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 * Defining context defaults ::
270 * which properties to change::
273 @node Creating contexts
274 @subsection Creating contexts
276 For simple scores, the correct contexts are created automatically. For
277 more complex scores, it is necessary to instantiate them by hand.
278 There are three commands to do this.
280 The easiest command is @code{\new}, and it also the quickest to type.
281 It is prepended to a music expression, for example
284 \new @var{type} @var{music expression}
288 where @var{type} is a context name (like @code{Staff} or
289 @code{Voice}). This command creates a new context, and starts
290 interpreting @var{music expression} with that.
292 A practical application of @code{\new} is a score with many
293 staves. Each part that should be on its own staff, gets a @code{\new
296 @lilypond[verbatim,relative=2,raggedright]
297 << \new Staff { c4 c }
303 The @code{\context} command also directs a music expression to a
304 context object, but gives the context an extra name. The syntax is
307 \context @var{type} = @var{id} @var{music}
310 This form will search for an existing context of type @var{type}
311 called @var{id}. If that context does not exist yet, it is created.
312 This is useful if the context referred to later on. For example, when
313 setting lyrics the melody is in a named context
316 \context Voice = "@b{tenor}" @var{music}
320 so the texts can be properly aligned to its notes,
323 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
328 Another possibility is funneling two different music expressions into
329 one context. In the following example, articulations and notes are
333 music = \notes { c4 c4 }
334 arts = \notes { s4-. s4-> }
337 They are combined by sending both to the same @context{Voice} context,
340 << \new Staff \context Voice = "A" \music
341 \context Voice = "A" \arts
344 @lilypond[raggedright]
345 music = \notes { c4 c4 }
346 arts = \notes { s4-. s4-> }
348 \notes \relative c'' << \new Staff \context Voice = "A" \music
349 \context Voice = "A" \arts
356 The third command for creating contexts is
358 \context @var{type} @var{music}
363 This is similar to @code{\context} with @code{= @var{id}}, but matches
364 any context of type @var{type}, regardless of its given name.
366 This variant is used with music expressions that can be interpreted at
367 several levels. For example, the @code{\applyoutput} command (see
368 @ref{Running a function on all layout objects}). Without an explicit
369 @code{\context}, it is usually is applied to @context{Voice}
372 \applyoutput #@var{function} % apply to Voice
375 To have it interpreted at @context{Score} or @context{Staff} level use
379 \context Score \applyoutput #@var{function}
380 \context Staff \applyoutput #@var{function}
384 @node Changing context properties on the fly
385 @subsection Changing context properties on the fly
387 Each context can have different @emph{properties}, variables contained
388 in that context. They can be changed during the interpretation step.
389 This is achieved by inserting the @code{\set} command in the music,
392 @code{\set }[@var{context}]@code{.}@var{prop}@code{ = #}@var{value}
396 @lilypond[verbatim,relative=2]
398 \set Score.skipBars = ##t
402 This command skips measures that have no notes. The result is that
403 multi rests are condensed. The value assigned is a Scheme object. In
404 this case, it is @code{#t}, the boolean True value.
406 If the @var{context} argument is left out, then the current
407 bottom-most context (typically ChordNames, @context{Voice} or Lyrics)
408 is used. In this example,
410 @lilypond[verbatim,relative=2]
412 \set autoBeaming = ##f
417 the @var{context} argument to @code{\set} is left out, and the current
418 @internalsref{Voice} is used.
420 Contexts are hierarchical, so if a bigger context was specified, for
421 example @code{Staff}, then the change would also apply to all
422 @context{Voice}s in the current stave. The change is applied
423 `on-the-fly', during the music, so that the setting only affects the
424 second group of eighth notes.
426 There is also an @code{\unset} command,
428 @code{\set }[@var{context}]@code{.}@var{prop}
432 which removes the definition of @var{prop}. This command only removes
433 the definition if it is set in @var{context}. In
436 \set Staff.autoBeaming = ##f
437 \unset Voice.autoBeaming
441 the current @context{Voice} does not have the property, and the
442 definition at @context{Staff} level remains intact.
444 Settings that should only apply to a single time-step can be entered
445 easily with @code{\once}, for example in
447 @lilypond[verbatim,relative=2]
449 \once \set fontSize = #4.7
454 the property @code{fontSize} is unset automatically after the second
457 A full description of all available context properties is in the
458 program reference, see
460 @internalsref{Tunable-context-properties}.
463 Translation @arrow{} Tunable context properties.
467 @node Modifying context plug-ins
468 @subsection Modifying context plug-ins
470 Notation contexts (like Score and Staff) not only store properties,
471 they also contain plug-ins, called ``engravers'' that create notation
472 elements. For example, the Voice context contains a
473 @code{Note_head_engraver} and the Staff context contains a
474 @code{Key_signature_engraver}.
476 For a full a description of each plug-in, see
478 @internalsref{Engravers}
481 Program reference @arrow Translation @arrow{} Engravers.
483 Every context described in
485 @internalsref{Contexts}
488 Program reference @arrow Translation @arrow{} Context.
490 lists the engravers used for that context.
493 It can be useful to shuffle around these plug-ins. This is done by
494 starting a new context, with @code{\new} or @code{\context}, and
495 modifying them like this,
498 \new @var{context} \with @{
508 where the @dots{} should be the name of an engraver. Here is a simple
509 example which removes @code{Time_signature_engraver} and
510 @code{Clef_engraver} from a @code{Staff} context,
512 @lilypond[relative=1, verbatim]
517 \remove "Time_signature_engraver"
518 \remove "Clef_engraver"
525 In the second stave there are no time signature or clef symbols. This
526 is a rather crude method of making objects disappear, it will affect
527 the entire staff. More sophisticated methods are shown in (TODO).
529 The next example shows a practical application. Bar lines and time
530 signatures are normally synchronized across the score. This is done
531 by the @code{Timing_engraver}. This plug-in keeps an administration of
532 time signature, location within the measure, etc. By moving the
533 @code{Timing_engraver} engraver from Score to Staff context, we can
534 have score where each staff has its own time signature.
536 @cindex polymetric scores
539 @lilypond[relative=1,raggedright,verbatim]
541 \remove "Timing_engraver"
544 \consists "Timing_engraver"
550 \consists "Timing_engraver"
559 @node Defining context defaults
560 @subsection Defining context defaults
562 Context properties can be set as defaults, within the
563 @code{\paper} block. For example,
575 will set skipBars default
580 @node which properties to change
581 @subsection which properties to change
584 There are many different properties. Not all of them are listed in
585 this manual. However, the program reference lists them all in the
586 section @internalsref{Context-properties}, and most properties are
587 demonstrated in one of the
589 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
597 @node Fine tuning layout
598 @section Fine tuning layout
600 Sometimes it is necessary to change music layout by hand. When music
601 is formatted, layout objects are created for each symbol. For
602 example, every clef and every note head is represented by a layout
603 object. These layout objects also carry variables, which we call
604 @emph{layout properties}. By changing these variables from their
605 values, we can alter the look of a formatted score:
607 @lilypond[verbatim,relative]
609 \override Stem #'thickness = #3.0
614 In the example shown here, the layout property @code{thickness} (a
615 symbol) is set to 3 in the @code{Stem} layout objects of the current
616 As a result, the notes following @code{\override} have thicker
619 For the most part, a manual override is needed only on a case by
620 case basis and not for all subsequent instances of the altered
621 property. To accomplish this, simply prefix @code{\once} to the
622 @code{\override} statement and the override will apply only once,
623 immediately reverting to its default setting, i.e.
626 \once \override Stem #'thickness = #3.0
631 \once \override Stem #'thickness = #3.0
636 Some overrides are so common that predefined commands are provided as
637 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
638 commands are described in
642 @ref{Notation manual}, under the sections for slurs and stems
645 The exact tuning possibilities for each type of layout object are
646 documented in the program reference of the respective
647 object. However, many layout objects share properties, which can be
648 used to apply generic tweaks. We mention a couple of these:
651 @item The @code{extra-offset} property, which
652 @cindex @code{extra-offset}
653 has a pair of numbers as value, moves around objects in the printout.
654 The first number controls left-right movement; a positive number will
655 move the object to the right. The second number controls up-down
656 movement; a positive number will move it higher. The units of these
657 offsets are staff-spaces. The @code{extra-offset} property is a
658 low-level feature: the formatting engine is completely oblivious to
661 In the following example, the second fingering is moved a little to
662 the left, and 1.8 staff space downwards:
664 @cindex setting object properties
666 @lilypond[relative=1,verbatim]
669 \once \override Fingering
670 #'extra-offset = #'(-0.3 . -1.8)
675 Setting the @code{transparent} property will cause an object to be printed
676 in `invisible ink': the object is not printed, but all its other
677 behavior is retained. The object still takes up space, it takes part in
678 collisions, and slurs, and ties and beams can be attached to it.
680 @cindex transparent objects
681 @cindex removing objects
682 @cindex invisible objects
683 The following example demonstrates how to connect different voices
684 using ties. Normally, ties only connect two notes in the same
685 voice. By introducing a tie in a different voice, and blanking a stem
686 in that voice, the tie appears to cross voices:
688 @lilypond[fragment,relative=1,verbatim]
690 \once \override Stem #'transparent = ##t
698 The @code{padding} property for objects with
699 @cindex @code{padding}
700 @code{side-position-interface} can be set to increase distance between
701 symbols that are printed above or below notes. We only give an
702 example; a more elaborate explanation is in @ref{Constructing a
705 @lilypond[relative=1,verbatim]
707 \override Script #'padding = #3
713 More specific overrides are also possible. The notation manual
714 discusses in depth how to figure out these statements for yourself, in
721 @section Tuning output
723 There are situations where default layout decisions are not
724 sufficient. In this section we discuss ways to override these
727 Formatting is internally done by manipulating so called objects
728 (graphic objects). Each object carries with it a set of properties
729 (object or layout properties) specific to that object. For example, a
730 stem object has properties that specify its direction, length and
733 The most direct way of tuning the output is by altering the values of
734 these properties. There are two ways of doing that: first, you can
735 temporarily change the definition of one type of object, thus
736 affecting a whole set of objects. Second, you can select one specific
737 object, and set a layout property in that object.
739 Do not confuse layout properties with translation
740 properties. Translation properties always use a mixed caps style
741 naming, and are manipulated using @code{\set} and @code{\unset}:
743 \set Context.propertyName = @var{value}
746 Layout properties are use Scheme style variable naming, i.e. lower
747 case words separated with dashes. They are symbols, and should always
748 be quoted using @code{#'}. For example, this could be an imaginary
749 layout property name:
751 #'layout-property-name
757 * Constructing a tweak::
758 * Selecting font sizes::
765 @subsection Tuning objects
767 @cindex object description
769 The definition of an object is a list of default object
770 properties. For example, the definition of the Stem object (available
771 in @file{scm/define-grobs.scm}), includes the following definitions
772 for @internalsref{Stem}:
776 (beamed-lengths . (3.5 3.5 3.5 4.5 5.0))
777 (Y-extent-callback . ,Stem::height)
782 Adding variables on top of this existing definition overrides the
783 system default, and alters the resulting appearance of the layout
788 Changing a variable for only one object is commonly achieved with
792 \once \override @var{context}.@var{objectname}
793 @var{symbol} = @var{value}
795 Here @var{symbol} is a Scheme expression of symbol type, @var{context}
796 and @var{objectname} is a string and @var{value} is a Scheme expression.
797 This command applies a setting only during one moment in the score.
799 In the following example, only one @internalsref{Stem} object is
800 changed from its original setting:
802 @lilypond[verbatim,fragment,relative=1]
804 \once \override Voice.Stem #'thickness = #4
810 For changing more objects, the same command, without @code{\once} can
813 \override @var{context}.@var{objectname} @var{symbol} = @var{value}
815 This command adds @code{@var{symbol} = @var{value}} to the definition
816 of @var{objectname} in the context @var{context}, and this definition
817 stays in place until it is removed.
819 An existing definition may be removed by the following command:
822 \property @var{context}.@var{objectname} \revert @var{symbol}
828 c'4 \override Stem #'thickness = #4.0
830 c'4 \revert Stem #'thickness
836 Reverting a setting which was not set in the first place has no
842 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
843 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
844 @internalsref{All-layout-objects}.
849 The back-end is not very strict in type-checking object properties.
850 Cyclic references in Scheme values for properties can cause hangs
854 @node Constructing a tweak
855 @subsection Constructing a tweak
858 @cindex internal documentation
859 @cindex finding graphical objects
860 @cindex graphical object descriptions
862 @cindex @code{\override}
864 @cindex internal documentation
868 Three pieces of information are required to use @code{\override} and
869 @code{\set}: the name of the layout object, the context and the name
870 of the property. We demonstrate how to glean this information from
871 the notation manual and the program reference.
873 The generated documentation is a set of HTML pages which should be
874 included if you installed a binary distribution, typically in
875 @file{/usr/share/doc/lilypond}. They are also available on the web:
876 go to the @uref{http://lilypond.org,LilyPond website}, click
877 ``Documentation'', select the correct version, and then click
878 ``Program reference.'' It is advisable to bookmark the local HTML
879 files. They will load faster than the ones on the web and matches the
880 version of LilyPond you are using.
884 @c [TODO: revise for new site.]
886 Suppose we want to move the fingering indication in the fragment
889 @lilypond[relative=2,verbatim]
895 If you visit the documentation of @code{Fingering} (in @ref{Fingering
896 instructions}), you will notice that there is written:
901 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
908 In other words, the fingerings once entered, are internally stored as
909 @code{FingerEvent} music objects. When printed, a @code{Fingering}
910 layout object is created for every @code{FingerEvent}.
912 The Fingering object has a number of different functions, and each of
913 those is captured in an interface. The interfaces are listed under
914 @internalsref{Fingering} in the program reference.
918 The @code{Fingering} object has a fixed size
919 (@internalsref{item-interface}), the symbol is a piece of text
920 (@internalsref{text-interface}), whose font can be set
921 (@internalsref{font-interface}). It is centered horizontally
922 (@internalsref{self-alignment-interface}), it is placed vertically
923 next to other objects (@internalsref{side-position-interface}), and
924 its placement is coordinated with other scripts
925 (@internalsref{text-script-interface}). It also has the standard
926 @internalsref{grob-interface} (grob stands for Graphical object)
928 @cindex graphical object
929 @cindex layout object
930 @cindex object, layout
931 with all the variables that come with
932 it. Finally, it denotes a fingering instruction, so it has
933 @internalsref{finger-interface}.
935 For the vertical placement, we have to look under
936 @code{side-position-interface}:
938 @code{side-position-interface}
940 Position a victim object (this one) next to other objects (the
941 support). In this case, the property @code{direction} signifies where to put the
942 victim object relative to the support (left or right, up or down?)
947 below this description, the variable @code{padding} is described as
951 (dimension, in staff space)
953 add this much extra space between objects that are next to each
954 other. Default value: @code{0.6}
958 By increasing the value of @code{padding}, we can move away the
959 fingering. The following command inserts 3 staff spaces of white
960 between the note and the fingering:
962 \once \override Fingering #'padding = #3
965 Inserting this command before the Fingering object is created,
966 i.e. before @code{c2}, yields the following result:
968 @lilypond[relative=2,fragment,verbatim]
969 \once \override Fingering
976 The context name @code{Voice} in the example above can be determined
977 as follows. In the documentation for @internalsref{Fingering}, it says
979 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
982 Clicking @code{Fingering_engraver} shows the documentation of
983 the module responsible for interpreting the fingering instructions and
984 translating them to a @code{Fingering} object. Such a module is called
985 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
988 Fingering_engraver is part of contexts: Voice
990 so tuning the settings for Fingering should be done with
992 \override Fingering @dots{}
995 Of course, the tweak may also done in a larger context than
996 @code{Voice}, for example, @internalsref{Staff} or
997 @internalsref{Score}.
1001 Internals: the program reference also contains alphabetical lists of
1002 @internalsref{Contexts}, @internalsref{All-layout-objects} and
1003 @internalsref{Music-expressions}, so you can also find which objects
1004 to tweak by browsing the internals document.
1007 @node Selecting font sizes
1008 @subsection Selecting font sizes
1010 The most common thing to change about the appearance of fonts is their
1011 size. The font size of any context can be easily changed by setting
1012 the @code{fontSize} property for that context. Its value is a number:
1013 negative numbers make the font smaller, positive numbers larger. An
1014 example is given below:
1016 @lilypond[fragment,relative=1,verbatim]
1017 c4 c4 \set fontSize = #-3
1020 This command will set @code{font-size} (see below) in all layout
1021 objects in the current context. It does not change the size of
1022 variable symbols, such as beams or slurs.
1024 The font size is set by modifying the @code{font-size} property. Its
1025 value is a number indicating the size relative to the standard size.
1026 Each step up is an increase of approximately 12% of the font size. Six
1027 steps is exactly a factor two. The Scheme function @code{magstep}
1028 converts a @code{font-size} number to a scaling factor.
1030 LilyPond has fonts in different design sizes: the music fonts for
1031 smaller sizes are chubbier, while the text fonts are relatively wider.
1032 Font size changes are achieved by scaling the design size that is
1033 closest to the desired size.
1035 The @code{font-size} mechanism does not work for fonts selected
1036 through @code{font-name}. These may be scaled with
1037 @code{font-magnification}.
1040 One of the uses of @code{fontSize} is to get smaller symbols for cue
1041 notes. An elaborate example of those is in
1042 @inputfileref{input/test,cue-notes.ly}.
1044 @cindex @code{font-style}
1048 The following commands set @code{fontSize} for the current voice.
1050 @cindex @code{\tiny}
1052 @cindex @code{\small}
1054 @cindex @code{\normalsize}
1059 @cindex magnification
1063 @node Font selection
1064 @subsection Font selection
1066 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1067 can also be adjusted with a more fine-grained mechanism. By setting
1068 the object properties described below, you can select a different font;
1069 all three mechanisms work for every object that supports
1070 @code{font-interface}:
1074 @item @code{font-encoding}
1075 is a symbol that sets layout of the glyphs. Choices include
1076 @code{text} for normal text, @code{braces} (for piano staff braces),
1077 @code{music} (the standard music font, including ancient glyphs),
1078 @code{dynamic} (for dynamic signs) and @code{number} for the number
1082 @item @code{font-family}
1083 is a symbol indicating the general class of the typeface. Supported are
1084 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1086 @item @code{font-shape}
1087 is a symbol indicating the shape of the font, there are typically
1088 several font shapes available for each font family. Choices are
1089 @code{italic}, @code{caps} and @code{upright}.
1091 @item @code{font-series}
1092 is a symbol indicating the series of the font. There are typically several
1093 font series for each font family and shape. Choices are @code{medium}
1098 Fonts selected in the way sketched above come from a predefined style
1101 The font used for printing a object can be selected by setting
1102 @code{font-name}, e.g.
1104 \override Staff.TimeSignature
1105 #'font-name = #"cmr17"
1109 Any font can be used, as long as it is available to @TeX{}. Possible
1110 fonts include foreign fonts or fonts that do not belong to the
1111 Computer Modern font family. The size of fonts selected in this way
1112 can be changed with the @code{font-magnification} property. For
1113 example, @code{2.0} blows up all letters by a factor 2 in both
1117 @cindex font magnification
1123 Init files: @file{ly/declarations-init.ly} contains hints how new
1124 fonts may be added to LilyPond.
1128 No style sheet is provided for other fonts besides the @TeX{}
1129 Computer Modern family.
1131 @cindex font selection
1132 @cindex font magnification
1133 @cindex @code{font-interface}
1137 @section Text markup
1142 @cindex typeset text
1144 LilyPond has an internal mechanism to typeset texts. You can access it
1145 with the keyword @code{\markup}. Within markup mode, you can enter texts
1146 similar to lyrics: simply enter them, surrounded by spaces:
1149 @lilypond[verbatim,fragment,relative=1]
1150 c1^\markup { hello }
1151 c1_\markup { hi there }
1152 c1^\markup { hi \bold there, is \italic anyone home? }
1155 @cindex font switching
1157 The markup in the example demonstrates font switching commands. The
1158 command @code{\bold} and @code{\italic} only apply to the first
1159 following word; enclose a set of texts with braces to apply a command
1162 \markup @{ \bold @{ hi there @} @}
1166 For clarity, you can also do this for single arguments, e.g.
1169 \markup { is \italic { anyone } home }
1172 @cindex font size, texts
1175 In markup mode you can compose expressions, similar to mathematical
1176 expressions, XML documents and music expressions. The braces group
1177 notes into horizontal lines. Other types of lists also exist: you can
1178 stack expressions grouped with @code{<}, and @code{>} vertically with
1179 the command @code{\column}. Similarly, @code{\center-align} aligns
1180 texts by their center lines:
1182 @lilypond[verbatim,fragment,relative=1]
1183 c1^\markup { \column < a bbbb c > }
1184 c1^\markup { \center-align < a bbbb c > }
1185 c1^\markup { \line < a b c > }
1189 Markups can be stored in variables, and these variables
1190 may be attached to notes, like
1192 allegro = \markup { \bold \large { Allegro } }
1193 \notes { a^\allegro b c d }
1197 Some objects have alignment procedures of their own, which cancel out
1198 any effects of alignments applied to their markup arguments as a
1199 whole. For example, the @internalsref{RehearsalMark} is horizontally
1200 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1203 Similarly, for moving whole texts over notes with
1204 @code{\raise}, use the following trick:
1206 "" \raise #0.5 raised
1209 The text @code{raised} is now raised relative to the empty string
1210 @code{""} which is not visible. Alternatively, complete objects can
1211 be moved with layout properties such as @code{padding} and
1212 @code{extra-offset}.
1218 Init files: @file{scm/new-markup.scm}.
1223 Text layout is ultimately done by @TeX{}, which does kerning of
1224 letters. LilyPond does not account for kerning, so texts will be
1225 spaced slightly too wide.
1227 Syntax errors for markup mode are confusing.
1229 Markup texts cannot be used in the titling of the @code{\header}
1230 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1236 * Overview of text markup commands::
1239 @node Overview of text markup commands
1240 @subsection Overview of text markup commands
1242 @include markup-commands.tely
1246 @section Global layout
1248 The global layout determined by three factors: the page layout, the
1249 line breaks and the spacing. These all influence each other. The
1250 choice of spacing determines how densely each system of music is set,
1251 which influences where line breaks breaks are chosen, and thus
1252 ultimately how many pages a piece of music takes. This section
1253 explains how to tune the algorithm for spacing.
1255 Globally spoken, this procedure happens in three steps: first,
1256 flexible distances (``springs'') are chosen, based on durations. All
1257 possible line breaking combination are tried, and the one with the
1258 best results---a layout that has uniform density and requires as
1259 little stretching or cramping as possible---is chosen. When the score
1260 is processed by @TeX{}, each page is filled with systems, and page breaks
1261 are chosen whenever the page gets full.
1266 * Vertical spacing::
1267 * Horizontal spacing::
1274 @node Vertical spacing
1275 @subsection Vertical spacing
1277 @cindex vertical spacing
1278 @cindex distance between staves
1279 @cindex staff distance
1280 @cindex between staves, distance
1281 @cindex staves per page
1282 @cindex space between staves
1284 The height of each system is determined automatically by LilyPond, to
1285 keep systems from bumping into each other, some minimum distances are
1286 set. By changing these, you can put staves closer together, and thus
1287 put more systems onto one page.
1289 Normally staves are stacked vertically. To make
1290 staves maintain a distance, their vertical size is padded. This is
1291 done with the property @code{minimumVerticalExtent}. It takes a pair
1292 of numbers, so if you want to make it smaller from its, then you could
1295 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1297 This sets the vertical size of the current staff to 4 staff spaces on
1298 either side of the center staff line. The argument of
1299 @code{minimumVerticalExtent} is interpreted as an interval, where the
1300 center line is the 0, so the first number is generally negative. The
1301 staff can be made larger at the bottom by setting it to @code{(-6
1304 The piano staves are handled a little differently: to make cross-staff
1305 beaming work correctly, it is necessary that the distance between staves
1306 is fixed beforehand. This is also done with a
1307 @internalsref{VerticalAlignment} object, created in
1308 @internalsref{PianoStaff}. In this object the distance between the
1309 staves is fixed by setting @code{forced-distance}. If you want to
1310 override this, use a @code{\context} block as follows:
1315 \override VerticalAlignment #'forced-distance = #9
1320 This would bring the staves together at a distance of 9 staff spaces,
1321 measured from the center line of each staff.
1325 Internals: Vertical alignment of staves is handled by the
1326 @internalsref{VerticalAlignment} object.
1331 @node Horizontal spacing
1332 @subsection Horizontal Spacing
1334 The spacing engine translates differences in durations into
1335 stretchable distances (``springs'') of differing lengths. Longer
1336 durations get more space, shorter durations get less. The shortest
1337 durations get a fixed amount of space (which is controlled by
1338 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1339 The longer the duration, the more space it gets: doubling a
1340 duration adds a fixed amount (this amount is controlled by
1341 @code{spacing-increment}) of space to the note.
1343 For example, the following piece contains lots of half, quarter and
1344 8th notes, the eighth note is followed by 1 note head width (NHW).
1345 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1346 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1350 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1351 width of a note head, and @code{shortest-duration-space} is set to
1352 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1353 @code{shortest-duration-space}) of space. For normal notes, this space
1354 is always counted from the left edge of the symbol, so the shortest
1355 notes are generally followed by one NHW of space.
1357 If one would follow the above procedure exactly, then adding a single
1358 32th note to a score that uses 8th and 16th notes, would widen up the
1359 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1360 thus adding 1 NHW to every note. To prevent this, the
1361 shortest duration for spacing is not the shortest note in the score,
1362 but the most commonly found shortest note. Notes that are even
1363 shorter this are followed by a space that is proportional to their
1364 duration relative to the common shortest note. So if we were to add
1365 only a few 16th notes to the example above, they would be followed by
1368 @lilypond[fragment,verbatim,relative=2]
1369 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1372 The most common shortest duration is determined as follows: in every
1373 measure, the shortest duration is determined. The most common short
1374 duration, is taken as the basis for the spacing, with the stipulation
1375 that this shortest duration should always be equal to or shorter than
1376 1/8th note. The shortest duration is printed when you run lilypond
1377 with @code{--verbose}. These durations may also be customized. If you
1378 set the @code{common-shortest-duration} in
1379 @internalsref{SpacingSpanner}, then this sets the base duration for
1380 spacing. The maximum duration for this base (normally 1/8th), is set
1381 through @code{base-shortest-duration}.
1383 @cindex @code{common-shortest-duration}
1384 @cindex @code{base-shortest-duration}
1385 @cindex @code{stem-spacing-correction}
1386 @cindex @code{spacing}
1388 In the introduction it was explained that stem directions influence
1389 spacing. This is controlled with @code{stem-spacing-correction}
1390 property in @internalsref{NoteSpacing}, which are generated for every
1391 @internalsref{Voice} context. The @code{StaffSpacing} object
1392 (generated at @internalsref{Staff} context) contains the same property
1393 for controlling the stem/bar line spacing. The following example
1394 shows these corrections, once with default settings, and once with
1395 exaggerated corrections:
1401 \override Staff.NoteSpacing #'stem-spacing-correction
1403 \override Staff.StaffSpacing #'stem-spacing-correction
1408 \paper { raggedright = ##t } }
1411 @cindex SpacingSpanner, overriding properties
1413 Properties of the @internalsref{SpacingSpanner} must be overridden
1414 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1415 created before any property commands are interpreted.
1417 \paper @{ \context @{
1419 SpacingSpanner \override #'spacing-increment = #3.0
1426 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1427 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1428 @internalsref{SeparatingGroupSpanner}.
1432 Spacing is determined on a score wide basis. If you have a score that
1433 changes its character (measured in durations) halfway during the
1434 score, the part containing the longer durations will be spaced too
1437 There is no convenient mechanism to manually override spacing.
1442 @subsection Font size
1444 @cindex font size, setting
1445 @cindex staff size, setting
1446 @cindex @code{paper} file
1448 The Feta font provides musical symbols at eight different
1449 sizes. Each font is tuned for a different staff size: at smaller sizes
1450 the font gets heavier, to match the relatively heavier staff lines.
1451 The recommended font sizes are listed in the following table:
1453 @multitable @columnfractions .25 .25 .25 .25
1456 @tab @b{staff height (pt)}
1457 @tab @b{staff height (mm)}
1499 @c modern rental material ?
1503 These fonts are available in any sizes. The context property
1504 @code{fontSize} and the layout property @code{staff-space} (in
1505 @internalsref{StaffSymbol}) can be used to tune size for individual
1506 staves. The size of individual staves are relative to the global size,
1507 which can be set in the following manner:
1510 #(set-global-staff-size 14)
1513 This sets the global default size to 14pt staff height, and scales all
1518 This manual: @ref{Selecting font sizes}.
1522 @subsection Line breaking
1525 @cindex breaking lines
1527 Line breaks are normally computed automatically. They are chosen such
1528 that lines look neither cramped nor loose, and that consecutive lines
1529 have similar density.
1531 Occasionally you might want to override the automatic breaks; you can
1532 do this by specifying @code{\break}. This will force a line break at
1533 this point. Line breaks can only occur at places where there are bar
1534 lines. If you want to have a line break where there is no bar line,
1535 you can force an invisible bar line by entering @code{\bar
1536 ""}. Similarly, @code{\noBreak} forbids a line break at a
1540 @cindex regular line breaks
1541 @cindex four bar music.
1543 For line breaks at regular intervals use @code{\break} separated by
1544 skips and repeated with @code{\repeat}:
1546 << \repeat unfold 7 @{
1547 s1 \noBreak s1 \noBreak
1548 s1 \noBreak s1 \break @}
1549 @emph{the real music}
1554 This makes the following 28 measures (assuming 4/4 time) be broken every
1555 4 measures, and only there.
1559 @code{\break}, @code{\noBreak}
1560 @cindex @code{\break}
1561 @cindex @code{\noBreak}
1565 Internals: @internalsref{BreakEvent}.
1569 @subsection Page layout
1572 @cindex breaking pages
1574 @cindex @code{indent}
1575 @cindex @code{linewidth}
1577 The most basic settings influencing the spacing are @code{indent} and
1578 @code{linewidth}. They are set in the @code{\paper} block. They
1579 control the indentation of the first line of music, and the lengths of
1582 If @code{raggedright} is set to true in the @code{\paper}
1583 block, then the lines are justified at their natural length. This
1584 useful for short fragments, and for checking how tight the natural
1588 @cindex vertical spacing
1590 The page layout process happens outside the LilyPond formatting
1591 engine: variables controlling page layout are passed to the output,
1592 and are further interpreted by @code{lilypond} wrapper program. It
1593 responds to the following variables in the @code{\paper} block. The
1594 spacing between systems is controlled with @code{interscoreline}, its
1595 default is 16pt. The distance between the score lines will stretch in
1596 order to fill the full page @code{interscorelinefill} is set to a
1597 positive number. In that case @code{interscoreline} specifies the
1600 @cindex @code{textheight}
1601 @cindex @code{interscoreline}
1602 @cindex @code{interscorelinefill}
1604 If the variable @code{lastpagefill} is defined,
1605 @c fixme: this should only be done if lastpagefill= #t
1606 systems are evenly distributed vertically on the last page. This
1607 might produce ugly results in case there are not enough systems on the
1608 last page. The @command{lilypond-book} command ignores
1609 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1612 @cindex @code{lastpagefill}
1614 Page breaks are normally computed by @TeX{}, so they are not under
1615 direct control of LilyPond. However, you can insert a commands into
1616 the @file{.tex} output to instruct @TeX{} where to break pages. This
1617 is done by setting the @code{between-systems-strings} on the
1618 @internalsref{NonMusicalPaperColumn} where the system is broken.
1619 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1620 The predefined command @code{\newpage} also does this.
1624 @cindex @code{papersize}
1626 To change the paper size, use the following Scheme code:
1629 #(set-paper-size "a4")
1636 @cindex @code{\newpage}
1642 In this manual: @ref{Invoking lilypond}.
1644 Examples: @inputfileref{input/regression,between-systems.ly}.
1646 Internals: @internalsref{NonMusicalPaperColumn}.
1650 LilyPond has no concept of page layout, which makes it difficult to
1651 reliably choose page breaks in longer pieces.
1654 @node Interpretation context
1655 @section Interpretation context
1658 * Context properties::
1659 * Defining contexts::
1660 * Changing contexts locally::
1661 * Engravers and performers::
1662 * Defining new contexts::
1666 Interpretation contexts are objects that only exist during program
1667 run. During the interpretation phase (when @code{interpreting music}
1668 is printed on the standard output), the music expression in a
1669 @code{\score} block is interpreted in time order, the same order in
1670 which we hear and play the music. During this phase, the interpretation
1671 context holds the state for the current point within the music, for
1674 @item What notes are playing at this point?
1676 @item What symbols will be printed at this point?
1678 @item What is the current key signature, time signature, point within
1682 Contexts are grouped hierarchically: A @internalsref{Voice} context is
1683 contained in a @internalsref{Staff} context (because a staff can contain
1684 multiple voices at any point), a @internalsref{Staff} context is contained in
1685 @internalsref{Score}, @internalsref{StaffGroup}, or
1686 @internalsref{ChoirStaff} context.
1688 Contexts associated with sheet music output are called @emph{notation
1689 contexts}, those for sound output are called @emph{performance
1690 contexts}. The default definitions of the standard notation and
1691 performance contexts can be found in @file{ly/engraver-init.ly} and
1692 @file{ly/performer-init.ly}, respectively.
1696 @node Context properties
1697 @subsection Context properties
1699 Contexts have properties. These properties are set from the @file{.ly}
1700 file using the following expression:
1701 @cindex context properties
1702 @cindex properties, context
1705 \set @var{contextname}.@var{propname} = @var{value}
1709 Sets the @var{propname} property of the context @var{contextname} to
1710 the specified Scheme expression @var{value}. Both @var{propname} and
1711 @var{contextname} are strings, which can often be written unquoted.
1714 Properties that are set in one context are inherited by all of the
1715 contained contexts. This means that a property valid for the
1716 @internalsref{Voice} context can be set in the @internalsref{Score} context
1717 (for example) and thus take effect in all @internalsref{Voice} contexts.
1719 Properties can be unset using the following statement.
1721 \unset @var{contextname}.@var{propname}
1724 @cindex properties, unsetting
1725 @cindex @code{\unset}
1728 This removes the definition of @var{propname} in @var{contextname}. If
1729 @var{propname} was not defined in @var{contextname} (but was inherited
1730 from a higher context), then this has no effect.
1732 If @var{contextname} is left out, then it defaults to the current
1733 ``bottom'' context: this is a context like @internalsref{Voice} that
1734 cannot contain any other contexts.
1737 @node Defining contexts
1738 @subsection Defining contexts
1740 @cindex context definition
1741 @cindex translator definition
1743 The most common way to create a new context definition is by extending
1744 an existing one. An existing context from the paper block is copied
1745 by referencing a context identifier:
1750 @var{context-identifier}
1756 Every predefined context has a standard identifier. For example, the
1757 @code{Staff} context can be referred to as @code{\StaffContext}.
1759 The context can then be modified by setting or changing properties,
1764 Stem \set #'thickness = #2.0
1765 defaultBarType = #"||"
1768 These assignments happen before interpretation starts, so a property
1769 command will override any predefined settings.
1775 It is not possible to collect multiple property assignments in a
1776 variable, and apply to one @code{\context} definition by
1777 referencing that variable.
1779 @node Changing contexts locally
1780 @subsection Changing contexts locally
1783 Extending an existing context can also be done locally. A piece of
1784 music can be interpreted in a changed context by using the following syntax
1788 @var{context modifications}
1792 These statements comes between @code{\new} or @code{\context} and the
1793 music to be interpreted. The @var{context modifications} property
1794 settings and @code{\remove}, @code{\consists} and @code{\consistsend}
1795 commands. The syntax is similar to the @code{\context} block.
1797 The following example shows how a staff is created with bigger spaces,
1798 and without a @code{Clef_engraver}.
1800 @lilypond[relative=1,fragment,verbatim]
1802 \new Staff { c4 es4 g2 }
1804 \override StaffSymbol #'staff-space = #(magstep 1.5)
1806 \remove "Clef_engraver"
1814 The command @code{\with} has no effect on contexts that already
1818 @node Engravers and performers
1819 @subsection Engravers and performers
1822 Each context is composed of a number of building blocks, or plug-ins
1823 called engravers. An engraver is a specialized C++ class that is
1824 compiled into the executable. Typically, an engraver is responsible
1825 for one function: the @code{Slur_engraver} creates only @code{Slur}
1826 objects, and the @code{Skip_event_swallow_translator} only swallows
1827 (silently gobbles) @code{SkipEvent}s.
1834 An existing context definition can be changed by adding or removing an
1835 engraver. The syntax for these operations is
1837 \consists @var{engravername}
1838 \remove @var{engravername}
1841 @cindex @code{\consists}
1842 @cindex @code{\remove}
1845 Here @var{engravername} is a string, the name of an engraver in the
1846 system. In the following example, the @code{Clef_engraver} is removed
1847 from the Staff context. The result is a staff without a clef, where
1848 the middle C is at its default position, the center line:
1850 @lilypond[verbatim,raggedright]
1858 \remove Clef_engraver
1864 A list of all engravers is in the internal documentation,
1865 see @internalsref{Engravers}.
1867 @node Defining new contexts
1868 @subsection Defining new contexts
1871 It is also possible to define new contexts from scratch. To do this,
1872 you must define give the new context a name. In the following
1873 example, a very simple Staff context is created: one that will put
1874 note heads on a staff symbol.
1878 \type "Engraver_group_engraver"
1881 \consists "Staff_symbol_engraver"
1882 \consists "Note_head_engraver"
1883 \consistsend "Axis_group_engraver"
1888 The argument of @code{\type} is the name for a special engraver that
1889 handles cooperation between simple engravers such as
1890 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
1891 should always be @code{Engraver_group_engraver} (unless you are
1892 defining a Score context from scratch, in which case
1893 @code{Score_engraver} must be used).
1895 The complete list of context modifiers is the following:
1897 @item @code{\alias} @var{alternate-name}:
1898 This specifies a different name. In the above example,
1899 @code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
1901 @item @code{\consistsend} @var{engravername}:
1902 Analogous to @code{\consists}, but makes sure that
1903 @var{engravername} is always added to the end of the list of
1906 Engravers that group context objects into axis groups or alignments
1907 need to be at the end of the list. @code{\consistsend} insures that
1908 engravers stay at the end even if a user adds or removes engravers.
1910 @item @code{\accepts} @var{contextname}:
1911 This context can contains @var{contextname} contexts. The first
1912 @code{\accepts} is created as a default context when events (e.g. notes
1913 or rests) are encountered.
1915 @item @code{\denies}:
1916 The opposite of @code{\accepts}.
1918 @item @code{\name} @var{contextname}:
1919 This sets the type name of the context, e.g. @code{Staff},
1920 @code{Voice}. If the name is not specified, the translator will not
1929 @node Output details
1930 @section Output details
1932 The default output format is La@TeX{}, which should be run
1933 through La@TeX{}. Using the option @option{-f}
1934 (or @option{--format}) other output formats can be selected also, but
1935 none of them work reliably.
1937 Now the music is output system by system (a `system' consists of all
1938 staves belonging together). From @TeX{}'s point of view, a system is an
1939 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
1940 vertically on the baseline of the text. Between systems,
1941 @code{\interscoreline} is inserted vertically to have stretchable space.
1942 The horizontal dimension of the @code{\hbox} is given by the
1943 @code{linewidth} parameter from LilyPond's @code{\paper} block.
1945 After the last system LilyPond emits a stronger variant of
1946 @code{\interscoreline} only if the macro
1947 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
1948 to the top of the page). You can avoid that by setting the variable
1949 @code{lastpagefill} in LilyPond's @code{\paper} block.
1951 It is possible to fine-tune the vertical offset further by defining the
1952 macro @code{\lilypondscoreshift}:
1955 \def\lilypondscoreshift@{0.25\baselineskip@}
1959 where @code{\baselineskip} is the distance from one text line to the next.
1961 Here an example how to embed a small LilyPond file @code{foo.ly} into
1962 running La@TeX{} text without using the @code{lilypond-book} script
1963 (@pxref{lilypond-book manual}):
1966 \documentclass@{article@}
1968 \def\lilypondpaperlastpagefill@{@}
1970 \def\lilypondscoreshift@{0.25\baselineskip@}
1973 This is running text which includes an example music file
1979 The file @file{foo.tex} has been simply produced with
1985 The call to @code{\lineskip} assures that there is enough vertical space
1986 between the LilyPond box and the surrounding text lines.