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 this 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 explains how to lookup which knob to use for a
14 The controls available for tuning are described in a separate
15 document, the @internalsref{Program reference} manual. That manual
16 lists all different variables, functions and options available in
17 LilyPond. It is written 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.
49 * Interpretation contexts::
57 @section Scheme tutorial
61 @cindex Scheme, in-line code
62 @cindex accessing Scheme
63 @cindex evaluating Scheme
66 LilyPond uses the Scheme programming language, both as part of the
67 input syntax, and as internal mechanism to glue together modules of
68 the program. This section is a very brief overview of entering data in
69 Scheme.@footnote{If you want to know more about Scheme, see
70 @uref{http://www.schemers.org}.}
72 The most basic thing of a language is data: numbers, character
73 strings, lists, etc. Here is a list of data types that are relevant to
78 Boolean values are True or False. The Scheme for True is @code{#t}
79 and False is @code{#f}.
81 Numbers are entered in the standard fashion,
82 @code{1} is the (integer) number one, while @code{-1.5} is a
83 floating point number (a non-integer number).
85 Strings are enclosed in double quotes,
90 Strings may span several lines
97 Quotation marks and newlines can also be added with so-called escape
98 sequences. The string @code{a said "b"} is entered as
103 Newlines and backslashes are escaped with @code{\n} and @code{\\}
108 In a music file, snippets of Scheme code are introduced with the hash
109 mark @code{#}. So, the previous examples translated in LilyPond 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). Normally lists are interpreted as calculations, and the Scheme
217 interpreter substitutes the outcome of the calculation. To enter a
218 list, we stop evaluation. This is done by quoting the list with a
219 quote @code{'} symbol. For calculations, do not use a quote.
221 Inside a quoted list or pair, there is no need to quote anymore. The
222 following is a pair of symbols, a list of symbols and a list of lists
227 #'(staff clef key-signature)
232 @section File structure
234 The following items may be present in a @file{.ly} file at toplevel
237 @item An output definition, such as @code{\bookpaper}, @code{\midi}
238 and @code{\paper}. Such a definition at toplevel changes the default
239 settings for the block entered.
241 @item An @code{\header} block. This sets the global header block. This
242 is the block containing the definitions for book-wide settings, like
243 composer, title, etc.
245 @item An @code{\addquote} statement. See @ref{Quoting other voices}
246 for more information.
248 @item A @code{\score} block. This score will be collected with other
249 toplevel scores, and combined as a single @code{\book}.
251 This behavior can be changed by setting the variable
252 @code{toplevel-score-handler} at toplevel. The default handler is
253 defined in the init file @file{scm/lily.scm}.
255 @item A @code{\book} block formats the block
257 This behavior can be changed by setting the variable
258 @code{toplevel-book-handler} at toplevel. The default handler is
259 defined in the init file @file{scm/lily.scm}.
262 @item A compound music expression, such as
267 This will add the piece in a @code{\score}, and formats it into a
268 single book together with all other toplevel @code{\score}s and music
271 This behavior can be changed by setting the variable
272 @code{toplevel-music-handler} at toplevel. The default handler is
273 defined in the init file @file{scm/lily.scm}.
277 The following example shows three things which may be entered at
281 % movements are non-justified by default
293 At any point in a file, any of the following lexical instructions can
297 @item @code{\version}
298 @item @code{\include}
299 @item @code{\encoding}
300 @item @code{\renameinput}
305 @node Interpretation contexts
306 @section Interpretation contexts
308 When music is printed, a lot of notation elements must be added to the
309 input, which is often bare bones. For example, compare the input and
310 output of the following example:
312 @lilypond[verbatim,relative=2,fragment]
316 The input is rather sparse, but in the output, bar lines, accidentals,
317 clef, and time signature are added. LilyPond @emph{interprets} the
318 input. During this step, the musical information is inspected in time
319 order, similar to reading a score from left to right. While reading,
320 the program remembers where measure boundaries are, and what pitches
321 need explicit accidentals. This information can be presented on
322 several levels. For example, the effect of an accidental is limited
323 to a single stave, while a bar line must be synchronized across the
326 Within LilyPond, these rules and bits of information are grouped in
327 so-called Contexts. Examples of context are @context{Voice},
328 @context{Staff}, and @context{Score}. They are hierarchical, for
329 example, a @context{Staff} can contain many @context{Voice}s, and a
330 @context{Score} can contain many @context{Staff} contexts.
332 Each context has the responsibility for enforcing some notation rules,
333 creating some notation objects and maintaining the associated
334 properties. So, the synchronization of bar lines is handled at
335 @context{Score} context. The @context{Voice} may introduce an
336 accidentals and then the @context{Staff} context maintains the rule to
337 show or suppress the accidental for the remainder of the measure.
339 For simple scores, contexts are created implicitly, and you need not
340 be aware of them. For larger pieces, such as piano music, they must be
341 created explicitly to make sure that you get as many staves as you
342 need, and that they are in the correct order. For typesetting pieces
343 with specialized notation, it can be useful to modify existing or
347 Full description of all available contexts is in the program
350 @internalsref{Contexts}.
353 Translation @arrow{} Context.
356 @c [TODO: describe propagation]
360 * Creating contexts::
361 * Changing context properties on the fly::
362 * Modifying context plug-ins::
363 * Layout tunings within contexts::
364 * Changing context default settings::
365 * Defining new contexts::
366 * Which properties to change::
369 @node Creating contexts
370 @subsection Creating contexts
372 For scores with only one voice and one staff, correct contexts are
373 created automatically. For more complex scores, it is necessary to
374 create them by hand. There are three commands which do this.
376 The easiest command is @code{\new}, and it also the quickest to type.
377 It is prepended to a music expression, for example
381 @cindex Context, creating
384 \new @var{type} @var{music expression}
388 where @var{type} is a context name (like @code{Staff} or
389 @code{Voice}). This command creates a new context, and starts
390 interpreting @var{music expression} with that.
392 A practical application of @code{\new} is a score with many
393 staves. Each part that should be on its own staff, is preceded with
396 @lilypond[verbatim,relative=2,raggedright,fragment]
397 << \new Staff { c4 c }
402 @cindex @code{\context}
404 Like @code{\new}, the @code{\context} command also directs a music
405 expression to a context object, but gives the context an extra name. The
409 \context @var{type} = @var{id} @var{music}
412 This form will search for an existing context of type @var{type}
413 called @var{id}. If that context does not exist yet, it is created.
414 This is useful if the context is referred to later on. For example, when
415 setting lyrics the melody is in a named context
418 \context Voice = "@b{tenor}" @var{music}
422 so the texts can be properly aligned to its notes,
425 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
430 Another possibility is funneling two different music expressions into
431 one context. In the following example, articulations and notes are
439 They are combined by sending both to the same @context{Voice} context,
442 << \new Staff \context Voice = "A" \music
443 \context Voice = "A" \arts
446 @lilypond[raggedright]
449 \relative c'' << \new Staff \context Voice = "A" \music
450 \context Voice = "A" \arts
454 @cindex @code{\context}
455 @cindex creating contexts
457 The third command for creating contexts is
459 \context @var{type} @var{music}
464 This is similar to @code{\context} with @code{= @var{id}}, but matches
465 any context of type @var{type}, regardless of its given name.
467 This variant is used with music expressions that can be interpreted at
468 several levels. For example, the @code{\applyoutput} command (see
469 @ref{Running a function on all layout objects}). Without an explicit
470 @code{\context}, it is usually is applied to @context{Voice}
473 \applyoutput #@var{function} % apply to Voice
476 To have it interpreted at the @context{Score} or @context{Staff} level use
480 \context Score \applyoutput #@var{function}
481 \context Staff \applyoutput #@var{function}
485 @node Changing context properties on the fly
486 @subsection Changing context properties on the fly
490 @cindex changing properties
492 Each context can have different @emph{properties}, variables contained
493 in that context. They can be changed during the interpretation step.
494 This is achieved by inserting the @code{\set} command in the music,
497 @code{\set } @var{context}@code{.}@var{prop}@code{ = #}@var{value}
501 @lilypond[verbatim,relative=2,fragment]
503 \set Score.skipBars = ##t
507 This command skips measures that have no notes. The result is that
508 multi rests are condensed. The value assigned is a Scheme object. In
509 this case, it is @code{#t}, the boolean True value.
511 If the @var{context} argument is left out, then the current bottom-most
512 context (typically @context{ChordNames}, @context{Voice}, or
513 @context{Lyrics}) is used. In this example,
515 @lilypond[verbatim,relative=2,fragment]
517 \set autoBeaming = ##f
522 the @var{context} argument to @code{\set} is left out, and the current
523 @internalsref{Voice} is used.
525 Contexts are hierarchical, so if a bigger context was specified, for
526 example @context{Staff}, then the change would also apply to all
527 @context{Voice}s in the current stave. The change is applied
528 `on-the-fly', during the music, so that the setting only affects the
529 second group of eighth notes.
531 @cindex @code{\unset}
533 There is also an @code{\unset} command,
535 @code{\unset }@var{context}@code{.}@var{prop}
539 which removes the definition of @var{prop}. This command removes
540 the definition only if it is set in @var{context}. In
543 \set Staff.autoBeaming = ##f
544 \unset Voice.autoBeaming
548 the current @context{Voice} does not have the property, and the
549 definition at @context{Staff} level remains intact. Like @code{\set},
550 the @var{context} argument does not have to be specified for a bottom
553 Settings that should only apply to a single time-step can be entered
554 easily with @code{\once}, for example in
556 @lilypond[verbatim,relative=2,fragment]
558 \once \set fontSize = #4.7
563 the property @code{fontSize} is unset automatically after the second
566 A full description of all available context properties is in the
567 program reference, see
569 @internalsref{Tunable-context-properties}.
572 Translation @arrow{} Tunable context properties.
576 @node Modifying context plug-ins
577 @subsection Modifying context plug-ins
579 Notation contexts (like Score and Staff) not only store properties,
580 they also contain plug-ins, called ``engravers'' that create notation
581 elements. For example, the Voice context contains a
582 @code{Note_head_engraver} and the Staff context contains a
583 @code{Key_signature_engraver}.
585 For a full a description of each plug-in, see
587 @internalsref{Engravers}.
590 Program reference @arrow Translation @arrow{} Engravers.
592 Every context described in
594 @internalsref{Contexts}
597 Program reference @arrow Translation @arrow{} Context.
599 lists the engravers used for that context.
602 It can be useful to shuffle around these plug-ins. This is done by
603 starting a new context, with @code{\new} or @code{\context}, and
604 modifying it like this,
607 \new @var{context} \with @{
617 where the @dots{} should be the name of an engraver. Here is a simple
618 example which removes @code{Time_signature_engraver} and
619 @code{Clef_engraver} from a @code{Staff} context,
621 @lilypond[relative=1, verbatim,fragment]
626 \remove "Time_signature_engraver"
627 \remove "Clef_engraver"
634 In the second stave there are no time signature or clef symbols. This
635 is a rather crude method of making objects disappear since it will affect
636 the entire staff. The spacing will be adversely influenced too. A more
637 sophisticated methods of blanking objects is shown in @ref{Common
640 The next example shows a practical application. Bar lines and time
641 signatures are normally synchronized across the score. This is done
642 by the @code{Timing_engraver}. This plug-in keeps an administration of
643 time signature, location within the measure, etc. By moving the
644 @code{Timing_engraver} engraver from Score to Staff context, we can
645 have a score where each staff has its own time signature.
647 @cindex polymetric scores
650 @lilypond[relative=1,raggedright,verbatim,fragment]
652 \remove "Timing_engraver"
655 \consists "Timing_engraver"
661 \consists "Timing_engraver"
670 @node Layout tunings within contexts
671 @subsection Layout tunings within contexts
673 Each context is responsible for creating certain types of graphical
674 objects. The settings used for printing these objects are also stored by
675 context. By changing these settings, the appearance of objects can be
678 The syntax for this is
681 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
684 Here @var{name} is the name of a graphical object, like @code{Stem} or
685 @code{NoteHead}, and @var{property} is an internal variable of the
686 formatting system (`grob property' or `layout property'). The latter is a
687 symbol, so it must be quoted. The subsection @ref{Constructing a
688 tweak} explains what to fill in for @var{name}, @var{property}, and
689 @var{value}. Here we only discuss functionality of this command.
694 \override Staff.Stem #'thickness = #4.0
698 makes stems thicker (the default is 1.3, with staff line thickness as a
699 unit). Since the command specifies @context{Staff} as context, it only
700 applies to the current staff. Other staves will keep their normal
701 appearance. Here we see the command in action:
703 @lilypond[verbatim,relative=2,fragment]
705 \override Staff.Stem #'thickness = #4.0
711 The @code{\override} command is executed during the interpreting phase,
712 and changes the definition of the @code{Stem} within
713 @context{Staff}. After the command all stems are thickened.
715 Analogous to @code{\set}, the @var{context} argument may be left out,
716 causing it to default to @context{Voice}, and adding @code{\once} applies
717 the change during one timestep only
719 @lilypond[fragment,verbatim,relative=2]
721 \once \override Stem #'thickness = #4.0
726 The @code{\override} must be done before the object is
727 started. Therefore, when altering @emph{Spanner} objects, like slurs or
728 beams, the @code{\override} command must be executed at the moment when
729 the object is created. In this example,
732 @lilypond[fragment,verbatim,relative=2]
733 \override Slur #'thickness = #3.0
735 \override Beam #'thickness = #0.6
740 the slur is fatter and the beam is not. This is because the command for
741 @code{Beam} comes after the Beam is started. Therefore it has no effect.
743 Analogous to @code{\unset}, the @code{\revert} command for a context
744 undoes a @code{\override} command; like with @code{\unset}, it only
745 affects settings that were made in the same context. In other words, the
746 @code{\revert} in the next example does not do anything.
749 \override Voice.Stem #'thickness = #4.0
750 \revert Staff.Stem #'thickness
758 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
759 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
760 @internalsref{All-layout-objects}.
765 The back-end is not very strict in type-checking object properties.
766 Cyclic references in Scheme values for properties can cause hangs
770 @node Changing context default settings
771 @subsection Changing context default settings
773 The adjustments of the previous chapters can also be entered separate
774 from the music, in the @code{\paper} block,
783 \override Stem #'thickness
784 \remove "Time_signature_engraver"
795 takes the existing definition @context{Staff} from the identifier
796 @code{Staff}. This works analogously to other contexts.
801 \override Stem #'thickness
802 \remove "Time_signature_engraver"
806 affect all staves in the score.
808 The @code{\set} keyword is optional within the @code{\paper} block, so
821 It is not possible to collect changes in a variable, and apply them to
822 one @code{\context} definition by referring to that variable.
825 @node Defining new contexts
826 @subsection Defining new contexts
828 Specific contexts, like @context{Staff} and @code{Voice}, are made of
829 simple building blocks, and it is possible to compose engraver
830 plug-ins in different combinations, thereby creating new types of
833 The next example shows how to build a different type of
834 @context{Voice} context from scratch. It will be similar to
835 @code{Voice}, but print centered slash noteheads only. It can be used
836 to indicate improvisation in Jazz pieces,
838 @lilypond[raggedright]
841 \type "Engraver_group_engraver"
842 \consists "Note_heads_engraver"
843 \consists "Text_engraver"
844 \consists Pitch_squash_engraver
845 squashedPosition = #0
846 \override NoteHead #'style = #'slash
847 \override Stem #'transparent = ##t
851 \accepts "ImproVoice"
856 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
857 c4 c^"undress" c_"while playing :)" c }
863 These settings are again done within a @code{\context} block inside a
874 In the following discussion, the example input shown should go on the
875 @dots{} in the previous fragment.
877 First, name the context gets a name. Instead of @context{Voice} it
878 will be called @context{ImproVoice},
884 Since it is similar to the @context{Voice}, we want commands that work
885 on (existing) @context{Voice}s to remain working. This is achieved by
886 giving the new context an alias @context{Voice},
892 The context will print notes, and instructive texts
895 \consists Note_heads_engraver
896 \consists Text_engraver
899 but only on the center line,
902 \consists Pitch_squash_engraver
903 squashedPosition = #0
906 The @internalsref{Pitch_squash_engraver} modifies note heads (created
907 by @internalsref{Note_heads_engraver}) and sets their vertical
908 position to the value of @code{squashedPosition}, in this case
909 @code{0}, the center line.
911 The notes look like a slash, without a stem,
914 \override NoteHead #'style = #'slash
915 \override Stem #'transparent = ##t
919 All these plug-ins have to cooperate, and this is achieved with a
920 special plug-in, which must be marked with the keyword @code{\type}.
921 This should always be @internalsref{Engraver_group_engraver},
924 \type "Engraver_group_engraver"
927 Putting together, we get
932 \type "Engraver_group_engraver"
933 \consists "Note_heads_engraver"
934 \consists "Text_script_engraver"
935 \consists Pitch_squash_engraver
936 squashedPosition = #0
937 \override NoteHead #'style = #'slash
938 \override Stem #'transparent = ##t
943 Contexts form hierarchies. We want to hang the @context{ImproVoice}
944 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
945 modify the @code{Staff} definition with the @code{\accepts}
946 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
947 which is sometimes when reusing existing context definitions. }
958 Putting both into a @code{\paper} block, like
968 \accepts "ImproVoice"
973 Then the output at the start of this subsection can be entered as
981 c c_"while playing :)"
989 @node Which properties to change
990 @subsection Which properties to change
993 There are many different properties. Not all of them are listed in
994 this manual. However, the program reference lists them all in the
995 section @internalsref{Tunable-context-properties}, and most properties
996 are demonstrated in one of the
998 @uref{../../../../input/test/out-www/collated-files.html,tips-and-tricks}
1007 @section Tuning output
1009 In the previous section, we have already touched on a command that
1010 changes layout details, the @code{\override} command. In this section,
1011 we will look at in more detail how to use the command in practice.
1012 First, we will give a a few versatile commands, which are sufficient
1013 for many situations. The next section will discuss general use of
1017 There are situations where default layout decisions are not
1018 sufficient. In this section we discuss ways to override these
1021 Formatting is internally done by manipulating so called objects
1022 (graphic objects). Each object carries with it a set of properties
1023 (object or layout properties) specific to the object. For example, a
1024 stem object has properties that specify its direction, length, and
1027 The most direct way of tuning the output is to alter the values of
1028 these properties. There are two ways of doing that: First, you can
1029 temporarily change the definition of one type of object, thus
1030 affecting a whole set of objects. Second, you can select one specific
1031 object, and set a layout property in that object.
1033 Do not confuse layout properties with translation
1034 properties. Translation properties always use a mixed caps style
1035 naming, and are manipulated using @code{\set} and @code{\unset}:
1037 \set Context.propertyName = @var{value}
1040 Layout properties are use Scheme style variable naming, i.e. lower
1041 case words separated with dashes. They are symbols, and should always
1042 be quoted using @code{#'}. For example, this could be an imaginary
1043 layout property name:
1045 #'layout-property-name
1052 * Constructing a tweak::
1053 * Navigating the program reference::
1054 * Layout interfaces::
1055 * Determining the grob property::
1061 @subsection Common tweaks
1063 Some overrides are so common that predefined commands are provided as
1064 a short-cut, for example, @code{\slurUp} and @code{\stemDown}. These
1065 commands are described in
1069 @ref{Notation manual}, under the sections for slurs and stems
1072 The exact tuning possibilities for each type of layout object are
1073 documented in the program reference of the respective
1074 object. However, many layout objects share properties, which can be
1075 used to apply generic tweaks. We mention a few of these:
1078 @item The @code{extra-offset} property, which
1079 @cindex @code{extra-offset}
1080 has a pair of numbers as value, moves around objects in the printout.
1081 The first number controls left-right movement; a positive number will
1082 move the object to the right. The second number controls up-down
1083 movement; a positive number will move it higher. The units of these
1084 offsets are staff-spaces. The @code{extra-offset} property is a
1085 low-level feature: the formatting engine is completely oblivious to
1088 In the following example, the second fingering is moved a little to
1089 the left, and 1.8 staff space downwards:
1091 @cindex setting object properties
1093 @lilypond[fragment,relative=1,verbatim]
1096 \once \override Fingering
1097 #'extra-offset = #'(-0.3 . -1.8)
1102 Setting the @code{transparent} property will cause an object to be printed
1103 in `invisible ink': the object is not printed, but all its other
1104 behavior is retained. The object still takes up space, it takes part in
1105 collisions, and slurs, and ties and beams can be attached to it.
1107 @cindex transparent objects
1108 @cindex removing objects
1109 @cindex hiding objects
1110 @cindex invisible objects
1111 The following example demonstrates how to connect different voices
1112 using ties. Normally, ties only connect two notes in the same
1113 voice. By introducing a tie in a different voice,
1115 @lilypond[fragment,relative=2]
1124 and blanking a stem in that voice, the tie appears to cross voices:
1126 @lilypond[fragment,relative=2,verbatim]
1128 \once \override Stem #'transparent = ##t
1136 The @code{padding} property for objects with
1137 @cindex @code{padding}
1138 @code{side-position-interface} can be set to increase distance between
1139 symbols that are printed above or below notes. We only give an
1140 example; a more elaborate explanation is in @ref{Constructing a
1143 @lilypond[fragment,relative=1,verbatim]
1145 \override Script #'padding = #3
1151 More specific overrides are also possible. The next section
1152 discusses in depth how to figure out these statements for yourself.
1155 @node Constructing a tweak
1156 @subsection Constructing a tweak
1158 The general procedure of changing output, that is, entering
1162 \override Voice.Stem #'thickness = #3.0
1166 means that we have to determine these bits of information:
1169 @item the context: here @context{Voice}.
1170 @item the layout object: here @code{Stem}.
1171 @item the layout property: here @code{thickness}
1172 @item a sensible value: here @code{3.0}
1176 @cindex internal documentation
1177 @cindex finding graphical objects
1178 @cindex graphical object descriptions
1180 @cindex @code{\override}
1182 @cindex internal documentation
1184 We demonstrate how to glean this information from the notation manual
1185 and the program reference.
1187 The program reference is a set of HTML pages, which is part of the
1188 documentation package. On Unix systems, it is typically in
1189 @file{/usr/share/doc/lilypond}. If you have them, it is best to
1190 bookmark them in your webbrowser, because you will need them. They
1191 are also available on the web: go to the
1192 @uref{http://lilypond.org,LilyPond website}, click ``Documentation'',
1193 select the correct version, and then click ``Program reference.''
1195 If you have them, use the local HTML files. They will load faster,
1196 and they are exactly matched to LilyPond version installed.
1199 @node Navigating the program reference
1200 @subsection Navigating the program reference
1202 Suppose we want to move the fingering indication in the fragment
1205 @lilypond[fragment,relative=2,verbatim]
1211 If you visit the documentation of @code{Fingering} (in @ref{Fingering
1212 instructions}), you will notice that there is written:
1217 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
1221 This fragments points to two parts of the program reference: a page
1222 on @code{FingerEvent} and on @code{Fingering}.
1224 The page on @code{FingerEvent} describes the properties of the music
1225 expression for the input @code{-2}. The page contains many links
1226 forward. For example, it says
1229 Accepted by: @internalsref{Fingering_engraver},
1233 That link brings us to the documentation for the Engraver, the
1237 This engraver creates the following layout objects: @internalsref{Fingering}.
1240 In other words, once the @code{FingerEvent}s are interpreted, the
1241 @code{Fingering_engraver} plug-in will process them.
1242 The @code{Fingering_engraver} is also listed to create
1243 @internalsref{Fingering} objects,
1246 Lo and behold, that is also the
1247 second bit of information listed under @b{See also} in the Notation
1248 manual. By clicking around in the program reference, we can follow the
1249 flow of information within the program, either forward (like we did
1250 here), or backwards, following links like this:
1254 @item @internalsref{Fingering}:
1255 @internalsref{Fingering} objects are created by:
1256 @b{@internalsref{Fingering_engraver}}
1258 @item @internalsref{Fingering_engraver}:
1259 Music types accepted: @b{@internalsref{fingering-event}}
1260 @item @internalsref{fingering-event}:
1261 Music event type @code{fingering-event} is in Music objects of type
1262 @b{@internalsref{FingerEvent}}
1265 This path goes against the flow of information in the program: it
1266 starts from the output, and ends at the input event.
1268 The program reference can also be browsed like a normal document. It
1269 contains a chapter on
1271 @internalsref{Music-definitions},
1276 on @internalsref{Translation}, and the @internalsref{Backend}. Every
1277 chapter lists all the definitions used, and all properties that may be
1281 @node Layout interfaces
1282 @subsection Layout interfaces
1284 @internalsref{Fingering} is a layout object. Such an object is a
1285 symbol within the score. It has properties, which store numbers (like
1286 thicknesses and directions), but also pointers to related objects.
1287 A layout object is also called @emph{grob},
1289 which is short for Graphical Object.
1292 The page for @code{Fingering} lists the definitions for the
1293 @code{Fingering} object. For example, the page says
1296 @code{padding} (dimension, in staff space):
1301 which means that the number will be kept at a distance of at least 0.6
1305 Each layout object may have several functions as a notational or
1306 typographical element. For example, the Fingering object
1307 has the following aspects
1310 @item Its size is independent of the horizontal spacing, unlike slurs or beams
1312 @item It is a piece of text. Granted, it's usually a very short text.
1314 @item That piece of text is typeset with a font, unlike slurs or beams.
1315 @item Horizontally, the center of the symbol should be aligned to the
1316 center of the notehead
1317 @item Vertically, the symbol is placed next to the note and the staff.
1320 vertical position is also coordinated with other super and subscript
1324 Each of these aspects is captured in a so-called @emph{interface},
1325 which are listed on the @internalsref{Fingering} page at the bottom
1328 This object supports the following interfaces:
1329 @internalsref{item-interface},
1330 @internalsref{self-alignment-interface},
1331 @internalsref{side-position-interface}, @internalsref{text-interface},
1332 @internalsref{text-script-interface}, @internalsref{font-interface},
1333 @internalsref{finger-interface}, and @internalsref{grob-interface}.
1336 Clicking any of the links will take you to the page of the respective
1337 object interface. Each interface has a number of properties. Some of
1338 them are not user-serviceable (``Internal properties''), but others
1341 We have been talking of `the' @code{Fingering} object, but actually it
1342 does not amount to much. The initialization file
1343 @file{scm/define-grobs.scm} shows the soul of the `object',
1348 (print-function . ,Text_item::print)
1350 (staff-padding . 0.6)
1351 (self-alignment-X . 0)
1352 (self-alignment-Y . 0)
1353 (script-priority . 100)
1354 (font-encoding . number)
1356 (meta . ((interfaces . (finger-interface font-interface
1357 text-script-interface text-interface
1358 side-position-interface self-alignment-interface
1363 as you can see, @code{Fingering} is nothing more than a bunch of
1364 variable settings, and the webpage is directly generated from this
1367 @node Determining the grob property
1368 @subsection Determining the grob property
1371 Recall that we wanted to change the position of the @b{2} in
1373 @lilypond[fragment,relative=2,verbatim]
1379 Since the @b{2} is vertically positioned next to its note, we have to
1380 meddle with the interface associated with this positioning. This is
1381 done using @code{side-position-interface}. The page for this interface
1385 @code{side-position-interface}
1387 Position a victim object (this one) next to other objects (the
1388 support). The property @code{direction} signifies where to put the
1389 victim object relative to the support (left or right, up or down?)
1394 below this description, the variable @code{padding} is described as
1398 (dimension, in staff space)
1400 add this much extra space between objects that are next to each
1405 By increasing the value of @code{padding}, we can move away the
1406 fingering. The following command inserts 3 staff spaces of white
1407 between the note and the fingering:
1409 \once \override Fingering #'padding = #3
1412 Inserting this command before the Fingering object is created,
1413 i.e. before @code{c2}, yields the following result:
1415 @lilypond[relative=2,fragment,verbatim]
1416 \once \override Fingering
1424 In this case, the context for this tweak is @context{Voice}, which
1425 does not have to be specified for @code{\override}. This fact can
1426 also be deduced from the program reference, for the page for the
1427 @internalsref{Fingering_engraver} plug-in says
1430 Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
1438 * Selecting font sizes::
1444 @node Selecting font sizes
1445 @subsection Selecting font sizes
1447 The most common thing to change about the appearance of fonts is their
1448 size. The font size of any context can be easily changed by setting
1449 the @code{fontSize} property for that context. Its value is a number:
1450 negative numbers make the font smaller, positive numbers larger. An
1451 example is given below:
1453 @lilypond[fragment,relative=1,verbatim]
1454 c4 c4 \set fontSize = #-3
1457 This command will set @code{font-size} (see below) in all layout
1458 objects in the current context. It does not change the size of
1459 variable symbols, such as beams or slurs.
1461 The font size is set by modifying the @code{font-size} property. Its
1462 value is a number indicating the size relative to the standard size.
1463 Each step up is an increase of approximately 12% of the font size. Six
1464 steps is exactly a factor two. The Scheme function @code{magstep}
1465 converts a @code{font-size} number to a scaling factor.
1467 LilyPond has fonts in different design sizes: the music fonts for
1468 smaller sizes are chubbier, while the text fonts are relatively wider.
1469 Font size changes are achieved by scaling the design size that is
1470 closest to the desired size.
1472 The @code{font-size} mechanism does not work for fonts selected
1473 through @code{font-name}. These may be scaled with
1474 @code{font-magnification}.
1477 One of the uses of @code{fontSize} is to get smaller symbols for cue
1478 notes. An elaborate example of those is in
1479 @inputfileref{input/test,cue-notes.ly}.
1482 @cindex @code{font-style}
1486 The following commands set @code{fontSize} for the current voice:
1488 @cindex @code{\tiny}
1490 @cindex @code{\small}
1492 @cindex @code{\normalsize}
1497 @cindex magnification
1501 @node Font selection
1502 @subsection Font selection
1504 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1505 can also be adjusted with a more fine-grained mechanism. By setting
1506 the object properties described below, you can select a different font;
1507 all three mechanisms work for every object that supports
1508 @code{font-interface}:
1512 @item @code{font-encoding}
1513 is a symbol that sets layout of the glyphs. Choices include @code{ec}
1514 for @TeX{} EC font encoding, @code{fetaBraces} (for piano staff
1515 braces), @code{fetaMusic} (the standard music font, including ancient
1516 glyphs), @code{fetaDynamic} (for dynamic signs) and @code{fetaNumber}
1517 for the number font.
1520 @item @code{font-family}
1521 is a symbol indicating the general class of the typeface. Supported are
1522 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
1524 @item @code{font-shape}
1525 is a symbol indicating the shape of the font, there are typically
1526 several font shapes available for each font family. Choices are
1527 @code{italic}, @code{caps}, and @code{upright}.
1529 @item @code{font-series}
1530 is a symbol indicating the series of the font. There are typically several
1531 font series for each font family and shape. Choices are @code{medium}
1536 Fonts selected in the way sketched above come from a predefined style
1539 The font used for printing a object can be selected by setting
1540 @code{font-name}, e.g.
1542 \override Staff.TimeSignature
1543 #'font-name = #"cmr17"
1547 Any font can be used, as long as it is available to @TeX{}. Possible
1548 fonts include foreign fonts or fonts that do not belong to the
1549 Computer Modern font family. The size of fonts selected in this way
1550 can be changed with the @code{font-magnification} property. For
1551 example, @code{2.0} blows up all letters by a factor 2 in both
1555 @cindex font magnification
1561 Init files: @file{ly/declarations-init.ly} contains hints how new
1562 fonts may be added to LilyPond.
1566 No style sheet is provided for other fonts besides the @TeX{}
1567 Computer Modern family.
1569 @cindex font selection
1570 @cindex font magnification
1571 @cindex @code{font-interface}
1575 @section Text markup
1580 @cindex typeset text
1582 LilyPond has an internal mechanism to typeset texts. You can access it
1583 with the keyword @code{\markup}. Within markup mode, you can enter texts
1584 similar to lyrics: simply enter them, surrounded by spaces:
1587 @lilypond[verbatim,fragment,relative=1]
1588 c1^\markup { hello }
1589 c1_\markup { hi there }
1590 c1^\markup { hi \bold there, is \italic anyone home? }
1593 @cindex font switching
1595 The markup in the example demonstrates font switching commands. The
1596 command @code{\bold} and @code{\italic} apply to the first following
1597 word only; enclose a set of texts with braces to apply a command
1600 \markup @{ \bold @{ hi there @} @}
1604 For clarity, you can also do this for single arguments, e.g.
1607 \markup { is \italic { anyone } home }
1610 @cindex font size, texts
1613 In markup mode you can compose expressions, similar to mathematical
1614 expressions, XML documents, and music expressions. The braces group
1615 notes into horizontal lines. Other types of lists also exist: you can
1616 stack expressions grouped with @code{<} and @code{>} vertically with
1617 the command @code{\column}. Similarly, @code{\center-align} aligns
1618 texts by their center lines:
1620 @lilypond[verbatim,fragment,relative=1]
1621 c1^\markup { \column < a bbbb c > }
1622 c1^\markup { \center-align < a bbbb c > }
1623 c1^\markup { \line < a b c > }
1627 Markups can be stored in variables, and these variables
1628 may be attached to notes, like
1630 allegro = \markup { \bold \large { Allegro } }
1631 { a^\allegro b c d }
1635 Some objects have alignment procedures of their own, which cancel out
1636 any effects of alignments applied to their markup arguments as a
1637 whole. For example, the @internalsref{RehearsalMark} is horizontally
1638 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1641 Similarly, for moving whole texts over notes with
1642 @code{\raise}, use the following trick:
1644 "" \raise #0.5 raised
1647 The text @code{raised} is now raised relative to the empty string
1648 @code{""} which is not visible. Alternatively, complete objects can
1649 be moved with layout properties such as @code{padding} and
1650 @code{extra-offset}.
1656 Init files: @file{scm/new-markup.scm}.
1661 Text layout is ultimately done by @TeX{}, which does kerning of
1662 letters. LilyPond does not account for kerning, so texts will be
1663 spaced slightly too wide.
1665 Syntax errors for markup mode are confusing.
1667 Markup texts cannot be used in the titling of the @code{\header}
1668 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1675 * Overview of text markup commands::
1679 @subsection Text encoding
1681 Texts can be entered in different encodings. The encoding of the
1682 file can be set with @code{\encoding}.
1688 This command may be placed anywhere in the input file. The current
1689 encoding is passed as an extra argument to @code{\markup} commands.
1691 If no @code{\encoding} has been specified, then the encoding is taken
1692 from the @code{\paper} block (or @code{\bookpaper}, if @code{\paper}
1693 does not specify encoding). The variable @code{inputencoding} may be
1694 set to a string or symbol specifying the encoding, e.g.
1698 inputencoding = "latin1"
1702 There is a special encoding, called @code{TeX}. This encoding does not
1703 reencode text for the font used. Rather, it tries to guess the width
1704 of @TeX{} commands, such as @code{\"}. Strings encoded with @code{TeX}
1705 are passed to the output back-end verbatim.
1708 @cindex @code{\encoding}
1709 @cindex inputencoding
1710 @cindex @TeX{} commands in strings
1715 @node Overview of text markup commands
1716 @subsection Overview of text markup commands
1718 @include markup-commands.tely
1722 @section Global layout
1724 The global layout determined by three factors: the page layout, the
1725 line breaks, and the spacing. These all influence each other. The
1726 choice of spacing determines how densely each system of music is set,
1727 which influences where line breaks are chosen, and thus
1728 ultimately how many pages a piece of music takes. This section
1729 explains how to tune the algorithm for spacing.
1731 Globally spoken, this procedure happens in three steps: first,
1732 flexible distances (``springs'') are chosen, based on durations. All
1733 possible line breaking combination are tried, and the one with the
1734 best results --- a layout that has uniform density and requires as
1735 little stretching or cramping as possible --- is chosen.
1737 After spacing and linebreaking, the systems are distributed across
1738 pages, taking into account the size of the page, and the size of the
1744 * Setting global staff size::
1745 * Vertical spacing::
1746 * Horizontal spacing::
1748 * Line length and line breaking::
1756 @node Setting global staff size
1757 @subsection Setting global staff size
1759 @cindex font size, setting
1760 @cindex staff size, setting
1761 @cindex @code{paper} file
1763 The Feta font provides musical symbols at eight different
1764 sizes. Each font is tuned for a different staff size: at a smaller size
1765 the font becomes heavier, to match the relatively heavier staff lines.
1766 The recommended font sizes are listed in the following table:
1768 @multitable @columnfractions .25 .25 .25 .25
1771 @tab @b{staff height (pt)}
1772 @tab @b{staff height (mm)}
1814 @c modern rental material ?
1818 These fonts are available in any sizes. The context property
1819 @code{fontSize} and the layout property @code{staff-space} (in
1820 @internalsref{StaffSymbol}) can be used to tune size for individual
1821 staves. The size of individual staves are relative to the global size,
1822 which can be set in the following manner:
1825 #(set-global-staff-size 14)
1828 This sets the global default size to 14pt staff height, and scales all
1833 This manual: @ref{Selecting font sizes}.
1838 * Vertical spacing::
1839 * Horizontal spacing::
1844 @node Vertical spacing
1845 @subsection Vertical spacing
1847 @cindex vertical spacing
1848 @cindex distance between staves
1849 @cindex staff distance
1850 @cindex between staves, distance
1851 @cindex staves per page
1852 @cindex space between staves
1854 The height of each system is determined automatically by LilyPond, to
1855 keep systems from bumping into each other, some minimum distances are
1856 set. By changing these, you can put staves closer together, and thus
1857 put more systems onto one page.
1859 Normally staves are stacked vertically. To make
1860 staves maintain a distance, their vertical size is padded. This is
1861 done with the property @code{minimumVerticalExtent}. It takes a pair
1862 of numbers, so if you want to make it smaller from its, then you could
1865 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1867 This sets the vertical size of the current staff to 4 staff spaces on
1868 either side of the center staff line. The argument of
1869 @code{minimumVerticalExtent} is interpreted as an interval, where the
1870 center line is the 0, so the first number is generally negative. The
1871 staff can be made larger at the bottom by setting it to @code{(-6
1874 The piano staves are handled a little differently: to make cross-staff
1875 beaming work correctly, it is necessary that the distance between staves
1876 is fixed beforehand. This is also done with a
1877 @internalsref{VerticalAlignment} object, created in
1878 @internalsref{PianoStaff}. In this object the distance between the
1879 staves is fixed by setting @code{forced-distance}. If you want to
1880 override this, use a @code{\context} block as follows:
1885 \override VerticalAlignment #'forced-distance = #9
1890 This would bring the staves together at a distance of 9 staff spaces,
1891 measured from the center line of each staff.
1895 Internals: Vertical alignment of staves is handled by the
1896 @internalsref{VerticalAlignment} object.
1901 @node Horizontal spacing
1902 @subsection Horizontal Spacing
1904 The spacing engine translates differences in durations into
1905 stretchable distances (``springs'') of differing lengths. Longer
1906 durations get more space, shorter durations get less. The shortest
1907 durations get a fixed amount of space (which is controlled by
1908 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1909 The longer the duration, the more space it gets: doubling a
1910 duration adds a fixed amount (this amount is controlled by
1911 @code{spacing-increment}) of space to the note.
1913 For example, the following piece contains lots of half, quarter, and
1914 8th notes, the eighth note is followed by 1 note head width (NHW).
1915 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1916 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1920 Normally, @code{spacing-increment} is set to 1.2, which is the
1921 width of a note head, and @code{shortest-duration-space} is set to
1922 2.0, meaning that the shortest note gets 2 NHW of space. For normal
1923 notes, this space is always counted from the left edge of the symbol, so
1924 the shortest notes are generally followed by one NHW of space.
1926 If one would follow the above procedure exactly, then adding a single
1927 32th note to a score that uses 8th and 16th notes, would widen up the
1928 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1929 thus adding 1 NHW to every note. To prevent this, the
1930 shortest duration for spacing is not the shortest note in the score,
1931 but the most commonly found shortest note. Notes that are even
1932 shorter this are followed by a space that is proportional to their
1933 duration relative to the common shortest note. So if we were to add
1934 only a few 16th notes to the example above, they would be followed by
1937 @lilypond[fragment,verbatim,relative=2]
1938 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1941 The most common shortest duration is determined as follows: in every
1942 measure, the shortest duration is determined. The most common short
1943 duration, is taken as the basis for the spacing, with the stipulation
1944 that this shortest duration should always be equal to or shorter than
1945 1/8th note. The shortest duration is printed when you run lilypond
1946 with @code{--verbose}. These durations may also be customized. If you
1947 set the @code{common-shortest-duration} in
1948 @internalsref{SpacingSpanner}, then this sets the base duration for
1949 spacing. The maximum duration for this base (normally 1/8th), is set
1950 through @code{base-shortest-duration}.
1952 @cindex @code{common-shortest-duration}
1953 @cindex @code{base-shortest-duration}
1954 @cindex @code{stem-spacing-correction}
1955 @cindex @code{spacing}
1957 In the Introduction it was explained that stem directions influence
1958 spacing. This is controlled with @code{stem-spacing-correction}
1959 property in @internalsref{NoteSpacing}, which are generated for every
1960 @internalsref{Voice} context. The @code{StaffSpacing} object
1961 (generated at @internalsref{Staff} context) contains the same property
1962 for controlling the stem/bar line spacing. The following example
1963 shows these corrections, once with default settings, and once with
1964 exaggerated corrections:
1966 @lilypond[raggedright]
1970 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
1971 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
1977 @cindex SpacingSpanner, overriding properties
1979 Properties of the @internalsref{SpacingSpanner} must be overridden
1980 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1981 created before any property commands are interpreted.
1983 \paper @{ \context @{
1985 \override SpacingSpanner #'spacing-increment = #3.0
1992 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1993 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1994 @internalsref{SeparatingGroupSpanner}.
1998 Spacing is determined on a score wide basis. If you have a score that
1999 changes its character (measured in durations) halfway during the
2000 score, the part containing the longer durations will be spaced too
2003 There is no convenient mechanism to manually override spacing. The
2004 following work-around may be used to insert extra space into a score.
2006 \once \override Score.SeparationItem #'padding = #1
2009 No work-around exists for decreasing the amount of space.
2018 @subsection Line breaking
2021 @cindex breaking lines
2023 Line breaks are normally computed automatically. They are chosen such
2024 that lines look neither cramped nor loose, and that consecutive lines
2025 have similar density.
2027 Occasionally you might want to override the automatic breaks; you can
2028 do this by specifying @code{\break}. This will force a line break at
2029 this point. Line breaks can only occur at places where there are bar
2030 lines. If you want to have a line break where there is no bar line,
2031 you can force an invisible bar line by entering @code{\bar
2032 ""}. Similarly, @code{\noBreak} forbids a line break at a
2036 @cindex regular line breaks
2037 @cindex four bar music.
2039 For line breaks at regular intervals use @code{\break} separated by
2040 skips and repeated with @code{\repeat}:
2042 << \repeat unfold 7 @{
2043 s1 \noBreak s1 \noBreak
2044 s1 \noBreak s1 \break @}
2045 @emph{the real music}
2050 This makes the following 28 measures (assuming 4/4 time) be broken every
2051 4 measures, and only there.
2055 @code{\break}, and @code{\noBreak}.
2056 @cindex @code{\break}
2057 @cindex @code{\noBreak}
2061 Internals: @internalsref{BreakEvent}.
2063 @node Line length and line breaking
2064 @subsection Line length and line breaking
2067 @cindex breaking pages
2069 @cindex @code{indent}
2070 @cindex @code{linewidth}
2072 The most basic settings influencing the spacing are @code{indent} and
2073 @code{linewidth}. They are set in the @code{\paper} block. They
2074 control the indentation of the first line of music, and the lengths of
2077 If @code{raggedright} is set to true in the @code{\paper}
2078 block, then the lines are justified at their natural length. This
2079 useful for short fragments, and for checking how tight the natural
2083 @cindex vertical spacing
2085 The option @code{raggedlast} is similar to @code{raggedright}, but
2086 only affects the last line of the piece. No restrictions are put on
2087 that line. The result is similar to formatting paragraphs. In a
2088 paragraph, the last line simply takes its natural length.
2094 Titles are created for each @code{\score} block, and over a
2097 The contents of the titles are taken from the @code{\header} blocks.
2098 The header block for a book supports the following
2101 The title of the music. Centered on top of the first page.
2103 Subtitle, centered below the title.
2105 Name of the poet, left flushed below the subtitle.
2107 Name of the composer, right flushed below the subtitle.
2109 Meter string, left flushed below the poet.
2111 Name of the opus, right flushed below the composer.
2113 Name of the arranger, right flushed below the opus.
2115 Name of the instrument, centered below the arranger.
2117 To whom the piece is dedicated.
2119 Name of the piece, left flushed below the instrument.
2122 This is a demonstration of the fields available,
2128 subtitle = "(and (the) subtitle)"
2129 subsubtitle = "Sub sub title"
2131 composer = "Composer"
2132 texttranslator = "Text Translator"
2134 arranger = "Arranger"
2135 instrument = "Instrument"
2156 Different fonts may be selected for each element, by using a
2157 @code{\markup}, e.g.
2161 title = \markup { \italic { The italic title } }
2165 A more advanced option is to change the Scheme functions
2166 @code{make-book-title} and @code{make-score-title} functions, defined
2167 in the @code{\bookpaper} of the @code{\book} block. These functions
2168 create a block of titling, given the information in the
2169 @code{\header}. The init file @file{ly/titling.scm} shows how the
2170 default format is created, and it may be used as a template for
2184 @subsection Page breaking
2186 The default page breaking may be overriden by inserting
2187 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
2188 analogous to @code{\break} and @code{\noBreak}. They should be
2189 inserted with a bar line. These commands force and forbid a page-break
2192 Page breaks are computed by the @code{page-breaking} function in the
2193 @code{\bookpaper} block.
2197 @cindex @code{\pageBreak}
2199 @cindex @code{\noPageBreak}
2203 @subsection Paper size
2207 @cindex @code{papersize}
2209 To change the paper size, there are two commands,
2211 #(set-default-paper-size "a4")
2213 #(set-paper-size "a4")
2216 The second one sets the size of the @code{\paper} block that it is in.
2220 @subsection Page layout
2224 @cindex header, page
2225 @cindex footer, page
2227 LilyPond will do page layout, setting margins and adding headers and
2228 footers to each page.
2230 The default layout responds to the following settings in the
2231 @code{\bookpaper} block
2236 The width of the page
2238 The height of the page
2240 Margin between header and top of the page
2242 Margin between footer and bottom of the page
2244 Margin between the left side of the page and the beginning of the music.
2246 The length of the paper line.
2248 Distance between top-most music system and the page header
2250 Distance between bottom-most music system and the page footer
2252 If set to true, systems will not be spread across the page.
2253 @item raggedlastbottom
2254 If set to true, systems will not be spread to fill the last page.
2262 raggedlastbottom = ##t
2266 You can also define these values in scheme. In that case @code{mm},
2267 @code{in}, @code{pt} and @code{cm} are variables defined in
2268 @file{book-paper-defaults.ly} with values in millimeters. That's why the
2269 value has to be multiplied in the example above.
2273 #(define bottommargin (* 2 cm))
2280 The option rightmargin is defined but doesn't set the right margin
2281 yet. The value for the right margin has to be defined adjusting the
2282 values of the leftmargin and linewidth.
2284 The default page header puts the page number and the @code{instrument}
2285 field from the @code{\header} block on a line.
2293 The default footer is empty, except for the first page, where it the
2294 @code{copyright} field from @code{\header} is inserted, and the last
2295 page, where @code{tagline} from @code{\header} is added. The default
2296 tagline is ``Engraved by LilyPond (@var{version})''.
2298 The header and footer are created by the functions @code{make-footer}
2299 and @code{make-header}, defined in @code{\bookpaper}. The default
2300 implementations are in @file{scm/page-layout.scm}.
2302 The following settings influence the header and footer layout.
2305 @item printpagenumber
2306 this boolean controls whether a pagenumber is printed.
2311 The page layout itself is done by two functions:
2312 @code{page-music-height} and @code{page-make-stencil}. The former
2313 tells the line-breaking algorithm how much space can be spent on a
2314 page, the latter creates the actual page given the system to put on it.
2319 Examples: @inputfileref{input/test/,page-breaks.ly}