2 @node Changing defaults
3 @chapter Changing defaults
6 The purpose of LilyPond's design is to provide the finest output
7 quality as a default. Nevertheless, it may happen that you need to
8 change that default layout. The layout is controlled through a large
9 number of proverbial ``knobs and switches.'' This chapter does not
10 list each and every knob. Rather, it outlines what groups of controls
11 are available, and how to tune them.
13 Which controls are available for tuning is described in a separate
14 document, the @internalsref{Program reference} manual. This manual
15 lists all different variables, functions and options available in
16 LilyPond. It is available as a HTML document, which is available
17 @uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
18 but is also included with the LilyPond documentation package.
20 There are X areas where the default settings may be changed:
23 @item Output: changing the appearance of individual
24 objects. For example, changing stem directions, or the location of
27 @item Context: changing aspects of the translation from music events to
28 notation. For example, giving each staff a separate time signature.
30 @item Global layout: changing the appearance of the spacing, line
31 breaks and page dimensions.
34 Then, there are separate systems for typesetting text (like
35 @emph{ritardando}) and selecting different fonts. This chapter also
38 Internally, LilyPond uses Scheme (a LISP dialect) to provide
39 infrastructure. Overriding layout decisions in effect accesses the
40 program internals, so it is necessary to learn a (very small) subset
41 of Scheme. That is why this chapter starts with a short tutorial on
42 entering numbers, lists, strings and symbols in Scheme.
48 * Fine tuning layout::
52 * Interpretation context::
57 @section Scheme tutorial
61 @cindex Scheme, in-line code
62 @cindex accessing Scheme
63 @cindex evaluating Scheme
66 LilyPond uses the Scheme programming language, both as part of the
67 input syntax, and as internal mechanism to glue together modules of
68 the program. This section is a very brief overview of entering data in
69 Scheme.@footnote{If you want to know more about Scheme, see
70 @uref{http://www.schemers.org}.}
72 The most basic thing of a language is data: numbers, character
73 strings, lists, etc. Here is a list of data types that are relevant to
78 Boolean values are True or False. The Scheme for True is @code{#t}
79 and False is @code{#f}.
81 Numbers are entered in the standard fashion,
82 @code{1} is the (integer) number one, while @code{-1.5} is a
83 floating point number (a non-integer number).
85 Strings are enclosed in double quotes,
90 Strings may span several lines
97 Quotation marks and newlines can also be added with so-called escape
98 sequences. The string @code{a said "b"} is entered as
103 Newlines and backslashes are escaped with @code{\n} and @code{\\}
108 In a music file, snippets of Scheme code are introduced with the hash
109 mark @code{#}. So, the previous examples translated in LilyPondese are
120 For the rest of this section, we will assume that the data is entered
121 in a music file, so we add @code{#}s everywhere.
123 Scheme can be used to do calculations. It uses @emph{prefix}
124 syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
132 The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
133 is @code{3}. Calculations may be nested: the result of a function may
134 be used for another calculation.
142 These calculations are examples of evaluations: an expression (like
143 @code{(* 3 4)} is replaced by its value @code{12}. A similar thing
144 happens with variables. After defining a variable
150 variables can also be used in expressions, here
153 twentyFour = #(* 2 twelve)
156 the number 24 is stored in the variable @code{twentyFour}.
158 The @emph{name} of a variable is also an expression, similar to a
159 number or a string. It is entered as
165 The quote mark @code{'} prevents Scheme interpreter from substituting
166 @code{24} for the @code{twentyFour}. Instead, we get the name
169 This syntax will be used very frequently, since many of the layout
170 tweaks involve assigning (Scheme) values to internal variables, for
174 \override Stem #'thickness = #2.6
177 This instruction adjusts the appearance of stems. The value @code{2.6}
178 is put into a the @code{thickness} variable of a @code{Stem}
179 object. This makes stems almost twice as thick as their normal size.
180 To distinguish between variables defined in input files (like
181 @code{twentyFour} in the example above), and internal variables, we
182 will call the latter ``properties.'' So, the stem object has a
183 @code{thickness} property.
185 Two-dimensional offsets (X and Y coordinates) as well as object sizes
186 (intervals with a left and right point) are entered as @code{pairs}. A
187 pair@footnote{In Scheme terminology, the pair is called @code{cons},
188 and its two elements are called car and cdr respectively.} is entered
189 as @code{(first . second)}, and like symbols, they must be quoted,
192 \override TextScript #'extra-offset = #'(1 . 2)
195 This assigns the pair (1, 2) to @code{extra-offset} variable of the
196 TextScript object. This moves the object 1 staff space to the right,
199 The two elements of a pair may be arbitrary values, for example
204 #'("blah-blah" . 3.14159265)
207 A list is entered by enclosing its elements in parentheses, and adding
208 a quote. For example,
214 We have been using lists all along. A calculation, like @code{(+ 1
215 2)} is also a list (containing the symbol @code{+} and the numbers 1
216 and 2). For entering lists, use a quote @code{'} and for
217 calculations, do not use a quote.
219 Inside a quoted list or pair, there is no need to quote anymore. The
220 following is a pair of symbols, a list of symbols and a list of lists
225 #'(staff clef key-signature)
233 When music is printed, a lot of things notation elements must be added
234 to the input, which is often bare bones. For example, compare the
235 input and output of the following example
237 @lilypond[verbatim,relative=2]
241 The input is rather sparse, but in the output, bar lines, accidentals,
242 clef and time signature are added. LilyPond @emph{interprets} the
243 input. During this step, the musical information is inspected in time
244 order, similar to reading a score from left to right. While reading,
245 the program remembers where measure boundaries are, and what pitches
246 need explicit accidentals.
248 This information can be present on several levels. For example, the
249 effect of an accidental is limited to a single stave, while a bar line
250 must be synchronized across the entire score. To match this
251 hierarchy, LilyPond's interpretation step is hierarchical. There are
252 interpretation contexts, like @context{Voice}, Staff and Score, and each level
253 can maintain its own properties.
255 Full description of all available contexts is in the program
258 @internalsref{Contexts}
261 Translation @arrow{} Context.
265 * Creating contexts::
266 * Changing context properties on the fly ::
267 * Modifying context plug-ins::
268 * Defining context defaults ::
269 * which properties to change::
272 @node Creating contexts
273 @subsection Creating contexts
275 For simple scores, the correct contexts are created automatically. For
276 more complex scores, it is necessary to instantiate them by hand.
277 There are three commands to do this.
279 The easiest command is @code{\new}, and it also the quickest to type.
280 It is prepended to a music expression, for example
283 \new @var{type} @var{music expression}
287 where @var{type} is a context name (like @code{Staff} or
288 @code{Voice}). This command creates a new context, and starts
289 interpreting @var{music expression} with that.
291 A practical application of @code{\new} is a score with many
292 staves. Each part that should be on its own staff, gets a @code{\new
295 @lilypond[verbatim,relative=2,raggedright]
296 << \new Staff { c4 c }
302 The @code{\context} command also directs a music expression to a
303 context object, but gives the context an extra name. The syntax is
306 \context @var{type} = @var{id} @var{music}
309 This form will search for an existing context of type @var{type}
310 called @var{id}. If that context does not exist yet, it is created.
311 This is useful if the context referred to later on. For example, when
312 setting lyrics the melody is in a named context
315 \context Voice = "@b{tenor}" @var{music}
319 so the texts can be properly aligned to its notes,
322 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
327 Another possibility is funneling two different music expressions into
328 one context. In the following example, articulations and notes are
332 music = \notes { c4 c4 }
333 arts = \notes { s4-. s4-> }
336 They are combined by sending both to the same @context{Voice} context,
339 << \new Staff \context Voice = "A" \music
340 \context Voice = "A" \arts
343 @lilypond[raggedright]
344 music = \notes \context Voice = "one" { c4 c4 }
345 arts = \notes \context Voice = "one" { s4-. s4-> }
347 << \new Staff \context Voice = "A" \music
348 \context Voice = "A" \arts
355 The third command for creating contexts is
357 \context @var{type} @var{music}
362 It is similar to @code{\context} with @code{= @var{id}}, but now it
363 matches any context of type @var{type}, regardless of its given name.
365 This variant is used with music expressions that can be interpreted at
366 several levels. For example, the @code{\applyoutput} command (see
367 @ref{Running a function on all layout objects}). Without an explicit
368 @code{\context}, it is usually is applied to @context{Voice}
371 \applyoutput #@var{function} % apply to Voice
374 To have it interpreted at @context{Score} or @context{Staff} level use
378 \context Score \applyoutput #@var{function}
379 \context Staff \applyoutput #@var{function}
383 @node Changing context properties on the fly
384 @subsection Changing context properties on the fly
386 Each context can have different @emph{properties}, variables contained
387 in that context. They can be changed during the interpretation step.
388 This is achieved by inserting the @code{\set} command in the music,
391 @code{\set }[@var{context}]@code{.}@var{prop}@code{ = #}@var{value}
395 @lilypond[verbatim,relative=2]
397 \set Score.skipBars = ##t
401 This command skips measures that have no notes. The result is that
402 multi rests are condensed. The value assigned is a Scheme object. In
403 this case, it is @code{#t}, the boolean True value.
405 If the @var{context} argument is left out, then the current
406 bottom-most context (typically ChordNames, @context{Voice} or Lyrics) is used.
409 @lilypond[verbatim,relative=2]
411 \set autoBeaming = ##f
416 the @var{context} argument to @code{\set} is left out, and the current
417 @internalsref{Voice} is used. Contexts are hierarchical, so if a
418 bigger context was specified, for example @code{Staff}, then the
419 change would apply to all Voices in the current stave. The change is
420 applied `on-the-fly', during the music, so that the setting only
421 affects the second group of eighth notes.
423 There is also an @code{\unset} command,
425 @code{\set }[@var{context}]@code{.}@var{prop}
429 which removes the definition of @var{prop}. This command only removes
430 the definition if it is set in @var{context}. In
433 \set Staff.autoBeaming = ##f
434 \unset Voice.autoBeaming
438 the current voice does not have the property, and the definition at
439 staff level remains intact.
441 Settings that should only apply to a single time-step can be entered
442 easily with @code{\once}, for example in
444 @lilypond[verbatim,relative=2]
446 \once \set fontSize = #4.7
451 @code{fontSize} is unset after the third note.
453 A full description of all available context properties is in the
454 program reference, see
456 @internalsref{Tunable-context-properties}.
459 Translation @arrow{} Tunable context properties.
463 @node Modifying context plug-ins
464 @subsection Modifying context plug-ins
466 Notation contexts (like Score and Staff) not only store properties,
467 they also contain plug-ins, called ``engravers'' that create notation
468 elements. For example, the Voice context contains a
469 @code{Note_head_engraver} and the Staff context contains a
470 @code{Key_signature_engraver}.
472 For a full a description of each plug-in, see
474 @internalsref{Engravers}
477 Program reference @arrow Translation @arrow{} Engravers.
479 Every context described in
481 @internalsref{Contexts}
484 Program reference @arrow Translation @arrow{} Context.
486 lists the engravers used for that context.
489 It can be useful to shuffle around these plug-ins. This is done by
490 starting a new context, with @code{\new} or @code{\context}, and
491 modifying it like this,
494 \new @var{context} \with @{
504 where the @dots{} should be the name of an engraver. Here is a simple
505 example which removes @code{Time_signature_engraver} and
506 @code{Clef_engraver} from a @code{Staff} context,
508 @lilypond[relative=1, verbatim]
513 \remove Time_signature_engraver
514 \remove Clef_engraver
521 In the second stave there are no time signature or clef symbols. This
522 is a rather crude method of making objects disappear, it will affect
523 the entire staff. More sophisticated method is shown in TODO.
525 The next example shows a practical application. Bar lines and time
526 signatures are normally synchronized across the score. This is done
527 by the @code{Timing_engraver}. This plug-in keeps an administration of
528 time signature, location within the measure, etc. By moving the
529 @code{Timing_engraver} engraver from Score to Staff context, we can
530 have score where each staff has its own time signature.
532 @cindex polymetric scores
535 @lilypond[relative=1,raggedright,verbatim]
537 \remove Timing_engraver
540 \consists Timing_engraver
546 \consists Timing_engraver {
555 @node Defining context defaults
556 @subsection Defining context defaults
558 Context properties can be set as defaults, within the
559 @code{\paper} block. For example,
571 will set skipBars default
576 @node which properties to change
577 @subsection which properties to change
580 There are many different properties. Not all of them are listed in
581 this manual. However, the program reference lists them all in the
582 section @internalsref{Context-properties}, and most properties are
583 demonstrated in one of the
585 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
593 @node Fine tuning layout
594 @section Fine tuning layout
596 Sometimes it is necessary to change music layout by hand. When music
597 is formatted, layout objects are created for each symbol. For
598 example, every clef and every note head is represented by a layout
599 object. These layout objects also carry variables, which we call
600 @emph{layout properties}. By changing these variables from their
601 values, we can alter the look of a formatted score:
603 @lilypond[verbatim,relative]
605 \override Stem #'thickness = #3.0
610 In the example shown here, the layout property @code{thickness} (a
611 symbol) is set to 3 in the @code{Stem} layout objects of the current
612 As a result, the notes following @code{\override} have thicker
615 For the most part, a manual override is needed only on a case by
616 case basis and not for all subsequent instances of the altered
617 property. To accomplish this, simply prefix @code{\once} to the
618 @code{\override} statement and the override will apply only once,
619 immediately reverting to its default setting, i.e.
622 \once \override Stem #'thickness = #3.0
627 \once \override Stem #'thickness = #3.0
632 Some overrides are so common that predefined commands are provided as
633 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
634 commands are described in
638 @ref{Notation manual}, under the sections for slurs and stems
641 The exact tuning possibilities for each type of layout object are
642 documented in the program reference of the respective
643 object. However, many layout objects share properties, which can be
644 used to apply generic tweaks. We mention a couple of these:
647 @item The @code{extra-offset} property, which
648 @cindex @code{extra-offset}
649 has a pair of numbers as value, moves around objects in the printout.
650 The first number controls left-right movement; a positive number will
651 move the object to the right. The second number controls up-down
652 movement; a positive number will move it higher. The units of these
653 offsets are staff-spaces. The @code{extra-offset} property is a
654 low-level feature: the formatting engine is completely oblivious to
657 In the following example, the second fingering is moved a little to
658 the left, and 1.8 staff space downwards:
660 @cindex setting object properties
662 @lilypond[relative=1,verbatim]
665 \once \override Fingering
666 #'extra-offset = #'(-0.3 . -1.8)
671 Setting the @code{transparent} property will cause an object to be printed
672 in `invisible ink': the object is not printed, but all its other
673 behavior is retained. The object still takes up space, it takes part in
674 collisions, and slurs, and ties and beams can be attached to it.
676 @cindex transparent objects
677 @cindex removing objects
678 @cindex invisible objects
679 The following example demonstrates how to connect different voices
680 using ties. Normally, ties only connect two notes in the same
681 voice. By introducing a tie in a different voice, and blanking a stem
682 in that voice, the tie appears to cross voices:
684 @lilypond[fragment,relative=1,verbatim]
686 \once \override Stem #'transparent = ##t
694 The @code{padding} property for objects with
695 @cindex @code{padding}
696 @code{side-position-interface} can be set to increase distance between
697 symbols that are printed above or below notes. We only give an
698 example; a more elaborate explanation is in @ref{Constructing a
701 @lilypond[relative=1,verbatim]
703 \override Script #'padding = #3
709 More specific overrides are also possible. The notation manual
710 discusses in depth how to figure out these statements for yourself, in
717 @section Tuning output
719 There are situations where default layout decisions are not
720 sufficient. In this section we discuss ways to override these
723 Formatting is internally done by manipulating so called objects
724 (graphic objects). Each object carries with it a set of properties
725 (object or layout properties) specific to that object. For example, a
726 stem object has properties that specify its direction, length and
729 The most direct way of tuning the output is by altering the values of
730 these properties. There are two ways of doing that: first, you can
731 temporarily change the definition of one type of object, thus
732 affecting a whole set of objects. Second, you can select one specific
733 object, and set a layout property in that object.
735 Do not confuse layout properties with translation
736 properties. Translation properties always use a mixed caps style
737 naming, and are manipulated using @code{\set} and @code{\unset}:
739 \set Context.propertyName = @var{value}
742 Layout properties are use Scheme style variable naming, i.e. lower
743 case words separated with dashes. They are symbols, and should always
744 be quoted using @code{#'}. For example, this could be an imaginary
745 layout property name:
747 #'layout-property-name
753 * Constructing a tweak::
754 * Selecting font sizes::
761 @subsection Tuning objects
763 @cindex object description
765 The definition of an object is a list of default object
766 properties. For example, the definition of the Stem object (available
767 in @file{scm/define-grobs.scm}), includes the following definitions
768 for @internalsref{Stem}:
772 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
773 (Y-extent-callback . ,Stem::height)
778 Adding variables on top of this existing definition overrides the
779 system default, and alters the resulting appearance of the layout
785 Changing a variable for only one object is commonly achieved with
789 \once \override @var{context}.@var{objectname}
790 @var{symbol} = @var{value}
792 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
793 and @var{objectname} is a string and @var{value} is a Scheme expression.
794 This command applies a setting only during one moment in the score.
796 In the following example, only one @internalsref{Stem} object is
797 changed from its original setting:
799 @lilypond[verbatim,fragment,relative=1]
801 \once \override Voice.Stem #'thickness = #4
807 For changing more objects, the same command, without @code{\once} can
810 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
812 This command adds @code{@var{symbol} = @var{value}} to the definition
813 of @var{objectname} in the context @var{context}, and this definition
814 stays in place until it is removed.
816 An existing definition may be removed by the following command:
819 \property @var{context}.@var{objectname} \revert @var{symbol}
825 c'4 \override Stem #'thickness = #4.0
827 c'4 \revert Stem #'thickness
833 Reverting a setting which was not set in the first place has no
839 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
840 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
841 @internalsref{All-layout-objects}.
846 The back-end is not very strict in type-checking object properties.
847 Cyclic references in Scheme values for properties can cause hangs
851 @node Constructing a tweak
852 @subsection Constructing a tweak
855 @cindex internal documentation
856 @cindex finding graphical objects
857 @cindex graphical object descriptions
859 @cindex @code{\override}
861 @cindex internal documentation
865 Three pieces of information are required to use @code{\override} and
866 @code{\set}: the name of the layout object, the context and the name
867 of the property. We demonstrate how to glean this information from
868 the notation manual and the program reference.
870 The generated documentation is a set of HTML pages which should be
871 included if you installed a binary distribution, typically in
872 @file{/usr/share/doc/lilypond}. They are also available on the web:
873 go to the @uref{http://lilypond.org,LilyPond website}, click
874 ``Documentation'', select the correct version, and then click
875 ``Program reference.'' It is advisable to bookmark the local HTML
876 files. They will load faster than the ones on the web and matches the
877 version of LilyPond you are using.
881 @c [TODO: revise for new site.]
883 Suppose we want to move the fingering indication in the fragment
886 @lilypond[relative=2,verbatim]
892 If you visit the documentation of @code{Fingering} (in @ref{Fingering
893 instructions}), you will notice that there is written:
898 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
905 In other words, the fingerings once entered, are internally stored as
906 @code{FingerEvent} music objects. When printed, a @code{Fingering}
907 layout object is created for every @code{FingerEvent}.
909 The Fingering object has a number of different functions, and each of
910 those is captured in an interface. The interfaces are listed under
911 @internalsref{Fingering} in the program reference.
915 The @code{Fingering} object has a fixed size
916 (@internalsref{item-interface}), the symbol is a piece of text
917 (@internalsref{text-interface}), whose font can be set
918 (@internalsref{font-interface}). It is centered horizontally
919 (@internalsref{self-alignment-interface}), it is placed vertically
920 next to other objects (@internalsref{side-position-interface}), and
921 its placement is coordinated with other scripts
922 (@internalsref{text-script-interface}). It also has the standard
923 @internalsref{grob-interface} (grob stands for Graphical object)
925 @cindex graphical object
926 @cindex layout object
927 @cindex object, layout
928 with all the variables that come with
929 it. Finally, it denotes a fingering instruction, so it has
930 @internalsref{finger-interface}.
932 For the vertical placement, we have to look under
933 @code{side-position-interface}:
935 @code{side-position-interface}
937 Position a victim object (this one) next to other objects (the
938 support). In this case, the property @code{direction} signifies where to put the
939 victim object relative to the support (left or right, up or down?)
944 below this description, the variable @code{padding} is described as
948 (dimension, in staff space)
950 add this much extra space between objects that are next to each
951 other. Default value: @code{0.6}
955 By increasing the value of @code{padding}, we can move away the
956 fingering. The following command inserts 3 staff spaces of white
957 between the note and the fingering:
959 \once \override Fingering #'padding = #3
962 Inserting this command before the Fingering object is created,
963 i.e. before @code{c2}, yields the following result:
965 @lilypond[relative=2,fragment,verbatim]
966 \once \override Fingering
973 The context name @code{Voice} in the example above can be determined
974 as follows. In the documentation for @internalsref{Fingering}, it says
976 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
979 Clicking @code{Fingering_engraver} shows the documentation of
980 the module responsible for interpreting the fingering instructions and
981 translating them to a @code{Fingering} object. Such a module is called
982 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
985 Fingering_engraver is part of contexts: Voice
987 so tuning the settings for Fingering should be done with
989 \override Fingering @dots{}
992 Of course, the tweak may also done in a larger context than
993 @code{Voice}, for example, @internalsref{Staff} or
994 @internalsref{Score}.
998 Internals: the program reference also contains alphabetical lists of
999 @internalsref{Contexts}, @internalsref{All-layout-objects} and
1000 @internalsref{Music-expressions}, so you can also find which objects
1001 to tweak by browsing the internals document.
1004 @node Selecting font sizes
1005 @subsection Selecting font sizes
1007 The most common thing to change about the appearance of fonts is their
1008 size. The font size of any context can be easily changed by setting
1009 the @code{fontSize} property for that context. Its value is a number:
1010 negative numbers make the font smaller, positive numbers larger. An
1011 example is given below:
1013 @lilypond[fragment,relative=1,verbatim]
1014 c4 c4 \set fontSize = #-3
1017 This command will set @code{font-size} (see below) in all layout
1018 objects in the current context. It does not change the size of
1019 variable symbols, such as beams or slurs.
1021 The font size is set by modifying the @code{font-size} property. Its
1022 value is a number indicating the size relative to the standard size.
1023 Each step up is an increase of approximately 12% of the font size. Six
1024 steps is exactly a factor two. The Scheme function @code{magstep}
1025 converts a @code{font-size} number to a scaling factor.
1027 LilyPond has fonts in different design sizes: the music fonts for
1028 smaller sizes are chubbier, while the text fonts are relatively wider.
1029 Font size changes are achieved by scaling the design size that is
1030 closest to the desired size.
1032 The @code{font-size} mechanism does not work for fonts selected
1033 through @code{font-name}. These may be scaled with
1034 @code{font-magnification}.
1037 One of the uses of @code{fontSize} is to get smaller symbols for cue
1038 notes. An elaborate example of those is in
1039 @inputfileref{input/test,cue-notes.ly}.
1041 @cindex @code{font-style}
1045 The following commands set @code{fontSize} for the current voice.
1047 @cindex @code{\tiny}
1049 @cindex @code{\small}
1051 @cindex @code{\normalsize}
1056 @cindex magnification
1060 @node Font selection
1061 @subsection Font selection
1063 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1064 can also be adjusted with a more fine-grained mechanism. By setting
1065 the object properties described below, you can select a different font;
1066 all three mechanisms work for every object that supports
1067 @code{font-interface}:
1071 @item @code{font-encoding}
1072 is a symbol that sets layout of the glyphs. Choices include
1073 @code{text} for normal text, @code{braces} (for piano staff braces),
1074 @code{music} (the standard music font, including ancient glyphs),
1075 @code{dynamic} (for dynamic signs) and @code{number} for the number
1079 @item @code{font-family}
1080 is a symbol indicating the general class of the typeface. Supported are
1081 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1083 @item @code{font-shape}
1084 is a symbol indicating the shape of the font, there are typically
1085 several font shapes available for each font family. Choices are
1086 @code{italic}, @code{caps} and @code{upright}.
1088 @item @code{font-series}
1089 is a symbol indicating the series of the font. There are typically several
1090 font series for each font family and shape. Choices are @code{medium}
1095 Fonts selected in the way sketched above come from a predefined style
1098 The font used for printing a object can be selected by setting
1099 @code{font-name}, e.g.
1101 \override Staff.TimeSignature
1102 #'font-name = #"cmr17"
1106 Any font can be used, as long as it is available to @TeX{}. Possible
1107 fonts include foreign fonts or fonts that do not belong to the
1108 Computer Modern font family. The size of fonts selected in this way
1109 can be changed with the @code{font-magnification} property. For
1110 example, @code{2.0} blows up all letters by a factor 2 in both
1114 @cindex font magnification
1120 Init files: @file{ly/declarations-init.ly} contains hints how new
1121 fonts may be added to LilyPond.
1125 No style sheet is provided for other fonts besides the @TeX{}
1126 Computer Modern family.
1128 @cindex font selection
1129 @cindex font magnification
1130 @cindex @code{font-interface}
1134 @section Text markup
1139 @cindex typeset text
1141 LilyPond has an internal mechanism to typeset texts. You can access it
1142 with the keyword @code{\markup}. Within markup mode, you can enter texts
1143 similar to lyrics: simply enter them, surrounded by spaces:
1146 @lilypond[verbatim,fragment,relative=1]
1147 c1^\markup { hello }
1148 c1_\markup { hi there }
1149 c1^\markup { hi \bold there, is \italic anyone home? }
1152 @cindex font switching
1154 The markup in the example demonstrates font switching commands. The
1155 command @code{\bold} and @code{\italic} only apply to the first
1156 following word; enclose a set of texts with braces to apply a command
1159 \markup @{ \bold @{ hi there @} @}
1163 For clarity, you can also do this for single arguments, e.g.
1166 \markup { is \italic { anyone } home }
1169 @cindex font size, texts
1172 In markup mode you can compose expressions, similar to mathematical
1173 expressions, XML documents and music expressions. The braces group
1174 notes into horizontal lines. Other types of lists also exist: you can
1175 stack expressions grouped with @code{<}, and @code{>} vertically with
1176 the command @code{\column}. Similarly, @code{\center-align} aligns
1177 texts by their center lines:
1179 @lilypond[verbatim,fragment,relative=1]
1180 c1^\markup { \column < a bbbb c > }
1181 c1^\markup { \center-align < a bbbb c > }
1182 c1^\markup { \line < a b c > }
1186 Markups can be stored in variables, and these variables
1187 may be attached to notes, like
1189 allegro = \markup { \bold \large { Allegro } }
1190 \notes { a^\allegro b c d }
1194 Some objects have alignment procedures of their own, which cancel out
1195 any effects of alignments applied to their markup arguments as a
1196 whole. For example, the @internalsref{RehearsalMark} is horizontally
1197 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1200 Similarly, for moving whole texts over notes with
1201 @code{\raise}, use the following trick:
1203 "" \raise #0.5 raised
1206 The text @code{raised} is now raised relative to the empty string
1207 @code{""} which is not visible. Alternatively, complete objects can
1208 be moved with layout properties such as @code{padding} and
1209 @code{extra-offset}.
1215 Init files: @file{scm/new-markup.scm}.
1220 Text layout is ultimately done by @TeX{}, which does kerning of
1221 letters. LilyPond does not account for kerning, so texts will be
1222 spaced slightly too wide.
1224 Syntax errors for markup mode are confusing.
1226 Markup texts cannot be used in the titling of the @code{\header}
1227 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1233 * Overview of text markup commands::
1236 @node Overview of text markup commands
1237 @subsection Overview of text markup commands
1239 @include markup-commands.tely
1243 @section Global layout
1245 The global layout determined by three factors: the page layout, the
1246 line breaks and the spacing. These all influence each other. The
1247 choice of spacing determines how densely each system of music is set,
1248 which influences where line breaks breaks are chosen, and thus
1249 ultimately how many pages a piece of music takes. This section
1250 explains how to tune the algorithm for spacing.
1252 Globally spoken, this procedure happens in three steps: first,
1253 flexible distances (``springs'') are chosen, based on durations. All
1254 possible line breaking combination are tried, and the one with the
1255 best results---a layout that has uniform density and requires as
1256 little stretching or cramping as possible---is chosen. When the score
1257 is processed by @TeX{}, each page is filled with systems, and page breaks
1258 are chosen whenever the page gets full.
1263 * Vertical spacing::
1264 * Horizontal spacing::
1271 @node Vertical spacing
1272 @subsection Vertical spacing
1274 @cindex vertical spacing
1275 @cindex distance between staves
1276 @cindex staff distance
1277 @cindex between staves, distance
1278 @cindex staves per page
1279 @cindex space between staves
1281 The height of each system is determined automatically by LilyPond, to
1282 keep systems from bumping into each other, some minimum distances are
1283 set. By changing these, you can put staves closer together, and thus
1284 put more systems onto one page.
1286 Normally staves are stacked vertically. To make
1287 staves maintain a distance, their vertical size is padded. This is
1288 done with the property @code{minimumVerticalExtent}. It takes a pair
1289 of numbers, so if you want to make it smaller from its, then you could
1292 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1294 This sets the vertical size of the current staff to 4 staff spaces on
1295 either side of the center staff line. The argument of
1296 @code{minimumVerticalExtent} is interpreted as an interval, where the
1297 center line is the 0, so the first number is generally negative. The
1298 staff can be made larger at the bottom by setting it to @code{(-6
1301 The piano staves are handled a little differently: to make cross-staff
1302 beaming work correctly, it is necessary that the distance between staves
1303 is fixed beforehand. This is also done with a
1304 @internalsref{VerticalAlignment} object, created in
1305 @internalsref{PianoStaff}. In this object the distance between the
1306 staves is fixed by setting @code{forced-distance}. If you want to
1307 override this, use a @code{\context} block as follows:
1312 \override VerticalAlignment #'forced-distance = #9
1317 This would bring the staves together at a distance of 9 staff spaces,
1318 measured from the center line of each staff.
1322 Internals: Vertical alignment of staves is handled by the
1323 @internalsref{VerticalAlignment} object.
1328 @node Horizontal spacing
1329 @subsection Horizontal Spacing
1331 The spacing engine translates differences in durations into
1332 stretchable distances (``springs'') of differing lengths. Longer
1333 durations get more space, shorter durations get less. The shortest
1334 durations get a fixed amount of space (which is controlled by
1335 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1336 The longer the duration, the more space it gets: doubling a
1337 duration adds a fixed amount (this amount is controlled by
1338 @code{spacing-increment}) of space to the note.
1340 For example, the following piece contains lots of half, quarter and
1341 8th notes, the eighth note is followed by 1 note head width (NHW).
1342 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1343 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1347 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1348 width of a note head, and @code{shortest-duration-space} is set to
1349 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1350 @code{shortest-duration-space}) of space. For normal notes, this space
1351 is always counted from the left edge of the symbol, so the shortest
1352 notes are generally followed by one NHW of space.
1354 If one would follow the above procedure exactly, then adding a single
1355 32th note to a score that uses 8th and 16th notes, would widen up the
1356 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1357 thus adding 1 NHW to every note. To prevent this, the
1358 shortest duration for spacing is not the shortest note in the score,
1359 but the most commonly found shortest note. Notes that are even
1360 shorter this are followed by a space that is proportional to their
1361 duration relative to the common shortest note. So if we were to add
1362 only a few 16th notes to the example above, they would be followed by
1365 @lilypond[fragment,verbatim,relative=2]
1366 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1369 The most common shortest duration is determined as follows: in every
1370 measure, the shortest duration is determined. The most common short
1371 duration, is taken as the basis for the spacing, with the stipulation
1372 that this shortest duration should always be equal to or shorter than
1373 1/8th note. The shortest duration is printed when you run lilypond
1374 with @code{--verbose}. These durations may also be customized. If you
1375 set the @code{common-shortest-duration} in
1376 @internalsref{SpacingSpanner}, then this sets the base duration for
1377 spacing. The maximum duration for this base (normally 1/8th), is set
1378 through @code{base-shortest-duration}.
1380 @cindex @code{common-shortest-duration}
1381 @cindex @code{base-shortest-duration}
1382 @cindex @code{stem-spacing-correction}
1383 @cindex @code{spacing}
1385 In the introduction it was explained that stem directions influence
1386 spacing. This is controlled with @code{stem-spacing-correction}
1387 property in @internalsref{NoteSpacing}, which are generated for every
1388 @internalsref{Voice} context. The @code{StaffSpacing} object
1389 (generated at @internalsref{Staff} context) contains the same property
1390 for controlling the stem/bar line spacing. The following example
1391 shows these corrections, once with default settings, and once with
1392 exaggerated corrections:
1398 \override Staff.NoteSpacing #'stem-spacing-correction
1400 \override Staff.StaffSpacing #'stem-spacing-correction
1405 \paper { raggedright = ##t } }
1408 @cindex SpacingSpanner, overriding properties
1410 Properties of the @internalsref{SpacingSpanner} must be overridden
1411 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1412 created before any property commands are interpreted.
1414 \paper @{ \context @{
1416 SpacingSpanner \override #'spacing-increment = #3.0
1423 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1424 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1425 @internalsref{SeparatingGroupSpanner}.
1429 Spacing is determined on a score wide basis. If you have a score that
1430 changes its character (measured in durations) halfway during the
1431 score, the part containing the longer durations will be spaced too
1434 There is no convenient mechanism to manually override spacing.
1439 @subsection Font size
1441 @cindex font size, setting
1442 @cindex staff size, setting
1443 @cindex @code{paper} file
1445 The Feta font provides musical symbols at eight different
1446 sizes. Each font is tuned for a different staff size: at smaller sizes
1447 the font gets heavier, to match the relatively heavier staff lines.
1448 The recommended font sizes are listed in the following table:
1450 @multitable @columnfractions .25 .25 .25 .25
1453 @tab @b{staff height (pt)}
1454 @tab @b{staff height (mm)}
1496 @c modern rental material ?
1500 These fonts are available in any sizes. The context property
1501 @code{fontSize} and the layout property @code{staff-space} (in
1502 @internalsref{StaffSymbol}) can be used to tune size for individual
1503 staves. The size of individual staves are relative to the global size,
1504 which can be set in the following manner:
1507 #(set-global-staff-size 14)
1510 This sets the global default size to 14pt staff height, and scales all
1515 This manual: @ref{Selecting font sizes}.
1519 @subsection Line breaking
1522 @cindex breaking lines
1524 Line breaks are normally computed automatically. They are chosen such
1525 that lines look neither cramped nor loose, and that consecutive lines
1526 have similar density.
1528 Occasionally you might want to override the automatic breaks; you can
1529 do this by specifying @code{\break}. This will force a line break at
1530 this point. Line breaks can only occur at places where there are bar
1531 lines. If you want to have a line break where there is no bar line,
1532 you can force an invisible bar line by entering @code{\bar
1533 ""}. Similarly, @code{\noBreak} forbids a line break at a
1537 @cindex regular line breaks
1538 @cindex four bar music.
1540 For line breaks at regular intervals use @code{\break} separated by
1541 skips and repeated with @code{\repeat}:
1543 << \repeat unfold 7 @{
1544 s1 \noBreak s1 \noBreak
1545 s1 \noBreak s1 \break @}
1546 @emph{the real music}
1551 This makes the following 28 measures (assuming 4/4 time) be broken every
1552 4 measures, and only there.
1556 @code{\break}, @code{\noBreak}
1557 @cindex @code{\break}
1558 @cindex @code{\noBreak}
1562 Internals: @internalsref{BreakEvent}.
1566 @subsection Page layout
1569 @cindex breaking pages
1571 @cindex @code{indent}
1572 @cindex @code{linewidth}
1574 The most basic settings influencing the spacing are @code{indent} and
1575 @code{linewidth}. They are set in the @code{\paper} block. They
1576 control the indentation of the first line of music, and the lengths of
1579 If @code{raggedright} is set to true in the @code{\paper}
1580 block, then the lines are justified at their natural length. This
1581 useful for short fragments, and for checking how tight the natural
1585 @cindex vertical spacing
1587 The page layout process happens outside the LilyPond formatting
1588 engine: variables controlling page layout are passed to the output,
1589 and are further interpreted by @code{lilypond} wrapper program. It
1590 responds to the following variables in the @code{\paper} block. The
1591 spacing between systems is controlled with @code{interscoreline}, its
1592 default is 16pt. The distance between the score lines will stretch in
1593 order to fill the full page @code{interscorelinefill} is set to a
1594 positive number. In that case @code{interscoreline} specifies the
1597 @cindex @code{textheight}
1598 @cindex @code{interscoreline}
1599 @cindex @code{interscorelinefill}
1601 If the variable @code{lastpagefill} is defined,
1602 @c fixme: this should only be done if lastpagefill= #t
1603 systems are evenly distributed vertically on the last page. This
1604 might produce ugly results in case there are not enough systems on the
1605 last page. The @command{lilypond-book} command ignores
1606 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1609 @cindex @code{lastpagefill}
1611 Page breaks are normally computed by @TeX{}, so they are not under
1612 direct control of LilyPond. However, you can insert a commands into
1613 the @file{.tex} output to instruct @TeX{} where to break pages. This
1614 is done by setting the @code{between-systems-strings} on the
1615 @internalsref{NonMusicalPaperColumn} where the system is broken.
1616 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1617 The predefined command @code{\newpage} also does this.
1621 @cindex @code{papersize}
1623 To change the paper size, use the following Scheme code:
1626 #(set-paper-size "a4")
1633 @cindex @code{\newpage}
1639 In this manual: @ref{Invoking lilypond}.
1641 Examples: @inputfileref{input/regression,between-systems.ly}.
1643 Internals: @internalsref{NonMusicalPaperColumn}.
1647 LilyPond has no concept of page layout, which makes it difficult to
1648 reliably choose page breaks in longer pieces.
1651 @node Interpretation context
1652 @section Interpretation context
1655 * Creating contexts::
1656 * Default contexts::
1657 * Context properties::
1658 * Defining contexts::
1659 * Changing contexts locally::
1660 * Engravers and performers::
1661 * Defining new contexts::
1665 Interpretation contexts are objects that only exist during program
1666 run. During the interpretation phase (when @code{interpreting music}
1667 is printed on the standard output), the music expression in a
1668 @code{\score} block is interpreted in time order, the same order in
1669 which we hear and play the music. During this phase, the interpretation
1670 context holds the state for the current point within the music, for
1673 @item What notes are playing at this point?
1675 @item What symbols will be printed at this point?
1677 @item What is the current key signature, time signature, point within
1681 Contexts are grouped hierarchically: A @internalsref{Voice} context is
1682 contained in a @internalsref{Staff} context (because a staff can contain
1683 multiple voices at any point), a @internalsref{Staff} context is contained in
1684 @internalsref{Score}, @internalsref{StaffGroup}, or
1685 @internalsref{ChoirStaff} context.
1687 Contexts associated with sheet music output are called @emph{notation
1688 contexts}, those for sound output are called @emph{performance
1689 contexts}. The default definitions of the standard notation and
1690 performance contexts can be found in @file{ly/engraver-init.ly} and
1691 @file{ly/performer-init.ly}, respectively.
1694 @node Creating contexts
1695 @subsection Creating contexts
1696 @cindex @code{\context}
1697 @cindex context selection
1699 Contexts for a music expression can be selected manually, using one of
1700 the following music expressions:
1703 \new @var{contexttype} @var{musicexpr}
1704 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
1708 This means that @var{musicexpr} should be interpreted within a context
1709 of type @var{contexttype} (with name @var{contextname} if specified).
1710 If no such context exists, it will be created:
1712 @lilypond[verbatim,raggedright]
1714 \notes \relative c'' {
1715 c4 <<d4 \context Staff = "another" e4>> f
1721 In this example, the @code{c} and @code{d} are printed on the default
1722 staff. For the @code{e}, a context @code{Staff} called @code{another}
1723 is specified; since that does not exist, a new context is created.
1724 Within @code{another}, a (default) Voice context is created for the
1725 @code{e4}. A context is ended when when all music referring it has
1726 finished, so after the third quarter, @code{another} is removed.
1728 The @code{\new} construction creates a context with a
1729 generated, unique @var{contextname}. An expression with
1730 @code{\new} always leads to a new context. This is convenient
1731 for creating multiple staves, multiple lyric lines, etc.
1733 When using automatic staff changes, automatic phrasing, etc., the
1734 context names have special meanings, so @code{\new} cannot be
1738 @node Default contexts
1739 @subsection Default contexts
1741 Every top level music is interpreted by the @code{Score} context; in
1742 other words, you may think of @code{\score} working like
1746 \context Score @var{music}
1750 Music expressions inherit their context from the enclosing music
1751 expression. Hence, it is not necessary to explicitly specify
1752 @code{\context} for most expressions. In
1753 the following example, only the sequential expression has an explicit
1754 context. The notes contained therein inherit the @code{goUp} context
1755 from the enclosing music expression.
1757 @lilypond[verbatim,raggedright]
1758 \notes \context Voice = goUp { c'4 d' e' }
1762 Second, contexts are created automatically to be able to interpret the
1763 music expressions. Consider the following example:
1765 @lilypond[verbatim,raggedright]
1766 \score { \notes { c'4-( d' e'-) } }
1770 The sequential music is interpreted by the Score context initially,
1771 but when a note is encountered, contexts are setup to accept that
1772 note. In this case, a @code{Voice}, and @code{Staff}
1773 context are created. The rest of the sequential music is also
1774 interpreted with the same @code{Voice}, and
1775 @code{Staff} context, putting the notes on the same staff, in the same
1778 @node Context properties
1779 @subsection Context properties
1781 Contexts have properties. These properties are set from the @file{.ly}
1782 file using the following expression:
1783 @cindex context properties
1784 @cindex properties, context
1787 \set @var{contextname}.@var{propname} = @var{value}
1791 Sets the @var{propname} property of the context @var{contextname} to
1792 the specified Scheme expression @var{value}. Both @var{propname} and
1793 @var{contextname} are strings, which can often be written unquoted.
1796 Properties that are set in one context are inherited by all of the
1797 contained contexts. This means that a property valid for the
1798 @internalsref{Voice} context can be set in the @internalsref{Score} context
1799 (for example) and thus take effect in all @internalsref{Voice} contexts.
1801 Properties can be unset using the following statement.
1803 \unset @var{contextname}.@var{propname}
1806 @cindex properties, unsetting
1807 @cindex @code{\unset}
1810 This removes the definition of @var{propname} in @var{contextname}. If
1811 @var{propname} was not defined in @var{contextname} (but was inherited
1812 from a higher context), then this has no effect.
1814 If @var{contextname} is left out, then it defaults to the current
1815 ``bottom'' context: this is a context like @internalsref{Voice} that
1816 cannot contain any other contexts.
1819 @node Defining contexts
1820 @subsection Defining contexts
1822 @cindex context definition
1823 @cindex translator definition
1825 The most common way to create a new context definition is by extending
1826 an existing one. An existing context from the paper block is copied
1827 by referencing a context identifier:
1832 @var{context-identifier}
1838 Every predefined context has a standard identifier. For example, the
1839 @code{Staff} context can be referred to as @code{\StaffContext}.
1841 The context can then be modified by setting or changing properties,
1846 Stem \set #'thickness = #2.0
1847 defaultBarType = #"||"
1850 These assignments happen before interpretation starts, so a property
1851 command will override any predefined settings.
1857 It is not possible to collect multiple property assignments in a
1858 variable, and apply to one @code{\context} definition by
1859 referencing that variable.
1861 @node Changing contexts locally
1862 @subsection Changing contexts locally
1865 Extending an existing context can also be done locally. A piece of
1866 music can be interpreted in a changed context by using the following syntax
1870 @var{context modifications}
1874 These statements comes between @code{\new} or @code{\context} and the
1875 music to be interpreted. The @var{context modifications} property
1876 settings and @code{\remove}, @code{\consists} and @code{\consistsend}
1877 commands. The syntax is similar to the @code{\context} block.
1879 The following example shows how a staff is created with bigger spaces,
1880 and without a @code{Clef_engraver}.
1882 @lilypond[relative=1,fragment,verbatim]
1884 \new Staff { c4 es4 g2 }
1886 \override StaffSymbol #'staff-space = #(magstep 1.5)
1888 \remove "Clef_engraver"
1896 The command @code{\with} has no effect on contexts that already
1900 @node Engravers and performers
1901 @subsection Engravers and performers
1904 Each context is composed of a number of building blocks, or plug-ins
1905 called engravers. An engraver is a specialized C++ class that is
1906 compiled into the executable. Typically, an engraver is responsible
1907 for one function: the @code{Slur_engraver} creates only @code{Slur}
1908 objects, and the @code{Skip_event_swallow_translator} only swallows
1909 (silently gobbles) @code{SkipEvent}s.
1916 An existing context definition can be changed by adding or removing an
1917 engraver. The syntax for these operations is
1919 \consists @var{engravername}
1920 \remove @var{engravername}
1923 @cindex @code{\consists}
1924 @cindex @code{\remove}
1927 Here @var{engravername} is a string, the name of an engraver in the
1928 system. In the following example, the @code{Clef_engraver} is removed
1929 from the Staff context. The result is a staff without a clef, where
1930 the middle C is at its default position, the center line:
1932 @lilypond[verbatim,raggedright]
1940 \remove Clef_engraver
1946 A list of all engravers is in the internal documentation,
1947 see @internalsref{Engravers}.
1949 @node Defining new contexts
1950 @subsection Defining new contexts
1953 It is also possible to define new contexts from scratch. To do this,
1954 you must define give the new context a name. In the following
1955 example, a very simple Staff context is created: one that will put
1956 note heads on a staff symbol.
1960 \type "Engraver_group_engraver"
1963 \consists "Staff_symbol_engraver"
1964 \consists "Note_head_engraver"
1965 \consistsend "Axis_group_engraver"
1970 The argument of @code{\type} is the name for a special engraver that
1971 handles cooperation between simple engravers such as
1972 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
1973 should always be @code{Engraver_group_engraver} (unless you are
1974 defining a Score context from scratch, in which case
1975 @code{Score_engraver} must be used).
1977 The complete list of context modifiers is the following:
1979 @item @code{\alias} @var{alternate-name}:
1980 This specifies a different name. In the above example,
1981 @code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
1983 @item @code{\consistsend} @var{engravername}:
1984 Analogous to @code{\consists}, but makes sure that
1985 @var{engravername} is always added to the end of the list of
1988 Engravers that group context objects into axis groups or alignments
1989 need to be at the end of the list. @code{\consistsend} insures that
1990 engravers stay at the end even if a user adds or removes engravers.
1992 @item @code{\accepts} @var{contextname}:
1993 This context can contains @var{contextname} contexts. The first
1994 @code{\accepts} is created as a default context when events (e.g. notes
1995 or rests) are encountered.
1997 @item @code{\denies}:
1998 The opposite of @code{\accepts}.
2000 @item @code{\name} @var{contextname}:
2001 This sets the type name of the context, e.g. @code{Staff},
2002 @code{Voice}. If the name is not specified, the translator will not
2011 @node Output details
2012 @section Output details
2014 The default output format is La@TeX{}, which should be run
2015 through La@TeX{}. Using the option @option{-f}
2016 (or @option{--format}) other output formats can be selected also, but
2017 none of them work reliably.
2019 Now the music is output system by system (a `system' consists of all
2020 staves belonging together). From @TeX{}'s point of view, a system is an
2021 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
2022 vertically on the baseline of the text. Between systems,
2023 @code{\interscoreline} is inserted vertically to have stretchable space.
2024 The horizontal dimension of the @code{\hbox} is given by the
2025 @code{linewidth} parameter from LilyPond's @code{\paper} block.
2027 After the last system LilyPond emits a stronger variant of
2028 @code{\interscoreline} only if the macro
2029 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
2030 to the top of the page). You can avoid that by setting the variable
2031 @code{lastpagefill} in LilyPond's @code{\paper} block.
2033 It is possible to fine-tune the vertical offset further by defining the
2034 macro @code{\lilypondscoreshift}:
2037 \def\lilypondscoreshift@{0.25\baselineskip@}
2041 where @code{\baselineskip} is the distance from one text line to the next.
2043 Here an example how to embed a small LilyPond file @code{foo.ly} into
2044 running La@TeX{} text without using the @code{lilypond-book} script
2045 (@pxref{lilypond-book manual}):
2048 \documentclass@{article@}
2050 \def\lilypondpaperlastpagefill@{@}
2052 \def\lilypondscoreshift@{0.25\baselineskip@}
2055 This is running text which includes an example music file
2061 The file @file{foo.tex} has been simply produced with
2067 The call to @code{\lineskip} assures that there is enough vertical space
2068 between the LilyPond box and the surrounding text lines.