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 it explains how to lookup which knob to use for a
14 The controls are available for tuning are described in a separate
15 document, the @internalsref{Program reference} manual. This manual
16 lists all different variables, functions and options available in
17 LilyPond. It is available as a HTML document, which is available
18 @uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
19 but is also included with the LilyPond documentation package.
21 There are three areas where the default settings may be changed:
24 @item Output: changing the appearance of individual
25 objects. For example, changing stem directions, or the location of
28 @item Context: changing aspects of the translation from music events to
29 notation. For example, giving each staff a separate time signature.
31 @item Global layout: changing the appearance of the spacing, line
32 breaks and page dimensions.
35 Then, there are separate systems for typesetting text (like
36 @emph{ritardando}) and selecting different fonts. This chapter also
39 Internally, LilyPond uses Scheme (a LISP dialect) to provide
40 infrastructure. Overriding layout decisions in effect accesses the
41 program internals, so it is necessary to learn a (very small) subset
42 of Scheme. That is why this chapter starts with a short tutorial on
43 entering numbers, lists, strings and symbols in Scheme.
48 * Interpretation contexts::
58 @section Scheme tutorial
62 @cindex Scheme, in-line code
63 @cindex accessing Scheme
64 @cindex evaluating Scheme
67 LilyPond uses the Scheme programming language, both as part of the
68 input syntax, and as internal mechanism to glue together modules of
69 the program. This section is a very brief overview of entering data in
70 Scheme.@footnote{If you want to know more about Scheme, see
71 @uref{http://www.schemers.org}.}
73 The most basic thing of a language is data: numbers, character
74 strings, lists, etc. Here is a list of data types that are relevant to
79 Boolean values are True or False. The Scheme for True is @code{#t}
80 and False is @code{#f}.
82 Numbers are entered in the standard fashion,
83 @code{1} is the (integer) number one, while @code{-1.5} is a
84 floating point number (a non-integer number).
86 Strings are enclosed in double quotes,
91 Strings may span several lines
98 Quotation marks and newlines can also be added with so-called escape
99 sequences. The string @code{a said "b"} is entered as
104 Newlines and backslashes are escaped with @code{\n} and @code{\\}
109 In a music file, snippets of Scheme code are introduced with the hash
110 mark @code{#}. So, the previous examples translated in LilyPondese are
121 For the rest of this section, we will assume that the data is entered
122 in a music file, so we add @code{#}s everywhere.
124 Scheme can be used to do calculations. It uses @emph{prefix}
125 syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
133 The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
134 is @code{3}. Calculations may be nested: the result of a function may
135 be used for another calculation.
143 These calculations are examples of evaluations: an expression (like
144 @code{(* 3 4)} is replaced by its value @code{12}. A similar thing
145 happens with variables. After defining a variable
151 variables can also be used in expressions, here
154 twentyFour = #(* 2 twelve)
157 the number 24 is stored in the variable @code{twentyFour}.
159 The @emph{name} of a variable is also an expression, similar to a
160 number or a string. It is entered as
166 The quote mark @code{'} prevents Scheme interpreter from substituting
167 @code{24} for the @code{twentyFour}. Instead, we get the name
170 This syntax will be used very frequently, since many of the layout
171 tweaks involve assigning (Scheme) values to internal variables, for
175 \override Stem #'thickness = #2.6
178 This instruction adjusts the appearance of stems. The value @code{2.6}
179 is put into a the @code{thickness} variable of a @code{Stem}
180 object. This makes stems almost twice as thick as their normal size.
181 To distinguish between variables defined in input files (like
182 @code{twentyFour} in the example above), and internal variables, we
183 will call the latter ``properties.'' So, the stem object has a
184 @code{thickness} property.
186 Two-dimensional offsets (X and Y coordinates) as well as object sizes
187 (intervals with a left and right point) are entered as @code{pairs}. A
188 pair@footnote{In Scheme terminology, the pair is called @code{cons},
189 and its two elements are called car and cdr respectively.} is entered
190 as @code{(first . second)}, and like symbols, they must be quoted,
193 \override TextScript #'extra-offset = #'(1 . 2)
196 This assigns the pair (1, 2) to @code{extra-offset} variable of the
197 TextScript object. This moves the object 1 staff space to the right,
200 The two elements of a pair may be arbitrary values, for example
205 #'("blah-blah" . 3.14159265)
208 A list is entered by enclosing its elements in parentheses, and adding
209 a quote. For example,
215 We have been using lists all along. A calculation, like @code{(+ 1
216 2)} is also a list (containing the symbol @code{+} and the numbers 1
217 and 2). For entering lists, use a quote @code{'} and for
218 calculations, do not use a quote.
220 Inside a quoted list or pair, there is no need to quote anymore. The
221 following is a pair of symbols, a list of symbols and a list of lists
226 #'(staff clef key-signature)
231 @node Interpretation contexts
232 @section Interpretation contexts
234 When music is printed, a lot of things notation elements must be added
235 to the input, which is often bare bones. For example, compare the
236 input and output of the following example
238 @lilypond[verbatim,relative=2]
242 The input is rather sparse, but in the output, bar lines, accidentals,
243 clef and time signature are added. LilyPond @emph{interprets} the
244 input. During this step, the musical information is inspected in time
245 order, similar to reading a score from left to right. While reading,
246 the program remembers where measure boundaries are, and what pitches
247 need explicit accidentals.
249 This is contextual information. and it can be present on several
250 levels. For example, the effect of an accidental is limited to a
251 single stave, while a bar line must be synchronized across the entire
252 score. To match this hierarchy, LilyPond's interpretation step is
253 hierarchical. There are interpretation contexts, like
254 @context{Voice}, Staff and Score, and each level can maintain its own
257 Full description of all available contexts is in the program
260 @internalsref{Contexts}
263 Translation @arrow{} Context.
266 [TODO: describe propagation]
270 * Creating contexts::
271 * Changing context properties on the fly ::
272 * Modifying context plug-ins::
273 * Layout tunings within contexts::
274 * Changing context default settings::
275 * Defining new contexts::
276 * Which properties to change::
279 @node Creating contexts
280 @subsection Creating contexts
282 For scores with only one voice and one staff, correct contexts are
283 created automatically. For more complex scores, it is necessary to
284 instantiate them by hand. There are three commands to do this.
286 The easiest command is @code{\new}, and it also the quickest to type.
287 It is prepended to a music expression, for example
290 \new @var{type} @var{music expression}
294 where @var{type} is a context name (like @code{Staff} or
295 @code{Voice}). This command creates a new context, and starts
296 interpreting @var{music expression} with that.
298 A practical application of @code{\new} is a score with many
299 staves. Each part that should be on its own staff, gets a @code{\new
302 @lilypond[verbatim,relative=2,raggedright]
303 << \new Staff { c4 c }
308 Like @code{\new}, the @code{\context} command also directs a music
309 expression to a context object, but gives the context an extra name. The
313 \context @var{type} = @var{id} @var{music}
316 This form will search for an existing context of type @var{type}
317 called @var{id}. If that context does not exist yet, it is created.
318 This is useful if the context referred to later on. For example, when
319 setting lyrics the melody is in a named context
322 \context Voice = "@b{tenor}" @var{music}
326 so the texts can be properly aligned to its notes,
329 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
334 Another possibility is funneling two different music expressions into
335 one context. In the following example, articulations and notes are
339 music = \notes { c4 c4 }
340 arts = \notes { s4-. s4-> }
343 They are combined by sending both to the same @context{Voice} context,
346 << \new Staff \context Voice = "A" \music
347 \context Voice = "A" \arts
350 @lilypond[raggedright]
351 music = \notes { c4 c4 }
352 arts = \notes { s4-. s4-> }
354 \notes \relative c'' << \new Staff \context Voice = "A" \music
355 \context Voice = "A" \arts
362 The third command for creating contexts is
364 \context @var{type} @var{music}
369 This is similar to @code{\context} with @code{= @var{id}}, but matches
370 any context of type @var{type}, regardless of its given name.
372 This variant is used with music expressions that can be interpreted at
373 several levels. For example, the @code{\applyoutput} command (see
374 @ref{Running a function on all layout objects}). Without an explicit
375 @code{\context}, it is usually is applied to @context{Voice}
378 \applyoutput #@var{function} % apply to Voice
381 To have it interpreted at @context{Score} or @context{Staff} level use
385 \context Score \applyoutput #@var{function}
386 \context Staff \applyoutput #@var{function}
390 @node Changing context properties on the fly
391 @subsection Changing context properties on the fly
393 Each context can have different @emph{properties}, variables contained
394 in that context. They can be changed during the interpretation step.
395 This is achieved by inserting the @code{\set} command in the music,
398 @code{\set } @var{context}@code{.}@var{prop}@code{ = #}@var{value}
402 @lilypond[verbatim,relative=2]
404 \set Score.skipBars = ##t
408 This command skips measures that have no notes. The result is that
409 multi rests are condensed. The value assigned is a Scheme object. In
410 this case, it is @code{#t}, the boolean True value.
412 If the @var{context} argument is left out, then the current bottom-most
413 context (typically @context{ChordNames}, @context{Voice} or
414 @context{Lyrics}) is used. In this example,
416 @lilypond[verbatim,relative=2]
418 \set autoBeaming = ##f
423 the @var{context} argument to @code{\set} is left out, and the current
424 @internalsref{Voice} is used.
426 Contexts are hierarchical, so if a bigger context was specified, for
427 example @context{Staff}, then the change would also apply to all
428 @context{Voice}s in the current stave. The change is applied
429 `on-the-fly', during the music, so that the setting only affects the
430 second group of eighth notes.
432 There is also an @code{\unset} command,
434 @code{\set }@var{context}@code{.}@var{prop}
438 which removes the definition of @var{prop}. This command only removes
439 the definition if it is set in @var{context}. In
442 \set Staff.autoBeaming = ##f
443 \unset Voice.autoBeaming
447 the current @context{Voice} does not have the property, and the
448 definition at @context{Staff} level remains intact. Like @code{\set},
449 the @var{context} argument does not have to be specified for a bottom
452 Settings that should only apply to a single time-step can be entered
453 easily with @code{\once}, for example in
455 @lilypond[verbatim,relative=2]
457 \once \set fontSize = #4.7
462 the property @code{fontSize} is unset automatically after the second
465 A full description of all available context properties is in the
466 program reference, see
468 @internalsref{Tunable-context-properties}.
471 Translation @arrow{} Tunable context properties.
475 @node Modifying context plug-ins
476 @subsection Modifying context plug-ins
478 Notation contexts (like Score and Staff) not only store properties,
479 they also contain plug-ins, called ``engravers'' that create notation
480 elements. For example, the Voice context contains a
481 @code{Note_head_engraver} and the Staff context contains a
482 @code{Key_signature_engraver}.
484 For a full a description of each plug-in, see
486 @internalsref{Engravers}
489 Program reference @arrow Translation @arrow{} Engravers.
491 Every context described in
493 @internalsref{Contexts}
496 Program reference @arrow Translation @arrow{} Context.
498 lists the engravers used for that context.
501 It can be useful to shuffle around these plug-ins. This is done by
502 starting a new context, with @code{\new} or @code{\context}, and
503 modifying it like this,
506 \new @var{context} \with @{
516 where the @dots{} should be the name of an engraver. Here is a simple
517 example which removes @code{Time_signature_engraver} and
518 @code{Clef_engraver} from a @code{Staff} context,
520 @lilypond[relative=1, verbatim]
525 \remove "Time_signature_engraver"
526 \remove "Clef_engraver"
533 In the second stave there are no time signature or clef symbols. This
534 is a rather crude method of making objects disappear, it will affect the
535 entire staff. The spacing will be adversely influenced too. More
536 sophisticated methods of blanking objects are shown in (TODO).
538 The next example shows a practical application. Bar lines and time
539 signatures are normally synchronized across the score. This is done
540 by the @code{Timing_engraver}. This plug-in keeps an administration of
541 time signature, location within the measure, etc. By moving the
542 @code{Timing_engraver} engraver from Score to Staff context, we can
543 have score where each staff has its own time signature.
545 @cindex polymetric scores
548 @lilypond[relative=1,raggedright,verbatim]
550 \remove "Timing_engraver"
553 \consists "Timing_engraver"
559 \consists "Timing_engraver"
568 @node Layout tunings within contexts
569 @subsection Layout tunings within contexts
571 Each context is responsible for creating certain types of graphical
572 objects. The settings used for printing these objects are also stored by
573 context. By changing these settings, the appearance of objects can be
576 The syntax for this is
579 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
582 Here @var{name} is the name of a graphical object, like @code{Stem} or
583 @code{NoteHead}. @var{property} is an internal variable of the
584 formatting system (`grob property' or `layout property'). It is a
585 symbol, so it must be quoted. The subsection refTODO explains what to
586 fill in for @var{name}, @var{property} and @var{value}. Here we only
587 discuss functionality of this command.
592 \override Staff.Stem #'thickness = #4.0
596 makes stems thicker (the default is 1.3, with staff line thickness as a
597 unit). Since the command specifies @context{Staff} as context, it only
598 applies to the current staff. Other staves will keep their normal
599 appearance. Here we see the command in action:
601 @lilypond[verbatim,relative=2]
603 \override Staff.Stem #'thickness = #4.0
609 The @code{\override} command is executed during the interpreting phase,
610 and changes the definition of the @code{Stem} within
611 @context{Staff}. After the command all stems are thickened.
613 Analogous to @code{\set}, the @var{context} argument may be left out,
614 causing it to default to @context{Voice} and adding @code{\once} applies
615 the change during only one timestep
617 @lilypond[verbatim,relative=2]
619 \once \override Stem #'thickness = #4.0
624 The @code{\override} must be done before the object is
625 started. Therefore, when altering @emph{Spanner} objects, like slurs or
626 beams, the @code{\override} command must be executed at the moment that
627 the object is created. In this example,
630 @lilypond[verbatim,relative=2]
631 \override Slur #'thickness = #3.0
633 \override Beam #'thickness = #0.6
638 the slur is fatter and the beam is not. This is because the command for
639 @code{Beam} comes after the Beam is started. Therefore it has no effect.
641 Analogous to @code{\unset}, the @code{\revert} command for a context
642 undoes a @code{\override} command; like with @code{\unset}, it only
643 affects settings that were made in the same context. In other words, the
644 @code{\revert} in the next example does not do anything.
647 \override Voice.Stem #'thickness = #4.0
648 \revert Staff.Stem #'thickness
656 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
657 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
658 @internalsref{All-layout-objects}.
663 The back-end is not very strict in type-checking object properties.
664 Cyclic references in Scheme values for properties can cause hangs
668 @node Changing context default settings
669 @subsection Changing context default settings
671 The adjustments of the previous chapters can also be entered separate
672 from the music, in the @code{\paper} block,
681 \override Stem #'thickness
682 \remove "Time_signature_engraver"
693 takes the existing definition @context{Staff} from the identifier
694 @code{StaffContext}. This works analogously other contexts, so the
695 existing definition of @code{Voice} is in
696 @code{\VoiceContext}.
701 \override Stem #'thickness
702 \remove "Time_signature_engraver"
706 affect all staves in the score.
708 The @code{\set} keyword is optional within the @code{\paper} block, so
721 It is not possible to collect changes in a variable, and apply them to
722 one @code{\context} definition by referencing that variable.
725 @node Defining new contexts
726 @subsection Defining new contexts
728 Specific contexts, like @context{Staff} and @code{Voice} are made of
729 simple building blocks, and it is possible to compose engraver
730 plug-ins in different combinations, thereby creating new types of
733 The next example shows how to build a different type of
734 @context{Voice} context from scratch. It will be similar to
735 @code{Voice}, but print centered slash noteheads only. It can be used
736 to indicate improvisation in Jazz pieces,
738 @lilypond[raggedright]
741 \type "Engraver_group_engraver"
742 \consists "Note_heads_engraver"
743 \consists "Text_engraver"
744 \consists Pitch_squash_engraver
745 squashedPosition = #0
746 \override NoteHead #'style = #'slash
747 \override Stem #'transparent = ##t
750 \context { \StaffContext
751 \accepts "ImproVoice"
753 \score { \notes \relative c'' {
754 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
755 c4 c^"undress" c_"while playing :)" c }
761 These settings are again done within a @code{\context} block inside a
772 In the following discussion, the example input shown should go on the
773 @dots{} of the previous fragment.
775 First, name the context gets a name. Instead of @context{Voice} it
776 will be called @context{ImproVoice},
782 Since it is similar to the @context{Voice}, we want commands that work
783 on (existing) @context{Voice}s to remain working. This is achieved by
784 giving the new context an alias @context{Voice},
790 The context will print notes, and instructive texts
793 \consists Note_heads_engraver
794 \consists Text_engraver
797 but only on the center line,
800 \consists Pitch_squash_engraver
801 squashedPosition = #0
804 The @internalsref{Pitch_squash_engraver} modifies note heads (created
805 by @internalsref{Note_heads_engraver}) and sets their vertical
806 position to the value of @code{squashedPosition}, in this case
807 @code{0}, the center line.
809 The notes look like a slash, without a stem,
812 \override NoteHead #'style = #'slash
813 \override Stem #'transparent = ##t
817 All these plug-ins have to cooperate, and this is achieved with a
818 special plug-in, which must be marked with the keyword @code{\type}.
819 This should always be @internalsref{Engraver_group_engraver},
822 \type "Engraver_group_engraver"
830 \type "Engraver_group_engraver"
831 \consists "Note_heads_engraver"
832 \consists "Text_script_engraver"
833 \consists Pitch_squash_engraver
834 squashedPosition = #0
835 \override NoteHead #'style = #'slash
836 \override Stem #'transparent = ##t
841 Contexts form hierarchies. We want to hang the @context{ImproVoice}
842 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
843 modify the @code{Staff} definition with the @code{\accepts}
844 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
845 which is sometimes when reusing existing context definitions. }
856 Putting both into a @code{\paper} block, like
866 \accepts "ImproVoice"
871 Then the output at the start of this subsection can be entered as
875 \notes \relative c'' {
880 c c_"while playing :)"
889 @node Which properties to change
890 @subsection Which properties to change
893 There are many different properties. Not all of them are listed in
894 this manual. However, the program reference lists them all in the
895 section @internalsref{Context-properties}, and most properties are
896 demonstrated in one of the
898 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
907 @section Tuning output
909 In the previous section, we have already touched on a command that
910 changes layout details, the @code{\override} command. In this section,
911 we will look at in more detail how to use the command in practice.
912 First, we will give a a few versatile commands, which are sufficient
913 for many situations. The next section will discuss general use of
918 -nmost adjustments simply
925 There are situations where default layout decisions are not
926 sufficient. In this section we discuss ways to override these
929 Formatting is internally done by manipulating so called objects
930 (graphic objects). Each object carries with it a set of properties
931 (object or layout properties) specific to that object. For example, a
932 stem object has properties that specify its direction, length and
935 The most direct way of tuning the output is by altering the values of
936 these properties. There are two ways of doing that: first, you can
937 temporarily change the definition of one type of object, thus
938 affecting a whole set of objects. Second, you can select one specific
939 object, and set a layout property in that object.
941 Do not confuse layout properties with translation
942 properties. Translation properties always use a mixed caps style
943 naming, and are manipulated using @code{\set} and @code{\unset}:
945 \set Context.propertyName = @var{value}
948 Layout properties are use Scheme style variable naming, i.e. lower
949 case words separated with dashes. They are symbols, and should always
950 be quoted using @code{#'}. For example, this could be an imaginary
951 layout property name:
953 #'layout-property-name
959 * Constructing a tweak::
960 * Navigating the program reference::
961 * Layout interfaces::
962 * Determining the grob property::
963 * Determining a grob property::
969 @subsection Common tweaks
971 Some overrides are so common that predefined commands are provided as
972 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
973 commands are described in
977 @ref{Notation manual}, under the sections for slurs and stems
980 The exact tuning possibilities for each type of layout object are
981 documented in the program reference of the respective
982 object. However, many layout objects share properties, which can be
983 used to apply generic tweaks. We mention a couple of these:
986 @item The @code{extra-offset} property, which
987 @cindex @code{extra-offset}
988 has a pair of numbers as value, moves around objects in the printout.
989 The first number controls left-right movement; a positive number will
990 move the object to the right. The second number controls up-down
991 movement; a positive number will move it higher. The units of these
992 offsets are staff-spaces. The @code{extra-offset} property is a
993 low-level feature: the formatting engine is completely oblivious to
996 In the following example, the second fingering is moved a little to
997 the left, and 1.8 staff space downwards:
999 @cindex setting object properties
1001 @lilypond[relative=1,verbatim]
1004 \once \override Fingering
1005 #'extra-offset = #'(-0.3 . -1.8)
1010 Setting the @code{transparent} property will cause an object to be printed
1011 in `invisible ink': the object is not printed, but all its other
1012 behavior is retained. The object still takes up space, it takes part in
1013 collisions, and slurs, and ties and beams can be attached to it.
1015 @cindex transparent objects
1016 @cindex removing objects
1017 @cindex invisible objects
1018 The following example demonstrates how to connect different voices
1019 using ties. Normally, ties only connect two notes in the same
1020 voice. By introducing a tie in a different voice, and blanking a stem
1021 in that voice, the tie appears to cross voices:
1023 @lilypond[fragment,relative=2,verbatim]
1025 \once \override Stem #'transparent = ##t
1033 The @code{padding} property for objects with
1034 @cindex @code{padding}
1035 @code{side-position-interface} can be set to increase distance between
1036 symbols that are printed above or below notes. We only give an
1037 example; a more elaborate explanation is in @ref{Constructing a
1040 @lilypond[relative=1,verbatim]
1042 \override Script #'padding = #3
1048 More specific overrides are also possible. The following section
1049 discusses in depth how to figure out these statements for yourself.
1052 @node Constructing a tweak
1053 @subsection Constructing a tweak
1055 The general procedure of changing output, that is, entering
1059 \override Voice.Stem #'thickness = #3.0
1063 means that we have to determine these bits of information:
1066 @item The context, here: @context{Voice}.
1067 @item The layout object, here @code{Stem}.
1068 @item The layout property, here @code{thickness}
1069 @item A sensible value, here @code{3.0}
1073 @cindex internal documentation
1074 @cindex finding graphical objects
1075 @cindex graphical object descriptions
1077 @cindex @code{\override}
1079 @cindex internal documentation
1081 We demonstrate how to glean this information from the notation manual
1082 and the program reference.
1084 The program reference is a set of HTML pages, which is part of the
1085 documentation package. On Unix systems, it is is typically in
1086 @file{/usr/share/doc/lilypond}, if you have them, it is best to
1087 bookmark them in your webbrowser, because you will need them. They
1088 are also available on the web: go to the
1089 @uref{http://lilypond.org,LilyPond website}, click ``Documentation'',
1090 select the correct version, and then click ``Program reference.''
1092 If you have them, use the local HTML files. They will load faster,
1093 and they are exactly matched to LilyPond version installed.
1097 @c [TODO: revise for new site.]
1099 @node Navigating the program reference
1100 @subsection Navigating the program reference
1102 Suppose we want to move the fingering indication in the fragment
1105 @lilypond[relative=2,verbatim]
1111 If you visit the documentation of @code{Fingering} (in @ref{Fingering
1112 instructions}), you will notice that there is written:
1117 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
1121 This fragments points to two parts of the program reference: a page
1122 on @code{FingerEvent} and @code{Fingering}.
1124 The page on @code{FingerEvent} describes the properties of the music
1125 expression for the input @code{-2}. The page contains many links
1126 forward. For example, it says
1129 Accepted by: @internalsref{Fingering_engraver},
1133 That link brings us to the documentation for the Engraver, the
1137 This engraver creates the following layout objects: @internalsref{Fingering}.
1140 In other words, once the @code{FingerEvent}s are interpreted, the
1141 @code{Fingering_engraver} plug-in will process them.
1142 The @code{Fingering_engraver} is also listed to create
1143 @internalsref{Fingering} objects,
1146 Lo and behold, that is also the
1147 second bit of information listed under @b{See also} in the Notation
1148 manual. By clicking around in the program reference, we can follow the
1149 flow of information within the program, either forward (like we did
1150 here), or backwards, following links like this:
1154 @item @internalsref{Fingering}:
1155 @internalsref{Fingering} objects are created by:
1156 @b{@internalsref{Fingering_engraver}}
1158 @item @internalsref{Fingering_engraver}:
1159 Music types accepted: @b{@internalsref{fingering-event}}
1160 @item @internalsref{fingering-event}:
1161 Music event type @code{fingering-event} is in Music objects of type
1162 @b{@internalsref{FingerEvent}}
1165 This path goes against the flow of information in the program: it
1166 starts from the output, and ends at the input event.
1168 The program reference can also be browsed like a normal document. It
1169 contains a chapter on @internalsref{Music definitions}, on
1170 @internalsref{Translation}, and the @internalsref{Backend}. Every
1171 chapter lists all the definitions used, and all properties that may
1175 @node Layout interfaces
1176 @subsection Layout interfaces
1178 @internalsref{Fingering} is a layout object. Such an object is a
1179 symbol within the score. It has properties, which store numbers (like
1180 thicknesses and directions), but also pointers to related objects.
1181 A layout object is also called @emph{grob},
1183 which is short for Graphical Object.
1186 The page for @code{Fingering} lists the definitions for the
1187 @code{Fingering} object. For example, the page says
1190 @code{padding} (dimension, in staff space):
1195 which means that the number will be kept at a distance of at least 0.6
1199 Each layout object may have several functions as a notational or
1200 typographical element. For example, the Fingering object
1201 has the following aspects
1204 @item Its size is independent of the horizontal spacing, unlike slurs or beams
1206 @item It is a piece of text. Granted, it's usually a very short text.
1208 @item That piece of text is set in a font, unlike slurs or beams.
1209 @item Horizontally, the center of the symbol should be aligned to the
1210 center of the notehead
1211 @item Vertically, the symbol is placed next to the note and the staff.
1214 vertical position is also coordinated with other super and subscript
1218 Each of these aspects is captured in a so-called @emph{interface},
1219 which are listed on the @internalsref{Fingering} page at the bottom
1222 This object supports the following interfaces:
1223 @internalsref{item-interface},
1224 @internalsref{self-alignment-interface},
1225 @internalsref{side-position-interface}, @internalsref{text-interface},
1226 @internalsref{text-script-interface}, @internalsref{font-interface},
1227 @internalsref{finger-interface} and @internalsref{grob-interface}
1230 Clicking any of the links will take you to the page of the respective
1231 object interface. Each interface has a number of properties. Some of
1232 them are not user-serviceable (``Internal properties''), but others
1235 @node Determining the grob property
1236 @subsection Determining the grob property
1238 We have been talking of `the' @code{Fingering} object, but actually it
1239 does not amount to much. The initialization file
1240 @file{scm/define-grobs.scm} shows the soul of the `object',
1245 (print-function . ,Text_item::print)
1247 (staff-padding . 0.6)
1248 (self-alignment-X . 0)
1249 (self-alignment-Y . 0)
1250 (script-priority . 100)
1251 (font-encoding . number)
1253 (meta . ((interfaces . (finger-interface font-interface
1254 text-script-interface text-interface
1255 side-position-interface self-alignment-interface
1260 as you can see, @code{Fingering} is nothing more than a bunch of
1261 variable settings, and the webpage is directly generated from this
1264 @node Determining a grob property
1265 @subsection Determining a grob property
1267 Recall that we wanted to change the position of the @b{2} in
1269 @lilypond[relative=2,verbatim]
1275 Since the @b{2} is vertically positioned next to its note, we have to
1276 meddle with the interface associated with this positioning. This is
1277 done by @code{side-position-interface}. The page for this interface says
1280 @code{side-position-interface}
1282 Position a victim object (this one) next to other objects (the
1283 support). The property @code{direction} signifies where to put the
1284 victim object relative to the support (left or right, up or down?)
1289 below this description, the variable @code{padding} is described as
1293 (dimension, in staff space)
1295 add this much extra space between objects that are next to each
1300 By increasing the value of @code{padding}, we can move away the
1301 fingering. The following command inserts 3 staff spaces of white
1302 between the note and the fingering:
1304 \once \override Fingering #'padding = #3
1307 Inserting this command before the Fingering object is created,
1308 i.e. before @code{c2}, yields the following result:
1310 @lilypond[relative=2,fragment,verbatim]
1311 \once \override Fingering
1319 In this case, the context for this tweak is @context{Voice}, which
1320 does not have to be specified for @code{\override}. This fact can
1321 also be deduced from the program reference, for the page for the
1322 @internalsref{Fingering_engraver} plug-in says
1325 Fingering_engraver is part of contexts: @dots{} @internalsref{Voice}
1333 * Selecting font sizes::
1337 @node Selecting font sizes
1338 @subsection Selecting font sizes
1340 The most common thing to change about the appearance of fonts is their
1341 size. The font size of any context can be easily changed by setting
1342 the @code{fontSize} property for that context. Its value is a number:
1343 negative numbers make the font smaller, positive numbers larger. An
1344 example is given below:
1346 @lilypond[fragment,relative=1,verbatim]
1347 c4 c4 \set fontSize = #-3
1350 This command will set @code{font-size} (see below) in all layout
1351 objects in the current context. It does not change the size of
1352 variable symbols, such as beams or slurs.
1354 The font size is set by modifying the @code{font-size} property. Its
1355 value is a number indicating the size relative to the standard size.
1356 Each step up is an increase of approximately 12% of the font size. Six
1357 steps is exactly a factor two. The Scheme function @code{magstep}
1358 converts a @code{font-size} number to a scaling factor.
1360 LilyPond has fonts in different design sizes: the music fonts for
1361 smaller sizes are chubbier, while the text fonts are relatively wider.
1362 Font size changes are achieved by scaling the design size that is
1363 closest to the desired size.
1365 The @code{font-size} mechanism does not work for fonts selected
1366 through @code{font-name}. These may be scaled with
1367 @code{font-magnification}.
1370 One of the uses of @code{fontSize} is to get smaller symbols for cue
1371 notes. An elaborate example of those is in
1372 @inputfileref{input/test,cue-notes.ly}.
1374 @cindex @code{font-style}
1378 The following commands set @code{fontSize} for the current voice.
1380 @cindex @code{\tiny}
1382 @cindex @code{\small}
1384 @cindex @code{\normalsize}
1389 @cindex magnification
1393 @node Font selection
1394 @subsection Font selection
1396 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1397 can also be adjusted with a more fine-grained mechanism. By setting
1398 the object properties described below, you can select a different font;
1399 all three mechanisms work for every object that supports
1400 @code{font-interface}:
1404 @item @code{font-encoding}
1405 is a symbol that sets layout of the glyphs. Choices include
1406 @code{text} for normal text, @code{braces} (for piano staff braces),
1407 @code{music} (the standard music font, including ancient glyphs),
1408 @code{dynamic} (for dynamic signs) and @code{number} for the number
1412 @item @code{font-family}
1413 is a symbol indicating the general class of the typeface. Supported are
1414 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1416 @item @code{font-shape}
1417 is a symbol indicating the shape of the font, there are typically
1418 several font shapes available for each font family. Choices are
1419 @code{italic}, @code{caps} and @code{upright}.
1421 @item @code{font-series}
1422 is a symbol indicating the series of the font. There are typically several
1423 font series for each font family and shape. Choices are @code{medium}
1428 Fonts selected in the way sketched above come from a predefined style
1431 The font used for printing a object can be selected by setting
1432 @code{font-name}, e.g.
1434 \override Staff.TimeSignature
1435 #'font-name = #"cmr17"
1439 Any font can be used, as long as it is available to @TeX{}. Possible
1440 fonts include foreign fonts or fonts that do not belong to the
1441 Computer Modern font family. The size of fonts selected in this way
1442 can be changed with the @code{font-magnification} property. For
1443 example, @code{2.0} blows up all letters by a factor 2 in both
1447 @cindex font magnification
1453 Init files: @file{ly/declarations-init.ly} contains hints how new
1454 fonts may be added to LilyPond.
1458 No style sheet is provided for other fonts besides the @TeX{}
1459 Computer Modern family.
1461 @cindex font selection
1462 @cindex font magnification
1463 @cindex @code{font-interface}
1467 @section Text markup
1472 @cindex typeset text
1474 LilyPond has an internal mechanism to typeset texts. You can access it
1475 with the keyword @code{\markup}. Within markup mode, you can enter texts
1476 similar to lyrics: simply enter them, surrounded by spaces:
1479 @lilypond[verbatim,fragment,relative=1]
1480 c1^\markup { hello }
1481 c1_\markup { hi there }
1482 c1^\markup { hi \bold there, is \italic anyone home? }
1485 @cindex font switching
1487 The markup in the example demonstrates font switching commands. The
1488 command @code{\bold} and @code{\italic} only apply to the first
1489 following word; enclose a set of texts with braces to apply a command
1492 \markup @{ \bold @{ hi there @} @}
1496 For clarity, you can also do this for single arguments, e.g.
1499 \markup { is \italic { anyone } home }
1502 @cindex font size, texts
1505 In markup mode you can compose expressions, similar to mathematical
1506 expressions, XML documents and music expressions. The braces group
1507 notes into horizontal lines. Other types of lists also exist: you can
1508 stack expressions grouped with @code{<}, and @code{>} vertically with
1509 the command @code{\column}. Similarly, @code{\center-align} aligns
1510 texts by their center lines:
1512 @lilypond[verbatim,fragment,relative=1]
1513 c1^\markup { \column < a bbbb c > }
1514 c1^\markup { \center-align < a bbbb c > }
1515 c1^\markup { \line < a b c > }
1519 Markups can be stored in variables, and these variables
1520 may be attached to notes, like
1522 allegro = \markup { \bold \large { Allegro } }
1523 \notes { a^\allegro b c d }
1527 Some objects have alignment procedures of their own, which cancel out
1528 any effects of alignments applied to their markup arguments as a
1529 whole. For example, the @internalsref{RehearsalMark} is horizontally
1530 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1533 Similarly, for moving whole texts over notes with
1534 @code{\raise}, use the following trick:
1536 "" \raise #0.5 raised
1539 The text @code{raised} is now raised relative to the empty string
1540 @code{""} which is not visible. Alternatively, complete objects can
1541 be moved with layout properties such as @code{padding} and
1542 @code{extra-offset}.
1548 Init files: @file{scm/new-markup.scm}.
1553 Text layout is ultimately done by @TeX{}, which does kerning of
1554 letters. LilyPond does not account for kerning, so texts will be
1555 spaced slightly too wide.
1557 Syntax errors for markup mode are confusing.
1559 Markup texts cannot be used in the titling of the @code{\header}
1560 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1566 * Overview of text markup commands::
1569 @node Overview of text markup commands
1570 @subsection Overview of text markup commands
1572 @include markup-commands.tely
1576 @section Global layout
1578 The global layout determined by three factors: the page layout, the
1579 line breaks and the spacing. These all influence each other. The
1580 choice of spacing determines how densely each system of music is set,
1581 which influences where line breaks breaks are chosen, and thus
1582 ultimately how many pages a piece of music takes. This section
1583 explains how to tune the algorithm for spacing.
1585 Globally spoken, this procedure happens in three steps: first,
1586 flexible distances (``springs'') are chosen, based on durations. All
1587 possible line breaking combination are tried, and the one with the
1588 best results---a layout that has uniform density and requires as
1589 little stretching or cramping as possible---is chosen. When the score
1590 is processed by @TeX{}, each page is filled with systems, and page breaks
1591 are chosen whenever the page gets full.
1596 * Vertical spacing::
1597 * Horizontal spacing::
1601 @node Vertical spacing
1602 @subsection Vertical spacing
1604 @cindex vertical spacing
1605 @cindex distance between staves
1606 @cindex staff distance
1607 @cindex between staves, distance
1608 @cindex staves per page
1609 @cindex space between staves
1611 The height of each system is determined automatically by LilyPond, to
1612 keep systems from bumping into each other, some minimum distances are
1613 set. By changing these, you can put staves closer together, and thus
1614 put more systems onto one page.
1616 Normally staves are stacked vertically. To make
1617 staves maintain a distance, their vertical size is padded. This is
1618 done with the property @code{minimumVerticalExtent}. It takes a pair
1619 of numbers, so if you want to make it smaller from its, then you could
1622 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1624 This sets the vertical size of the current staff to 4 staff spaces on
1625 either side of the center staff line. The argument of
1626 @code{minimumVerticalExtent} is interpreted as an interval, where the
1627 center line is the 0, so the first number is generally negative. The
1628 staff can be made larger at the bottom by setting it to @code{(-6
1631 The piano staves are handled a little differently: to make cross-staff
1632 beaming work correctly, it is necessary that the distance between staves
1633 is fixed beforehand. This is also done with a
1634 @internalsref{VerticalAlignment} object, created in
1635 @internalsref{PianoStaff}. In this object the distance between the
1636 staves is fixed by setting @code{forced-distance}. If you want to
1637 override this, use a @code{\context} block as follows:
1642 \override VerticalAlignment #'forced-distance = #9
1647 This would bring the staves together at a distance of 9 staff spaces,
1648 measured from the center line of each staff.
1652 Internals: Vertical alignment of staves is handled by the
1653 @internalsref{VerticalAlignment} object.
1658 @node Horizontal spacing
1659 @subsection Horizontal Spacing
1661 The spacing engine translates differences in durations into
1662 stretchable distances (``springs'') of differing lengths. Longer
1663 durations get more space, shorter durations get less. The shortest
1664 durations get a fixed amount of space (which is controlled by
1665 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1666 The longer the duration, the more space it gets: doubling a
1667 duration adds a fixed amount (this amount is controlled by
1668 @code{spacing-increment}) of space to the note.
1670 For example, the following piece contains lots of half, quarter and
1671 8th notes, the eighth note is followed by 1 note head width (NHW).
1672 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1673 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1677 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1678 width of a note head, and @code{shortest-duration-space} is set to
1679 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1680 @code{shortest-duration-space}) of space. For normal notes, this space
1681 is always counted from the left edge of the symbol, so the shortest
1682 notes are generally followed by one NHW of space.
1684 If one would follow the above procedure exactly, then adding a single
1685 32th note to a score that uses 8th and 16th notes, would widen up the
1686 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1687 thus adding 1 NHW to every note. To prevent this, the
1688 shortest duration for spacing is not the shortest note in the score,
1689 but the most commonly found shortest note. Notes that are even
1690 shorter this are followed by a space that is proportional to their
1691 duration relative to the common shortest note. So if we were to add
1692 only a few 16th notes to the example above, they would be followed by
1695 @lilypond[fragment,verbatim,relative=2]
1696 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1699 The most common shortest duration is determined as follows: in every
1700 measure, the shortest duration is determined. The most common short
1701 duration, is taken as the basis for the spacing, with the stipulation
1702 that this shortest duration should always be equal to or shorter than
1703 1/8th note. The shortest duration is printed when you run lilypond
1704 with @code{--verbose}. These durations may also be customized. If you
1705 set the @code{common-shortest-duration} in
1706 @internalsref{SpacingSpanner}, then this sets the base duration for
1707 spacing. The maximum duration for this base (normally 1/8th), is set
1708 through @code{base-shortest-duration}.
1710 @cindex @code{common-shortest-duration}
1711 @cindex @code{base-shortest-duration}
1712 @cindex @code{stem-spacing-correction}
1713 @cindex @code{spacing}
1715 In the introduction it was explained that stem directions influence
1716 spacing. This is controlled with @code{stem-spacing-correction}
1717 property in @internalsref{NoteSpacing}, which are generated for every
1718 @internalsref{Voice} context. The @code{StaffSpacing} object
1719 (generated at @internalsref{Staff} context) contains the same property
1720 for controlling the stem/bar line spacing. The following example
1721 shows these corrections, once with default settings, and once with
1722 exaggerated corrections:
1728 \override Staff.NoteSpacing #'stem-spacing-correction
1730 \override Staff.StaffSpacing #'stem-spacing-correction
1735 \paper { raggedright = ##t } }
1738 @cindex SpacingSpanner, overriding properties
1740 Properties of the @internalsref{SpacingSpanner} must be overridden
1741 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1742 created before any property commands are interpreted.
1744 \paper @{ \context @{
1746 SpacingSpanner \override #'spacing-increment = #3.0
1753 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1754 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1755 @internalsref{SeparatingGroupSpanner}.
1759 Spacing is determined on a score wide basis. If you have a score that
1760 changes its character (measured in durations) halfway during the
1761 score, the part containing the longer durations will be spaced too
1764 There is no convenient mechanism to manually override spacing.
1771 @cindex font size, setting
1772 @cindex staff size, setting
1773 @cindex @code{paper} file
1775 The Feta font provides musical symbols at eight different
1776 sizes. Each font is tuned for a different staff size: at smaller sizes
1777 the font gets heavier, to match the relatively heavier staff lines.
1778 The recommended font sizes are listed in the following table:
1780 @multitable @columnfractions .25 .25 .25 .25
1783 @tab @b{staff height (pt)}
1784 @tab @b{staff height (mm)}
1826 @c modern rental material ?
1830 These fonts are available in any sizes. The context property
1831 @code{fontSize} and the layout property @code{staff-space} (in
1832 @internalsref{StaffSymbol}) can be used to tune size for individual
1833 staves. The size of individual staves are relative to the global size,
1834 which can be set in the following manner:
1837 #(set-global-staff-size 14)
1840 This sets the global default size to 14pt staff height, and scales all
1845 This manual: @ref{Selecting font sizes}.
1854 @subsection Line breaking
1857 @cindex breaking lines
1859 Line breaks are normally computed automatically. They are chosen such
1860 that lines look neither cramped nor loose, and that consecutive lines
1861 have similar density.
1863 Occasionally you might want to override the automatic breaks; you can
1864 do this by specifying @code{\break}. This will force a line break at
1865 this point. Line breaks can only occur at places where there are bar
1866 lines. If you want to have a line break where there is no bar line,
1867 you can force an invisible bar line by entering @code{\bar
1868 ""}. Similarly, @code{\noBreak} forbids a line break at a
1872 @cindex regular line breaks
1873 @cindex four bar music.
1875 For line breaks at regular intervals use @code{\break} separated by
1876 skips and repeated with @code{\repeat}:
1878 << \repeat unfold 7 @{
1879 s1 \noBreak s1 \noBreak
1880 s1 \noBreak s1 \break @}
1881 @emph{the real music}
1886 This makes the following 28 measures (assuming 4/4 time) be broken every
1887 4 measures, and only there.
1891 @code{\break}, @code{\noBreak}
1892 @cindex @code{\break}
1893 @cindex @code{\noBreak}
1897 Internals: @internalsref{BreakEvent}.
1901 @subsection Page layout
1904 @cindex breaking pages
1906 @cindex @code{indent}
1907 @cindex @code{linewidth}
1909 The most basic settings influencing the spacing are @code{indent} and
1910 @code{linewidth}. They are set in the @code{\paper} block. They
1911 control the indentation of the first line of music, and the lengths of
1914 If @code{raggedright} is set to true in the @code{\paper}
1915 block, then the lines are justified at their natural length. This
1916 useful for short fragments, and for checking how tight the natural
1920 @cindex vertical spacing
1922 The page layout process happens outside the LilyPond formatting
1923 engine: variables controlling page layout are passed to the output,
1924 and are further interpreted by @code{lilypond} wrapper program. It
1925 responds to the following variables in the @code{\paper} block. The
1926 spacing between systems is controlled with @code{interscoreline}, its
1927 default is 16pt. The distance between the score lines will stretch in
1928 order to fill the full page @code{interscorelinefill} is set to a
1929 positive number. In that case @code{interscoreline} specifies the
1932 @cindex @code{textheight}
1933 @cindex @code{interscoreline}
1934 @cindex @code{interscorelinefill}
1936 If the variable @code{lastpagefill} is defined,
1937 @c fixme: this should only be done if lastpagefill= #t
1938 systems are evenly distributed vertically on the last page. This
1939 might produce ugly results in case there are not enough systems on the
1940 last page. The @command{lilypond-book} command ignores
1941 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1944 @cindex @code{lastpagefill}
1946 Page breaks are normally computed by @TeX{}, so they are not under
1947 direct control of LilyPond. However, you can insert a commands into
1948 the @file{.tex} output to instruct @TeX{} where to break pages. This
1949 is done by setting the @code{between-systems-strings} on the
1950 @internalsref{NonMusicalPaperColumn} where the system is broken.
1951 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1952 The predefined command @code{\newpage} also does this.
1956 @cindex @code{papersize}
1958 To change the paper size, use the following Scheme code:
1961 #(set-paper-size "a4")
1968 @cindex @code{\newpage}
1974 In this manual: @ref{Invoking lilypond}.
1976 Examples: @inputfileref{input/regression,between-systems.ly}.
1978 Internals: @internalsref{NonMusicalPaperColumn}.
1982 LilyPond has no concept of page layout, which makes it difficult to
1983 reliably choose page breaks in longer pieces.
1988 @node Output details
1989 @section Output details
1991 The default output format is La@TeX{}, which should be run
1992 through La@TeX{}. Using the option @option{-f}
1993 (or @option{--format}) other output formats can be selected also, but
1994 none of them work reliably.
1996 Now the music is output system by system (a `system' consists of all
1997 staves belonging together). From @TeX{}'s point of view, a system is an
1998 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
1999 vertically on the baseline of the text. Between systems,
2000 @code{\interscoreline} is inserted vertically to have stretchable space.
2001 The horizontal dimension of the @code{\hbox} is given by the
2002 @code{linewidth} parameter from LilyPond's @code{\paper} block.
2004 After the last system LilyPond emits a stronger variant of
2005 @code{\interscoreline} only if the macro
2006 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
2007 to the top of the page). You can avoid that by setting the variable
2008 @code{lastpagefill} in LilyPond's @code{\paper} block.
2010 It is possible to fine-tune the vertical offset further by defining the
2011 macro @code{\lilypondscoreshift}:
2014 \def\lilypondscoreshift@{0.25\baselineskip@}
2018 where @code{\baselineskip} is the distance from one text line to the next.
2020 Here an example how to embed a small LilyPond file @code{foo.ly} into
2021 running La@TeX{} text without using the @code{lilypond-book} script
2022 (@pxref{lilypond-book manual}):
2025 \documentclass@{article@}
2027 \def\lilypondpaperlastpagefill@{@}
2029 \def\lilypondscoreshift@{0.25\baselineskip@}
2032 This is running text which includes an example music file
2038 The file @file{foo.tex} has been simply produced with
2044 The call to @code{\lineskip} assures that there is enough vertical space
2045 between the LilyPond box and the surrounding text lines.