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"
854 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
855 c4 c^"undress" c_"while playing :)" c }
861 These settings are again done within a @code{\context} block inside a
872 In the following discussion, the example input shown should go on the
873 @dots{} in the previous fragment.
875 First, name the context gets a name. Instead of @context{Voice} it
876 will be called @context{ImproVoice},
882 Since it is similar to the @context{Voice}, we want commands that work
883 on (existing) @context{Voice}s to remain working. This is achieved by
884 giving the new context an alias @context{Voice},
890 The context will print notes, and instructive texts
893 \consists Note_heads_engraver
894 \consists Text_engraver
897 but only on the center line,
900 \consists Pitch_squash_engraver
901 squashedPosition = #0
904 The @internalsref{Pitch_squash_engraver} modifies note heads (created
905 by @internalsref{Note_heads_engraver}) and sets their vertical
906 position to the value of @code{squashedPosition}, in this case
907 @code{0}, the center line.
909 The notes look like a slash, without a stem,
912 \override NoteHead #'style = #'slash
913 \override Stem #'transparent = ##t
917 All these plug-ins have to cooperate, and this is achieved with a
918 special plug-in, which must be marked with the keyword @code{\type}.
919 This should always be @internalsref{Engraver_group_engraver},
922 \type "Engraver_group_engraver"
925 Putting together, we get
930 \type "Engraver_group_engraver"
931 \consists "Note_heads_engraver"
932 \consists "Text_script_engraver"
933 \consists Pitch_squash_engraver
934 squashedPosition = #0
935 \override NoteHead #'style = #'slash
936 \override Stem #'transparent = ##t
941 Contexts form hierarchies. We want to hang the @context{ImproVoice}
942 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
943 modify the @code{Staff} definition with the @code{\accepts}
944 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
945 which is sometimes when reusing existing context definitions. }
956 Putting both into a @code{\paper} block, like
966 \accepts "ImproVoice"
971 Then the output at the start of this subsection can be entered as
979 c c_"while playing :)"
987 @node Which properties to change
988 @subsection Which properties to change
991 There are many different properties. Not all of them are listed in
992 this manual. However, the program reference lists them all in the
993 section @internalsref{Tunable-context-properties}, and most properties
994 are demonstrated in one of the
996 @uref{../../../../input/test/out-www/collated-files.html,tips-and-tricks}
1005 @section Tuning output
1007 In the previous section, we have already touched on a command that
1008 changes layout details, the @code{\override} command. In this section,
1009 we will look at in more detail how to use the command in practice.
1010 First, we will give a a few versatile commands, which are sufficient
1011 for many situations. The next section will discuss general use of
1015 There are situations where default layout decisions are not
1016 sufficient. In this section we discuss ways to override these
1019 Formatting is internally done by manipulating so called objects
1020 (graphic objects). Each object carries with it a set of properties
1021 (object or layout properties) specific to the object. For example, a
1022 stem object has properties that specify its direction, length, and
1025 The most direct way of tuning the output is to alter the values of
1026 these properties. There are two ways of doing that: First, you can
1027 temporarily change the definition of one type of object, thus
1028 affecting a whole set of objects. Second, you can select one specific
1029 object, and set a layout property in that object.
1031 Do not confuse layout properties with translation
1032 properties. Translation properties always use a mixed caps style
1033 naming, and are manipulated using @code{\set} and @code{\unset}:
1035 \set Context.propertyName = @var{value}
1038 Layout properties are use Scheme style variable naming, i.e. lower
1039 case words separated with dashes. They are symbols, and should always
1040 be quoted using @code{#'}. For example, this could be an imaginary
1041 layout property name:
1043 #'layout-property-name
1050 * Constructing a tweak::
1051 * Navigating the program reference::
1052 * Layout interfaces::
1053 * Determining the grob property::
1059 @subsection Common tweaks
1061 Some overrides are so common that predefined commands are provided as
1062 a short-cut, for example, @code{\slurUp} and @code{\stemDown}. These
1063 commands are described in
1067 @ref{Notation manual}, under the sections for slurs and stems
1070 The exact tuning possibilities for each type of layout object are
1071 documented in the program reference of the respective
1072 object. However, many layout objects share properties, which can be
1073 used to apply generic tweaks. We mention a few of these:
1076 @item The @code{extra-offset} property, which
1077 @cindex @code{extra-offset}
1078 has a pair of numbers as value, moves around objects in the printout.
1079 The first number controls left-right movement; a positive number will
1080 move the object to the right. The second number controls up-down
1081 movement; a positive number will move it higher. The units of these
1082 offsets are staff-spaces. The @code{extra-offset} property is a
1083 low-level feature: the formatting engine is completely oblivious to
1086 In the following example, the second fingering is moved a little to
1087 the left, and 1.8 staff space downwards:
1089 @cindex setting object properties
1091 @lilypond[fragment,relative=1,verbatim]
1094 \once \override Fingering
1095 #'extra-offset = #'(-0.3 . -1.8)
1100 Setting the @code{transparent} property will cause an object to be printed
1101 in `invisible ink': the object is not printed, but all its other
1102 behavior is retained. The object still takes up space, it takes part in
1103 collisions, and slurs, and ties and beams can be attached to it.
1105 @cindex transparent objects
1106 @cindex removing objects
1107 @cindex hiding objects
1108 @cindex invisible objects
1109 The following example demonstrates how to connect different voices
1110 using ties. Normally, ties only connect two notes in the same
1111 voice. By introducing a tie in a different voice,
1113 @lilypond[fragment,relative=2]
1122 and blanking a stem in that voice, the tie appears to cross voices:
1124 @lilypond[fragment,relative=2,verbatim]
1126 \once \override Stem #'transparent = ##t
1134 The @code{padding} property for objects with
1135 @cindex @code{padding}
1136 @code{side-position-interface} can be set to increase distance between
1137 symbols that are printed above or below notes. We only give an
1138 example; a more elaborate explanation is in @ref{Constructing a
1141 @lilypond[fragment,relative=1,verbatim]
1143 \override Script #'padding = #3
1149 More specific overrides are also possible. The next section
1150 discusses in depth how to figure out these statements for yourself.
1153 @node Constructing a tweak
1154 @subsection Constructing a tweak
1156 The general procedure of changing output, that is, entering
1160 \override Voice.Stem #'thickness = #3.0
1164 means that we have to determine these bits of information:
1167 @item the context: here @context{Voice}.
1168 @item the layout object: here @code{Stem}.
1169 @item the layout property: here @code{thickness}
1170 @item a sensible value: here @code{3.0}
1174 @cindex internal documentation
1175 @cindex finding graphical objects
1176 @cindex graphical object descriptions
1178 @cindex @code{\override}
1180 @cindex internal documentation
1182 We demonstrate how to glean this information from the notation manual
1183 and the program reference.
1185 The program reference is a set of HTML pages, which is part of the
1186 documentation package. On Unix systems, it is typically in
1187 @file{/usr/share/doc/lilypond}. If you have them, it is best to
1188 bookmark them in your webbrowser, because you will need them. They
1189 are also available on the web: go to the
1190 @uref{http://lilypond.org,LilyPond website}, click ``Documentation'',
1191 select the correct version, and then click ``Program reference.''
1193 If you have them, use the local HTML files. They will load faster,
1194 and they are exactly matched to LilyPond version installed.
1197 @node Navigating the program reference
1198 @subsection Navigating the program reference
1200 Suppose we want to move the fingering indication in the fragment
1203 @lilypond[fragment,relative=2,verbatim]
1209 If you visit the documentation of @code{Fingering} (in @ref{Fingering
1210 instructions}), you will notice that there is written:
1215 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
1219 This fragments points to two parts of the program reference: a page
1220 on @code{FingerEvent} and on @code{Fingering}.
1222 The page on @code{FingerEvent} describes the properties of the music
1223 expression for the input @code{-2}. The page contains many links
1224 forward. For example, it says
1227 Accepted by: @internalsref{Fingering_engraver},
1231 That link brings us to the documentation for the Engraver, the
1235 This engraver creates the following layout objects: @internalsref{Fingering}.
1238 In other words, once the @code{FingerEvent}s are interpreted, the
1239 @code{Fingering_engraver} plug-in will process them.
1240 The @code{Fingering_engraver} is also listed to create
1241 @internalsref{Fingering} objects,
1244 Lo and behold, that is also the
1245 second bit of information listed under @b{See also} in the Notation
1246 manual. By clicking around in the program reference, we can follow the
1247 flow of information within the program, either forward (like we did
1248 here), or backwards, following links like this:
1252 @item @internalsref{Fingering}:
1253 @internalsref{Fingering} objects are created by:
1254 @b{@internalsref{Fingering_engraver}}
1256 @item @internalsref{Fingering_engraver}:
1257 Music types accepted: @b{@internalsref{fingering-event}}
1258 @item @internalsref{fingering-event}:
1259 Music event type @code{fingering-event} is in Music objects of type
1260 @b{@internalsref{FingerEvent}}
1263 This path goes against the flow of information in the program: it
1264 starts from the output, and ends at the input event.
1266 The program reference can also be browsed like a normal document. It
1267 contains a chapter on
1269 @internalsref{Music-definitions},
1274 on @internalsref{Translation}, and the @internalsref{Backend}. Every
1275 chapter lists all the definitions used, and all properties that may be
1279 @node Layout interfaces
1280 @subsection Layout interfaces
1282 @internalsref{Fingering} is a layout object. Such an object is a
1283 symbol within the score. It has properties, which store numbers (like
1284 thicknesses and directions), but also pointers to related objects.
1285 A layout object is also called @emph{grob},
1287 which is short for Graphical Object.
1290 The page for @code{Fingering} lists the definitions for the
1291 @code{Fingering} object. For example, the page says
1294 @code{padding} (dimension, in staff space):
1299 which means that the number will be kept at a distance of at least 0.6
1303 Each layout object may have several functions as a notational or
1304 typographical element. For example, the Fingering object
1305 has the following aspects
1308 @item Its size is independent of the horizontal spacing, unlike slurs or beams
1310 @item It is a piece of text. Granted, it's usually a very short text.
1312 @item That piece of text is typeset with a font, unlike slurs or beams.
1313 @item Horizontally, the center of the symbol should be aligned to the
1314 center of the notehead
1315 @item Vertically, the symbol is placed next to the note and the staff.
1318 vertical position is also coordinated with other super and subscript
1322 Each of these aspects is captured in a so-called @emph{interface},
1323 which are listed on the @internalsref{Fingering} page at the bottom
1326 This object supports the following interfaces:
1327 @internalsref{item-interface},
1328 @internalsref{self-alignment-interface},
1329 @internalsref{side-position-interface}, @internalsref{text-interface},
1330 @internalsref{text-script-interface}, @internalsref{font-interface},
1331 @internalsref{finger-interface}, and @internalsref{grob-interface}.
1334 Clicking any of the links will take you to the page of the respective
1335 object interface. Each interface has a number of properties. Some of
1336 them are not user-serviceable (``Internal properties''), but others
1339 We have been talking of `the' @code{Fingering} object, but actually it
1340 does not amount to much. The initialization file
1341 @file{scm/define-grobs.scm} shows the soul of the `object',
1346 (print-function . ,Text_item::print)
1348 (staff-padding . 0.6)
1349 (self-alignment-X . 0)
1350 (self-alignment-Y . 0)
1351 (script-priority . 100)
1352 (font-encoding . number)
1354 (meta . ((interfaces . (finger-interface font-interface
1355 text-script-interface text-interface
1356 side-position-interface self-alignment-interface
1361 as you can see, @code{Fingering} is nothing more than a bunch of
1362 variable settings, and the webpage is directly generated from this
1365 @node Determining the grob property
1366 @subsection Determining the grob property
1369 Recall that we wanted to change the position of the @b{2} in
1371 @lilypond[fragment,relative=2,verbatim]
1377 Since the @b{2} is vertically positioned next to its note, we have to
1378 meddle with the interface associated with this positioning. This is
1379 done using @code{side-position-interface}. The page for this interface
1383 @code{side-position-interface}
1385 Position a victim object (this one) next to other objects (the
1386 support). The property @code{direction} signifies where to put the
1387 victim object relative to the support (left or right, up or down?)
1392 below this description, the variable @code{padding} is described as
1396 (dimension, in staff space)
1398 add this much extra space between objects that are next to each
1403 By increasing the value of @code{padding}, we can move away the
1404 fingering. The following command inserts 3 staff spaces of white
1405 between the note and the fingering:
1407 \once \override Fingering #'padding = #3
1410 Inserting this command before the Fingering object is created,
1411 i.e. before @code{c2}, yields the following result:
1413 @lilypond[relative=2,fragment,verbatim]
1414 \once \override Fingering
1422 In this case, the context for this tweak is @context{Voice}, which
1423 does not have to be specified for @code{\override}. This fact can
1424 also be deduced from the program reference, for the page for the
1425 @internalsref{Fingering_engraver} plug-in says
1428 Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
1436 * Selecting font sizes::
1442 @node Selecting font sizes
1443 @subsection Selecting font sizes
1445 The most common thing to change about the appearance of fonts is their
1446 size. The font size of any context can be easily changed by setting
1447 the @code{fontSize} property for that context. Its value is a number:
1448 negative numbers make the font smaller, positive numbers larger. An
1449 example is given below:
1451 @lilypond[fragment,relative=1,verbatim]
1452 c4 c4 \set fontSize = #-3
1455 This command will set @code{font-size} (see below) in all layout
1456 objects in the current context. It does not change the size of
1457 variable symbols, such as beams or slurs.
1459 The font size is set by modifying the @code{font-size} property. Its
1460 value is a number indicating the size relative to the standard size.
1461 Each step up is an increase of approximately 12% of the font size. Six
1462 steps is exactly a factor two. The Scheme function @code{magstep}
1463 converts a @code{font-size} number to a scaling factor.
1465 LilyPond has fonts in different design sizes: the music fonts for
1466 smaller sizes are chubbier, while the text fonts are relatively wider.
1467 Font size changes are achieved by scaling the design size that is
1468 closest to the desired size.
1470 The @code{font-size} mechanism does not work for fonts selected
1471 through @code{font-name}. These may be scaled with
1472 @code{font-magnification}.
1475 One of the uses of @code{fontSize} is to get smaller symbols for cue
1476 notes. An elaborate example of those is in
1477 @inputfileref{input/test,cue-notes.ly}.
1480 @cindex @code{font-style}
1484 The following commands set @code{fontSize} for the current voice:
1486 @cindex @code{\tiny}
1488 @cindex @code{\small}
1490 @cindex @code{\normalsize}
1495 @cindex magnification
1499 @node Font selection
1500 @subsection Font selection
1502 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1503 can also be adjusted with a more fine-grained mechanism. By setting
1504 the object properties described below, you can select a different font;
1505 all three mechanisms work for every object that supports
1506 @code{font-interface}:
1510 @item @code{font-encoding}
1511 is a symbol that sets layout of the glyphs. Choices include @code{ec}
1512 for @TeX{} EC font encoding, @code{fetaBraces} (for piano staff
1513 braces), @code{fetaMusic} (the standard music font, including ancient
1514 glyphs), @code{fetaDynamic} (for dynamic signs) and @code{fetaNumber}
1515 for the number font.
1518 @item @code{font-family}
1519 is a symbol indicating the general class of the typeface. Supported are
1520 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
1522 @item @code{font-shape}
1523 is a symbol indicating the shape of the font, there are typically
1524 several font shapes available for each font family. Choices are
1525 @code{italic}, @code{caps}, and @code{upright}.
1527 @item @code{font-series}
1528 is a symbol indicating the series of the font. There are typically several
1529 font series for each font family and shape. Choices are @code{medium}
1534 Fonts selected in the way sketched above come from a predefined style
1537 The font used for printing a object can be selected by setting
1538 @code{font-name}, e.g.
1540 \override Staff.TimeSignature
1541 #'font-name = #"cmr17"
1545 Any font can be used, as long as it is available to @TeX{}. Possible
1546 fonts include foreign fonts or fonts that do not belong to the
1547 Computer Modern font family. The size of fonts selected in this way
1548 can be changed with the @code{font-magnification} property. For
1549 example, @code{2.0} blows up all letters by a factor 2 in both
1553 @cindex font magnification
1559 Init files: @file{ly/declarations-init.ly} contains hints how new
1560 fonts may be added to LilyPond.
1564 No style sheet is provided for other fonts besides the @TeX{}
1565 Computer Modern family.
1567 @cindex font selection
1568 @cindex font magnification
1569 @cindex @code{font-interface}
1573 @section Text markup
1578 @cindex typeset text
1580 LilyPond has an internal mechanism to typeset texts. You can access it
1581 with the keyword @code{\markup}. Within markup mode, you can enter texts
1582 similar to lyrics: simply enter them, surrounded by spaces:
1585 @lilypond[verbatim,fragment,relative=1]
1586 c1^\markup { hello }
1587 c1_\markup { hi there }
1588 c1^\markup { hi \bold there, is \italic anyone home? }
1591 @cindex font switching
1593 The markup in the example demonstrates font switching commands. The
1594 command @code{\bold} and @code{\italic} apply to the first following
1595 word only; enclose a set of texts with braces to apply a command
1598 \markup @{ \bold @{ hi there @} @}
1602 For clarity, you can also do this for single arguments, e.g.
1605 \markup { is \italic { anyone } home }
1608 @cindex font size, texts
1611 In markup mode you can compose expressions, similar to mathematical
1612 expressions, XML documents, and music expressions. The braces group
1613 notes into horizontal lines. Other types of lists also exist: you can
1614 stack expressions grouped with @code{<} and @code{>} vertically with
1615 the command @code{\column}. Similarly, @code{\center-align} aligns
1616 texts by their center lines:
1618 @lilypond[verbatim,fragment,relative=1]
1619 c1^\markup { \column < a bbbb c > }
1620 c1^\markup { \center-align < a bbbb c > }
1621 c1^\markup { \line < a b c > }
1625 Markups can be stored in variables, and these variables
1626 may be attached to notes, like
1628 allegro = \markup { \bold \large { Allegro } }
1629 { a^\allegro b c d }
1633 Some objects have alignment procedures of their own, which cancel out
1634 any effects of alignments applied to their markup arguments as a
1635 whole. For example, the @internalsref{RehearsalMark} is horizontally
1636 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1639 Similarly, for moving whole texts over notes with
1640 @code{\raise}, use the following trick:
1642 "" \raise #0.5 raised
1645 The text @code{raised} is now raised relative to the empty string
1646 @code{""} which is not visible. Alternatively, complete objects can
1647 be moved with layout properties such as @code{padding} and
1648 @code{extra-offset}.
1654 Init files: @file{scm/new-markup.scm}.
1659 Text layout is ultimately done by @TeX{}, which does kerning of
1660 letters. LilyPond does not account for kerning, so texts will be
1661 spaced slightly too wide.
1663 Syntax errors for markup mode are confusing.
1665 Markup texts cannot be used in the titling of the @code{\header}
1666 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1673 * Overview of text markup commands::
1677 @subsection Text encoding
1679 Texts can be entered in different encodings. The encoding of the
1680 file can be set with @code{\encoding}.
1686 This command may be placed anywhere in the input file. The current
1687 encoding is passed as an extra argument to @code{\markup} commands.
1689 If no @code{\encoding} has been specified, then the encoding is taken
1690 from the @code{\paper} block (or @code{\bookpaper}, if @code{\paper}
1691 does not specify encoding). The variable @code{inputencoding} may be
1692 set to a string or symbol specifying the encoding, eg.
1696 inputencoding = "latin1"
1700 There is a special encoding, called @code{TeX}. This encoding does not
1701 reencode text for the font used. Rather, it tries to guess the width
1702 of @TeX{} commands, such as @code{\"}. Strings encoded with @code{TeX}
1703 are passed to the output back-end verbatim.
1706 @cindex @code{\encoding}
1707 @cindex inputencoding
1708 @cindex @TeX{} commands in strings
1713 @node Overview of text markup commands
1714 @subsection Overview of text markup commands
1716 @include markup-commands.tely
1720 @section Global layout
1722 The global layout determined by three factors: the page layout, the
1723 line breaks, and the spacing. These all influence each other. The
1724 choice of spacing determines how densely each system of music is set,
1725 which influences where line breaks are chosen, and thus
1726 ultimately how many pages a piece of music takes. This section
1727 explains how to tune the algorithm for spacing.
1729 Globally spoken, this procedure happens in three steps: first,
1730 flexible distances (``springs'') are chosen, based on durations. All
1731 possible line breaking combination are tried, and the one with the
1732 best results --- a layout that has uniform density and requires as
1733 little stretching or cramping as possible --- is chosen.
1735 After spacing and linebreaking, the systems are distributed across
1736 pages, taking into account the size of the page, and the size of the
1742 * Setting global staff size::
1743 * Vertical spacing::
1744 * Horizontal spacing::
1746 * Line length and line breaking::
1754 @node Setting global staff size
1755 @subsection Setting global staff size
1757 @cindex font size, setting
1758 @cindex staff size, setting
1759 @cindex @code{paper} file
1761 The Feta font provides musical symbols at eight different
1762 sizes. Each font is tuned for a different staff size: at a smaller size
1763 the font becomes heavier, to match the relatively heavier staff lines.
1764 The recommended font sizes are listed in the following table:
1766 @multitable @columnfractions .25 .25 .25 .25
1769 @tab @b{staff height (pt)}
1770 @tab @b{staff height (mm)}
1812 @c modern rental material ?
1816 These fonts are available in any sizes. The context property
1817 @code{fontSize} and the layout property @code{staff-space} (in
1818 @internalsref{StaffSymbol}) can be used to tune size for individual
1819 staves. The size of individual staves are relative to the global size,
1820 which can be set in the following manner:
1823 #(set-global-staff-size 14)
1826 This sets the global default size to 14pt staff height, and scales all
1831 This manual: @ref{Selecting font sizes}.
1836 * Vertical spacing::
1837 * Horizontal spacing::
1842 @node Vertical spacing
1843 @subsection Vertical spacing
1845 @cindex vertical spacing
1846 @cindex distance between staves
1847 @cindex staff distance
1848 @cindex between staves, distance
1849 @cindex staves per page
1850 @cindex space between staves
1852 The height of each system is determined automatically by LilyPond, to
1853 keep systems from bumping into each other, some minimum distances are
1854 set. By changing these, you can put staves closer together, and thus
1855 put more systems onto one page.
1857 Normally staves are stacked vertically. To make
1858 staves maintain a distance, their vertical size is padded. This is
1859 done with the property @code{minimumVerticalExtent}. It takes a pair
1860 of numbers, so if you want to make it smaller from its, then you could
1863 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1865 This sets the vertical size of the current staff to 4 staff spaces on
1866 either side of the center staff line. The argument of
1867 @code{minimumVerticalExtent} is interpreted as an interval, where the
1868 center line is the 0, so the first number is generally negative. The
1869 staff can be made larger at the bottom by setting it to @code{(-6
1872 The piano staves are handled a little differently: to make cross-staff
1873 beaming work correctly, it is necessary that the distance between staves
1874 is fixed beforehand. This is also done with a
1875 @internalsref{VerticalAlignment} object, created in
1876 @internalsref{PianoStaff}. In this object the distance between the
1877 staves is fixed by setting @code{forced-distance}. If you want to
1878 override this, use a @code{\context} block as follows:
1883 \override VerticalAlignment #'forced-distance = #9
1888 This would bring the staves together at a distance of 9 staff spaces,
1889 measured from the center line of each staff.
1893 Internals: Vertical alignment of staves is handled by the
1894 @internalsref{VerticalAlignment} object.
1899 @node Horizontal spacing
1900 @subsection Horizontal Spacing
1902 The spacing engine translates differences in durations into
1903 stretchable distances (``springs'') of differing lengths. Longer
1904 durations get more space, shorter durations get less. The shortest
1905 durations get a fixed amount of space (which is controlled by
1906 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1907 The longer the duration, the more space it gets: doubling a
1908 duration adds a fixed amount (this amount is controlled by
1909 @code{spacing-increment}) of space to the note.
1911 For example, the following piece contains lots of half, quarter, and
1912 8th notes, the eighth note is followed by 1 note head width (NHW).
1913 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1914 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1918 Normally, @code{spacing-increment} is set to 1.2, which is the
1919 width of a note head, and @code{shortest-duration-space} is set to
1920 2.0, meaning that the shortest note gets 2 NHW of space. For normal
1921 notes, this space is always counted from the left edge of the symbol, so
1922 the shortest notes are generally followed by one NHW of space.
1924 If one would follow the above procedure exactly, then adding a single
1925 32th note to a score that uses 8th and 16th notes, would widen up the
1926 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1927 thus adding 1 NHW to every note. To prevent this, the
1928 shortest duration for spacing is not the shortest note in the score,
1929 but the most commonly found shortest note. Notes that are even
1930 shorter this are followed by a space that is proportional to their
1931 duration relative to the common shortest note. So if we were to add
1932 only a few 16th notes to the example above, they would be followed by
1935 @lilypond[fragment,verbatim,relative=2]
1936 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1939 The most common shortest duration is determined as follows: in every
1940 measure, the shortest duration is determined. The most common short
1941 duration, is taken as the basis for the spacing, with the stipulation
1942 that this shortest duration should always be equal to or shorter than
1943 1/8th note. The shortest duration is printed when you run lilypond
1944 with @code{--verbose}. These durations may also be customized. If you
1945 set the @code{common-shortest-duration} in
1946 @internalsref{SpacingSpanner}, then this sets the base duration for
1947 spacing. The maximum duration for this base (normally 1/8th), is set
1948 through @code{base-shortest-duration}.
1950 @cindex @code{common-shortest-duration}
1951 @cindex @code{base-shortest-duration}
1952 @cindex @code{stem-spacing-correction}
1953 @cindex @code{spacing}
1955 In the Introduction it was explained that stem directions influence
1956 spacing. This is controlled with @code{stem-spacing-correction}
1957 property in @internalsref{NoteSpacing}, which are generated for every
1958 @internalsref{Voice} context. The @code{StaffSpacing} object
1959 (generated at @internalsref{Staff} context) contains the same property
1960 for controlling the stem/bar line spacing. The following example
1961 shows these corrections, once with default settings, and once with
1962 exaggerated corrections:
1964 @lilypond[raggedright]
1968 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
1969 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
1975 @cindex SpacingSpanner, overriding properties
1977 Properties of the @internalsref{SpacingSpanner} must be overridden
1978 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1979 created before any property commands are interpreted.
1981 \paper @{ \context @{
1983 \override SpacingSpanner #'spacing-increment = #3.0
1990 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1991 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1992 @internalsref{SeparatingGroupSpanner}.
1996 Spacing is determined on a score wide basis. If you have a score that
1997 changes its character (measured in durations) halfway during the
1998 score, the part containing the longer durations will be spaced too
2001 There is no convenient mechanism to manually override spacing. The
2002 following work-around may be used to insert extra space into a score.
2004 \once \override Score.SeparationItem #'padding = #1
2007 No work-around exists for decreasing the amount of space.
2016 @subsection Line breaking
2019 @cindex breaking lines
2021 Line breaks are normally computed automatically. They are chosen such
2022 that lines look neither cramped nor loose, and that consecutive lines
2023 have similar density.
2025 Occasionally you might want to override the automatic breaks; you can
2026 do this by specifying @code{\break}. This will force a line break at
2027 this point. Line breaks can only occur at places where there are bar
2028 lines. If you want to have a line break where there is no bar line,
2029 you can force an invisible bar line by entering @code{\bar
2030 ""}. Similarly, @code{\noBreak} forbids a line break at a
2034 @cindex regular line breaks
2035 @cindex four bar music.
2037 For line breaks at regular intervals use @code{\break} separated by
2038 skips and repeated with @code{\repeat}:
2040 << \repeat unfold 7 @{
2041 s1 \noBreak s1 \noBreak
2042 s1 \noBreak s1 \break @}
2043 @emph{the real music}
2048 This makes the following 28 measures (assuming 4/4 time) be broken every
2049 4 measures, and only there.
2053 @code{\break}, and @code{\noBreak}.
2054 @cindex @code{\break}
2055 @cindex @code{\noBreak}
2059 Internals: @internalsref{BreakEvent}.
2061 @node Line length and line breaking
2062 @subsection Line length and line breaking
2065 @cindex breaking pages
2067 @cindex @code{indent}
2068 @cindex @code{linewidth}
2070 The most basic settings influencing the spacing are @code{indent} and
2071 @code{linewidth}. They are set in the @code{\paper} block. They
2072 control the indentation of the first line of music, and the lengths of
2075 If @code{raggedright} is set to true in the @code{\paper}
2076 block, then the lines are justified at their natural length. This
2077 useful for short fragments, and for checking how tight the natural
2081 @cindex vertical spacing
2083 The option @code{raggedlast} is similar to @code{raggedright}, but
2084 only affects the last line of the piece. No restrictions are put on
2085 that line. The result is similar to formatting paragraphs. In a
2086 paragraph, the last line simply takes its natural length.
2092 Titles are created for each @code{\score} block, and over a
2095 The contents of the titles are taken from the @code{\header} blocks.
2096 The header block for a book supports the following
2099 The title of the music. Centered on top of the first page.
2101 Subtitle, centered below the title.
2103 Name of the poet, left flushed below the subtitle.
2105 Name of the composer, right flushed below the subtitle.
2107 Meter string, left flushed below the poet.
2109 Name of the opus, right flushed below the composer.
2111 Name of the arranger, right flushed below the opus.
2113 Name of the instrument, centered below the arranger.
2115 To whom the piece is dedicated.
2117 Name of the piece, left flushed below the instrument.
2120 This is a demonstration of the fields available,
2126 subtitle = "(and (the) subtitle)"
2127 subsubtitle = "Sub sub title"
2129 composer = "Composer"
2130 texttranslator = "Text Translator"
2132 arranger = "Arranger"
2133 instrument = "Instrument"
2154 Different fonts may be selected for each element, by using a
2155 @code{\markup}, e.g.
2159 title = \markup { \italic { The italic title } }
2163 A more advanced option is to change the Scheme functions
2164 @code{make-book-title} and @code{make-score-title} functions, defined
2165 in the @code{\bookpaper} of the @code{\book} block. These functions
2166 create a block of titling, given the information in the
2167 @code{\header}. The init file @file{ly/titling.scm} shows how the
2168 default format is created, and it may be used as a template for
2182 @subsection Page breaking
2184 The default page breaking may be overriden by inserting
2185 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
2186 analogous to @code{\break} and @code{\noBreak}. They should be
2187 inserted with a bar line. These commands force and forbid a page-break
2190 Page breaks are computed by the @code{page-breaking} function in the
2191 @code{\bookpaper} block.
2195 @cindex @code{\pageBreak}
2197 @cindex @code{\noPageBreak}
2201 @subsection Paper size
2205 @cindex @code{papersize}
2207 To change the paper size, there are two commands,
2209 #(set-default-paper-size "a4")
2211 #(set-paper-size "a4")
2214 The second one sets the size of the @code{\paper} block that it is in.
2218 @subsection Page layout
2222 @cindex header, page
2223 @cindex footer, page
2225 LilyPond will do page layout, setting margins and adding headers and
2226 footers to each page.
2228 The default layout responds to the following settings in the
2229 @code{\bookpaper} block
2234 The width of the page
2236 The height of the page
2238 Margin between header and top of the page
2240 Margin between footer and bottom of the page
2242 Margin between the left side of the page and the beginning of the music.
2244 The length of the paper line.
2246 Distance between top-most music system and the page header
2248 Distance between bottom-most music system and the page footer
2250 If set to true, systems will not be spread across the page.
2251 @item raggedlastbottom
2252 If set to true, systems will not be spread to fill the last page.
2260 raggedlastbottom = ##t
2264 You can also define these values in scheme. In that case @code{mm},
2265 @code{in}, @code{pt} and @code{cm} are variables defined in
2266 @file{book-paper-defaults.ly} with values in millimeters. That's why the
2267 value has to be multiplied in the example above.
2271 #(define bottommargin (* 2 cm))
2278 The option rightmargin is defined but doesn't set the right margin
2279 yet. The value for the right margin has to be defined adjusting the
2280 values of the leftmargin and linewidth.
2282 The default page header puts the page number and the @code{instrument}
2283 field from the @code{\header} block on a line.
2291 The default footer is empty, except for the first page, where it the
2292 @code{copyright} field from @code{\header} is inserted, and the last
2293 page, where @code{tagline} from @code{\header} is added. The default
2294 tagline is ``Engraved by LilyPond (@var{version})''.
2296 The header and footer are created by the functions @code{make-footer}
2297 and @code{make-header}, defined in @code{\bookpaper}. The default
2298 implementations are in @file{scm/page-layout.scm}.
2300 The following settings influence the header and footer layout.
2303 @item printpagenumber
2304 this boolean controls whether a pagenumber is printed.
2309 The page layout itself is done by two functions:
2310 @code{page-music-height} and @code{page-make-stencil}. The former
2311 tells the line-breaking algorithm how much space can be spent on a
2312 page, the latter creates the actual page given the system to put on it.
2317 Examples: @inputfileref{input/test/,page-breaks.ly}