remove @var{engravername}
1924 @cindex @code{\consists}
1925 @cindex @code{\remove}
1928 Here @var{engravername} is a string, the name of an engraver in the
1929 system. In the following example, the @code{Clef_engraver} is removed
1930 from the Staff context. The result is a staff without a clef, where
1931 the middle C is at its default position, the center line:
1933 @lilypond[verbatim,raggedright]
1941 \remove Clef_engraver
1947 A list of all engravers is in the internal documentation,
1948 see @internalsref{Engravers}.
1950 @node Defining new contexts
1951 @subsection Defining new contexts
1954 It is also possible to define new contexts from scratch. To do this,
1955 you must define give the new context a name. In the following
1956 example, a very simple Staff context is created: one that will put
1957 note heads on a staff symbol.
1961 \type "Engraver_group_engraver"
1964 \consists "Staff_symbol_engraver"
1965 \consists "Note_head_engraver"
1966 \consistsend "Axis_group_engraver"
1971 The argument of @code{\type} is the name for a special engraver that
1972 handles cooperation between simple engravers such as
1973 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
1974 should always be @code{Engraver_group_engraver} (unless you are
1975 defining a Score context from scratch, in which case
1976 @code{Score_engraver} must be used).
1978 The complete list of context modifiers is the following:
1980 @item @code{\alias} @var{alternate-name}:
1981 This specifies a different name. In the above example,
1982 @code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
1984 @item @code{\consistsend} @var{engravername}:
1985 Analogous to @code{\consists}, but makes sure that
1986 @var{engravername} is always added to the end of the list of
1989 Engravers that group context objects into axis groups or alignments
1990 need to be at the end of the list. @code{\consistsend} insures that
1991 engravers stay at the end even if a user adds or removes engravers.
1993 @item @code{\accepts} @var{contextname}:
1994 This context can contains @var{contextname} contexts. The first
1995 @code{\accepts} is created as a default context when events (e.g. notes
1996 or rests) are encountered.
1998 @item @code{\denies}:
1999 The opposite of @code{\accepts}.
2001 @item @code{\name} @var{contextname}:
2002 This sets the type name of the context, e.g. @code{Staff},
2003 @code{Voice}. If the name is not specified, the translator will not
2012 @node Output details
2013 @section Output details
2015 The default output format is La@TeX{}, which should be run
2016 through La@TeX{}. Using the option @option{-f}
2017 (or @option{--format}) other output formats can be selected also, but
2018 none of them work reliably.
2020 Now the music is output system by system (a `system' consists of all
2021 staves belonging together). From @TeX{}'s point of view, a system is an
2022 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
2023 vertically on the baseline of the text. Between systems,
2024 @code{\interscoreline} is inserted vertically to have stretchable space.
2025 The horizontal dimension of the @code{\hbox} is given by the
2026 @code{linewidth} parameter from LilyPond's @code{\paper} block.
2028 After the last system LilyPond emits a stronger variant of
2029 @code{\interscoreline} only if the macro
2030 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
2031 to the top of the page). You can avoid that by setting the variable
2032 @code{lastpagefill} in LilyPond's @code{\paper} block.
2034 It is possible to fine-tune the vertical offset further by defining the
2035 macro @code{\lilypondscoreshift}:
2038 \def\lilypondscoreshift@{0.25\baselineskip@}
2042 where @code{\baselineskip} is the distance from one text line to the next.
2044 Here an example how to embed a small LilyPond file @code{foo.ly} into
2045 running La@TeX{} text without using the @code{lilypond-book} script
2046 (@pxref{lilypond-book manual}):
2049 \documentclass@{article@}
2051 \def\lilypondpaperlastpagefill@{@}
2053 \def\lilypondscoreshift@{0.25\baselineskip@}
2056 This is running text which includes an example music file
2062 The file @file{foo.tex} has been simply produced with
2068 The call to @code{\lineskip} assures that there is enough vertical space
2069 between the LilyPond box and the surrounding text lines.