1 @c -*- coding: latin-1; mode: texinfo; -*-
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
15 @cindex Program reference
17 The controls available for tuning are described in a separate
18 document, the @internalsref{Program reference} manual. That manual
19 lists all different variables, functions and options available in
20 LilyPond. It is written as a HTML document, which is available
21 @uref{http://@/lilypond@/.org/@/doc/@/Documentation/@/user/@/out@/-www/@/lilypond@/-internals/,on@/-line},
22 but is also included with the LilyPond documentation package.
24 There are three areas where the default settings may be changed:
28 Output: changing the appearance of individual
29 objects. For example, changing stem directions or the location of
33 Context: changing aspects of the translation from music events to
34 notation. For example, giving each staff a separate time signature.
37 Global layout: changing the appearance of the spacing, line
38 breaks, and page dimensions.
41 Then there are separate systems for typesetting text (like
42 @emph{ritardando}) and selecting different fonts. This chapter also
45 Internally, LilyPond uses Scheme (a LISP dialect) to provide
46 infrastructure. Overriding layout decisions in effect accesses the
47 program internals, which requires Scheme input. Scheme elements are
48 introduced in a @code{.ly} file with the hash mark
49 @code{#}.@footnote{@ref{Scheme tutorial} contains a short tutorial
50 on entering numbers, lists, strings, and symbols in Scheme.}
54 * Interpretation contexts::
55 * The \override command::
63 @node Interpretation contexts
64 @section Interpretation contexts
66 When music is printed, a lot of notational elements must be added to the
67 input, which is often bare bones. For example, compare the input and
68 output of the following example:
70 @lilypond[quote,verbatim,relative=2,fragment]
74 The input is rather sparse, but in the output, bar lines, accidentals,
75 clef, and time signature are added. LilyPond @emph{interprets} the
76 input. During this step, the musical information is inspected in time
77 order, similar to reading a score from left to right. While reading,
78 the input, the program remembers where measure boundaries are, and what
79 pitches need explicit accidentals. This information can be presented on
80 several levels. For example, the effect of an accidental is limited
81 to a single staff, while a bar line must be synchronized across the
84 Within LilyPond, these rules and bits of information are grouped in
85 so-called Contexts. Examples of context are @context{Voice},
86 @context{Staff}, and @context{Score}. They are hierarchical, for
87 example, a @context{Staff} can contain many @context{Voice}s, and a
88 @context{Score} can contain many @context{Staff} contexts.
90 Each context has the responsibility for enforcing some notation rules,
91 creating some notation objects and maintaining the associated
92 properties. So, the synchronization of bar lines is handled at
93 @context{Score} context. The @context{Voice} may introduce an
94 accidental and then the @context{Staff} context maintains the rule to
95 show or suppress the accidental for the remainder of the measure.
97 For simple scores, contexts are created implicitly, and you need not
98 be aware of them. For larger pieces, such as piano music, they must be
99 created explicitly to make sure that you get as many staves as you
100 need, and that they are in the correct order. For typesetting pieces
101 with specialized notation, it can be useful to modify existing or
102 to define new contexts.
105 A complete description of all available contexts is in the program
108 @internalsref{Contexts}.
111 Translation @arrow{} Context.
114 @c [TODO: describe propagation]
118 * Creating contexts::
119 * Changing context properties on the fly::
120 * Modifying context plug-ins::
121 * Layout tunings within contexts::
122 * Changing context default settings::
123 * Defining new contexts::
126 @node Creating contexts
127 @subsection Creating contexts
129 For scores with only one voice and one staff, correct contexts are
130 created automatically. For more complex scores, it is necessary to
131 create them by hand. There are three commands that do this.
133 The easiest command is @code{\new}, and it also the quickest to type.
134 It is prepended to a music expression, for example
138 @cindex Context, creating
141 \new @var{type} @var{music expression}
145 where @var{type} is a context name (like @code{Staff} or
146 @code{Voice}). This command creates a new context, and starts
147 interpreting the @var{music expression} with that.
149 A practical application of @code{\new} is a score with many
150 staves. Each part that should be on its own staff, is preceded with
153 @lilypond[quote,verbatim,relative=2,raggedright,fragment]
154 << \new Staff { c4 c }
159 @cindex @code{\context}
161 Like @code{\new}, the @code{\context} command also directs a music
162 expression to a context object, but gives the context an extra name. The
166 \context @var{type} = @var{id} @var{music}
169 This form will search for an existing context of type @var{type}
170 called @var{id}. If that context does not exist yet, it is created.
171 This is useful if the context is referred to later on. For example, when
172 setting lyrics the melody is in a named context
175 \CONtext Voice = "@b{tenor}" @var{music}
179 so the texts can be properly aligned to its notes,
182 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
187 Another possibility is funneling two different music expressions into
188 one context. In the following example, articulations and notes are
193 arts = @{ s4-. s4-> @}
196 They are combined by sending both to the same @context{Voice} context,
199 << \new Staff \context Voice = "A" \music
200 \context Voice = "A" \arts
203 @lilypond[quote,raggedright]
207 \new Staff \context Voice = "A" \music
208 \context Voice = "A" \arts
212 With this mechanism, it is possible to define an Urtext (original
213 edition), with the option to put several distinct articulations on the
216 @cindex @code{\context}
217 @cindex creating contexts
219 The third command for creating contexts is
221 \context @var{type} @var{music}
226 This is similar to @code{\context} with @code{= @var{id}}, but matches
227 any context of type @var{type}, regardless of its given name.
229 This variant is used with music expressions that can be interpreted at
230 several levels. For example, the @code{\applyoutput} command (see
231 @ref{Running a function on all layout objects}). Without an explicit
232 @code{\context}, it is usually applied to @context{Voice}
235 \applyoutput #@var{function} % apply to Voice
238 To have it interpreted at the @context{Score} or @context{Staff} level use
242 \context Score \applyoutput #@var{function}
243 \context Staff \applyoutput #@var{function}
247 @node Changing context properties on the fly
248 @subsection Changing context properties on the fly
252 @cindex changing properties
254 Each context can have different @emph{properties}, variables contained
255 in that context. They can be changed during the interpretation step.
256 This is achieved by inserting the @code{\set} command in the music,
259 \set @var{context}.@var{prop} = #@var{value}
263 @lilypond[quote,verbatim,relative=2,fragment]
265 \set Score.skipBars = ##t
269 This command skips measures that have no notes. The result is that
270 multi-rests are condensed. The value assigned is a Scheme object. In
271 this case, it is @code{#t}, the boolean True value.
273 If the @var{context} argument is left out, then the current bottom-most
274 context (typically @context{ChordNames}, @context{Voice}, or
275 @context{Lyrics}) is used. In this example,
277 @lilypond[quote,verbatim,relative=2,fragment]
279 \set autoBeaming = ##f
284 the @var{context} argument to @code{\set} is left out, so automatic
285 beaming is switched off in the current @internalsref{Voice}. Note that
286 the bottom-most context does not always contain the property that you
287 wish to change -- for example, attempting to set the @code{skipBars}
288 property (of the bottom-most context, in this case @code{Voice}) will
291 @lilypond[quote,verbatim,relative=2,fragment]
297 Contexts are hierarchical, so if a bigger context was specified, for
298 example @context{Staff}, then the change would also apply to all
299 @context{Voice}s in the current stave. The change is applied
300 `on-the-fly', during the music, so that the setting only affects the
301 second group of eighth notes.
303 @cindex @code{\unset}
305 There is also an @code{\unset} command,
307 \unset @var{context}.@var{prop}
311 which removes the definition of @var{prop}. This command removes
312 the definition only if it is set in @var{context}, so
315 \set Staff.autoBeaming = ##f
319 introduces a property setting at @code{Staff} level. The setting also
320 applies to the current @code{Voice}. However,
323 \unset Voice.autoBeaming
327 does not have any effect. To cancel this setting, the @code{\unset}
328 must be specified on the same level as the original @code{\set}. In
329 other words, undoing the effect of @code{Staff.autoBeaming = ##f}
332 \unset Staff.autoBeaming
335 Like @code{\set}, the @var{context} argument does not have to be
336 specified for a bottom context, so the two statements
339 \set Voice.autoBeaming = ##t
340 \set autoBeaming = ##t
348 Settings that should only apply to a single time-step can be entered
349 with @code{\once}, for example in
351 @lilypond[quote,verbatim,relative=2,fragment]
353 \once \set fontSize = #4.7
358 the property @code{fontSize} is unset automatically after the second
361 A full description of all available context properties is in the
362 program reference, see
364 @internalsref{Tunable context properties}.
367 Translation @arrow{} Tunable context properties.
371 @node Modifying context plug-ins
372 @subsection Modifying context plug-ins
374 Notation contexts (like Score and Staff) not only store properties,
375 they also contain plug-ins, called ``engravers'' that create notation
376 elements. For example, the Voice context contains a
377 @code{Note_head_engraver} and the Staff context contains a
378 @code{Key_signature_engraver}.
380 For a full a description of each plug-in, see
382 @internalsref{Engravers}.
385 Program reference @arrow Translation @arrow{} Engravers.
387 Every context described in
389 @internalsref{Contexts}
392 Program reference @arrow Translation @arrow{} Context.
394 lists the engravers used for that context.
397 It can be useful to shuffle around these plug-ins. This is done by
398 starting a new context, with @code{\new} or @code{\context}, and
399 modifying it like this,
402 \new @var{context} \with @{
413 where the @dots{} should be the name of an engraver. Here is a simple
414 example which removes @code{Time_signature_engraver} and
415 @code{Clef_engraver} from a @code{Staff} context,
417 @lilypond[quote,relative=1,verbatim,fragment]
422 \remove "Time_signature_engraver"
423 \remove "Clef_engraver"
430 In the second staff there are no time signature or clef symbols. This
431 is a rather crude method of making objects disappear since it will affect
432 the entire staff. The spacing is adversely influenced too. A more
433 sophisticated method of blanking objects is shown in @ref{Common tweaks}.
435 The next example shows a practical application. Bar lines and time
436 signatures are normally synchronized across the score. This is done
437 by the @code{Timing_engraver}. This plug-in keeps an administration of
438 time signature, location within the measure, etc. By moving the
439 @code{Timing_engraver} engraver from @code{Score} to @code{Staff}
440 context, we can have a score where each staff has its own time
443 @cindex polymetric scores
444 @cindex Time signatures, multiple
446 @lilypond[quote,relative=1,raggedright,verbatim,fragment]
448 \remove "Timing_engraver"
451 \consists "Timing_engraver"
457 \consists "Timing_engraver"
466 @node Layout tunings within contexts
467 @subsection Layout tunings within contexts
469 Each context is responsible for creating certain types of graphical
470 objects. The settings used for printing these objects are also stored by
471 context. By changing these settings, the appearance of objects can be
474 The syntax for this is
477 \override @var{context}.@var{name} #'@var{property} = #@var{value}
480 Here @var{name} is the name of a graphical object, like @code{Stem} or
481 @code{NoteHead}, and @var{property} is an internal variable of the
482 formatting system (`grob property' or `layout property'). The latter is a
483 symbol, so it must be quoted. The subsection @ref{Constructing a
484 tweak} explains what to fill in for @var{name}, @var{property}, and
485 @var{value}. Here we only discuss the functionality of this command.
490 \override Staff.Stem #'thickness = #4.0
494 makes stems thicker (the default is 1.3, with staff line thickness as a
495 unit). Since the command specifies @context{Staff} as context, it only
496 applies to the current staff. Other staves will keep their normal
497 appearance. Here we see the command in action:
499 @lilypond[quote,verbatim,relative=2,fragment]
501 \override Staff.Stem #'thickness = #4.0
507 The @code{\override} command changes the definition of the @code{Stem}
508 within the current @context{Staff}. After the command is interpreted
509 all stems are thickened.
511 Analogous to @code{\set}, the @var{context} argument may be left out,
512 causing it to default to @context{Voice}, and adding @code{\once} applies
513 the change during one timestep only
515 @lilypond[quote,fragment,verbatim,relative=2]
517 \once \override Stem #'thickness = #4.0
522 The @code{\override} must be done before the object is
523 started. Therefore, when altering @emph{Spanner} objects, like slurs or
524 beams, the @code{\override} command must be executed at the moment when
525 the object is created. In this example,
528 @lilypond[quote,fragment,verbatim,relative=2]
529 \override Slur #'thickness = #3.0
531 \override Beam #'thickness = #0.6
536 the slur is fatter but the beam is not. This is because the command for
537 @code{Beam} comes after the Beam is started. Therefore it has no effect.
539 Analogous to @code{\unset}, the @code{\revert} command for a context
540 undoes an @code{\override} command; like with @code{\unset}, it only
541 affects settings that were made in the same context. In other words, the
542 @code{\revert} in the next example does not do anything.
545 \override Voice.Stem #'thickness = #4.0
546 \revert Staff.Stem #'thickness
554 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
555 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
556 @internalsref{All layout objects}.
561 The back-end is not very strict in type-checking object properties.
562 Cyclic references in Scheme values for properties can cause hangs
566 @node Changing context default settings
567 @subsection Changing context default settings
569 The adjustments of the previous subsections (@ref{Changing context
570 properties on the fly}, @ref{Modifying context plug-ins}, and
571 @ref{Layout tunings within contexts}) can also be entered separately
572 from the music, in the @code{\layout} block,
581 \override Stem #'thickness = #4.0
582 \remove "Time_signature_engraver"
593 takes the existing definition for context @context{Staff} from the
594 identifier @code{\Staff}.
599 \override Stem #'thickness = #4.0
600 \remove "Time_signature_engraver"
604 affect all staves in the score.
606 Other contexts can be modified analogously.
608 The @code{\set} keyword is optional within the @code{\layout} block, so
624 It is not possible to collect context changes in a variable, and apply
625 them to one @code{\context} definition by referring to that variable.
627 The @code{\RemoveEmptyStaffContext} will override your current
628 @code{\Staff} variable. If you wish to change the defaults for a
629 staff that uses @code{\RemoveEmptyStaffContext}, you must do so
630 after calling @code{\RemoveemptyStaffContext}, ie
635 \RemoveEmptyStaffContext
637 \override Stem #'thickness = #4.0
643 @node Defining new contexts
644 @subsection Defining new contexts
646 Specific contexts, like @context{Staff} and @code{Voice}, are made of
647 simple building blocks, and it is possible to compose engraver
648 plug-ins in different combinations, thereby creating new types of
651 The next example shows how to build a different type of
652 @context{Voice} context from scratch. It will be similar to
653 @code{Voice}, but prints centered slash noteheads only. It can be used
654 to indicate improvisation in Jazz pieces,
656 @lilypond[quote,raggedright]
659 \type "Engraver_group_engraver"
660 \consists "Note_heads_engraver"
661 \consists "Text_engraver"
662 \consists Pitch_squash_engraver
663 squashedPosition = #0
664 \override NoteHead #'style = #'slash
665 \override Stem #'transparent = ##t
669 \accepts "ImproVoice"
673 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
674 c4 c^"undress" c_"while playing :)" c }
680 These settings are again done within a @code{\context} block inside a
681 @code{\layout} block,
691 In the following discussion, the example input shown should go on the
692 @dots{} in the previous fragment.
694 First, the context gets a name. Instead of @context{Voice} it
695 will be called @context{ImproVoice},
701 Since it is similar to the @context{Voice}, we want commands that work
702 on (existing) @context{Voice}s to remain working. This is achieved by
703 giving the new context an alias @context{Voice},
709 The context will print notes, and instructive texts
712 \consists Note_heads_engraver
713 \consists Text_engraver
716 but only on the center line,
719 \consists Pitch_squash_engraver
720 squashedPosition = #0
723 The @internalsref{Pitch_squash_engraver} modifies note heads (created
724 by @internalsref{Note_heads_engraver}) and sets their vertical
725 position to the value of @code{squashedPosition}, in this case@tie{}@code{0},
728 The notes look like a slash, without a stem,
731 \override NoteHead #'style = #'slash
732 \override Stem #'transparent = ##t
736 All these plug-ins have to cooperate, and this is achieved with a
737 special plug-in, which must be marked with the keyword @code{\type}.
738 This should always be @internalsref{Engraver_group_engraver},
741 \type "Engraver_group_engraver"
749 \type "Engraver_group_engraver"
750 \consists "Note_heads_engraver"
751 \consists "Text_engraver"
752 \consists Pitch_squash_engraver
753 squashedPosition = #0
754 \override NoteHead #'style = #'slash
755 \override Stem #'transparent = ##t
760 Contexts form hierarchies. We want to hang the @context{ImproVoice}
761 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
762 modify the @code{Staff} definition with the @code{\accepts}
763 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
764 which is sometimes needed when reusing existing context definitions.}
775 Putting both into a @code{\layout} block, like
785 \accepts "ImproVoice"
790 Then the output at the start of this subsection can be entered as
798 c c_"while playing :)"
807 @node The \override command
808 @section The \override command
810 In the previous section, we have already touched on a command that
811 changes layout details: the @code{\override} command. In this section,
812 we will look in more detail at how to use the command in practice.
813 First, we will give a few versatile commands that are sufficient
814 for many situations. The next section will discuss the general use of
820 * Constructing a tweak::
821 * Navigating the program reference::
822 * Layout interfaces::
823 * Determining the grob property::
830 @subsection Common tweaks
832 @c Should we point at ly/property-init.ly ? -gp
833 Some overrides are so common that predefined commands are provided as
834 short-cuts, for example, @code{\slurUp} and @code{\stemDown}. These
835 commands are described in
839 @ref{Notation manual}, under the sections for slurs and stems
842 The exact tuning possibilities for each type of layout object are
843 documented in the program reference of the respective
844 object. However, many layout objects share properties, which can be
845 used to apply generic tweaks. We mention a few of these:
848 @item The @code{extra-offset} property, which
849 @cindex @code{extra-offset}
850 has a pair of numbers as value, moves objects around in the printout.
851 The first number controls left-right movement; a positive number will
852 move the object to the right. The second number controls up-down
853 movement; a positive number will move it higher. The units of these
854 offsets are staff-spaces. The @code{extra-offset} property is a
855 low-level feature: the formatting engine is completely oblivious to
858 In the following example, the second fingering is moved a little to
859 the left, and 1.8 staff space downwards:
861 @cindex setting object properties
863 @lilypond[quote,fragment,relative=1,verbatim]
866 \once \override Fingering
867 #'extra-offset = #'(-0.3 . -1.8)
872 Setting the @code{transparent} property will cause an object to be printed
873 in `invisible ink': the object is not printed, but all its other
874 behavior is retained. The object still takes up space, it takes part in
875 collisions, and slurs, ties, and beams can be attached to it.
877 @cindex transparent objects
878 @cindex removing objects
879 @cindex hiding objects
880 @cindex invisible objects
881 The following example demonstrates how to connect different voices
882 using ties. Normally, ties only connect two notes in the same
883 voice. By introducing a tie in a different voice,
885 @lilypond[quote,fragment,relative=2]
894 and blanking the first up-stem in that voice, the tie appears to cross
897 @lilypond[quote,fragment,relative=2,verbatim]
899 \once \override Stem #'transparent = ##t
907 The @code{padding} property for objects with
908 @cindex @code{padding}
909 @code{side-position-interface} can be set to increase the distance between
910 symbols that are printed above or below notes. We only give an
911 example; a more elaborate explanation is in @ref{Constructing a
914 @lilypond[quote,fragment,relative=1,verbatim]
916 \override Script #'padding = #3
922 More specific overrides are also possible. The next section
923 discusses in depth how to figure out these statements for yourself.
926 @node Constructing a tweak
927 @subsection Constructing a tweak
929 The general procedure of changing output, that is, entering
933 \override Voice.Stem #'thickness = #3.0
937 means that we have to determine these bits of information:
940 @item the context: here @context{Voice}.
941 @item the layout object: here @code{Stem}.
942 @item the layout property: here @code{thickness}
943 @item a sensible value: here @code{3.0}
947 @cindex internal documentation
948 @cindex finding graphical objects
949 @cindex graphical object descriptions
951 @cindex @code{\override}
952 @cindex internal documentation
954 We demonstrate how to glean this information from the notation manual
955 and the program reference.
957 @node Navigating the program reference
958 @subsection Navigating the program reference
960 Suppose we want to move the fingering indication in the fragment
963 @lilypond[quote,fragment,relative=2,verbatim]
969 If you visit the documentation on fingering instructions (in
970 @ref{Fingering instructions}), you will notice that there is written:
975 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
981 This fragment points to two parts of the program reference: a page
982 on @code{FingerEvent} and one on @code{Fingering}.
984 The page on @code{FingerEvent} describes the properties of the music
985 expression for the input @code{-2}. The page contains many links
986 forward. For example, it says
989 Accepted by: @internalsref{Fingering_engraver},
993 That link brings us to the documentation for the Engraver, the
997 This engraver creates the following layout objects: @internalsref{Fingering}.
1000 In other words, once the @code{FingerEvent}s are interpreted, the
1001 @code{Fingering_engraver} plug-in will process them.
1002 The @code{Fingering_engraver} is also listed to create
1003 @internalsref{Fingering} objects,
1006 Lo and behold, that is also the
1007 second bit of information listed under @b{See also} in the Notation
1008 manual. By clicking around in the program reference, we can follow the
1009 flow of information within the program, either forward (like we did
1010 here), or backwards, following links like this:
1014 @item @internalsref{Fingering}:
1015 @internalsref{Fingering} objects are created by:
1016 @b{@internalsref{Fingering_engraver}}
1018 @item @internalsref{Fingering_engraver}:
1019 Music types accepted: @b{@internalsref{fingering-event}}
1021 @item @internalsref{fingering-event}:
1022 Music event type @code{fingering-event} is in Music expressions named
1023 @b{@internalsref{FingerEvent}}
1026 This path goes against the flow of information in the program: it
1027 starts from the output, and ends at the input event.
1029 The program reference can also be browsed like a normal document. It
1030 contains a chapter on
1032 @internalsref{Music definitions},
1035 @code{Music definitions}
1037 on @internalsref{Translation}, and the @internalsref{Backend}. Every
1038 chapter lists all the definitions used, and all properties that may be
1042 @node Layout interfaces
1043 @subsection Layout interfaces
1045 @cindex interface, layout
1046 @cindex layout interface
1048 The HTML page that we found in the previous section, describes the
1049 layout object called @internalsref{Fingering}. Such an object is a
1050 symbol within the score. It has properties that store numbers (like
1051 thicknesses and directions), but also pointers to related objects. A
1052 layout object is also called @emph{grob},
1054 which is short for Graphical Object.
1057 The page for @code{Fingering} lists the definitions for the
1058 @code{Fingering} object. For example, the page says
1061 @code{padding} (dimension, in staff space):
1067 which means that the number will be kept at a distance of at least 0.6
1071 Each layout object may have several functions as a notational or
1072 typographical element. For example, the Fingering object
1073 has the following aspects
1077 Its size is independent of the horizontal spacing, unlike slurs or beams.
1080 It is a piece of text. Granted, it is usually a very short text.
1083 That piece of text is typeset with a font, unlike slurs or beams.
1086 Horizontally, the center of the symbol should be aligned to the
1087 center of the notehead.
1090 Vertically, the symbol is placed next to the note and the staff.
1093 The vertical position is also coordinated with other super- and subscript
1097 Each of these aspects is captured in so-called @emph{interface}s,
1098 which are listed on the @internalsref{Fingering} page at the bottom
1101 This object supports the following interfaces:
1102 @internalsref{item-interface},
1103 @internalsref{self-alignment-interface},
1104 @internalsref{side-position-interface}, @internalsref{text-interface},
1105 @internalsref{text-script-interface}, @internalsref{font-interface},
1106 @internalsref{finger-interface}, and @internalsref{grob-interface}.
1109 Clicking any of the links will take you to the page of the respective
1110 object interface. Each interface has a number of properties. Some of
1111 them are not user-serviceable (``Internal properties''), but others
1114 We have been talking of @emph{the} @code{Fingering} object, but actually it
1115 does not amount to much. The initialization file
1116 @file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
1120 . ((print-function . ,Text_interface::print)
1122 (staff-padding . 0.6)
1123 (self-alignment-X . 0)
1124 (self-alignment-Y . 0)
1125 (script-priority . 100)
1126 (font-encoding . number)
1128 (meta . ((interfaces . (finger-interface font-interface
1129 text-script-interface text-interface
1130 side-position-interface
1131 self-alignment-interface
1132 item-interface))))))
1136 As you can see, the @code{Fingering} object is nothing more than a
1137 bunch of variable settings, and the webpage in the Program Reference
1138 is directly generated from this definition.
1140 @node Determining the grob property
1141 @subsection Determining the grob property
1144 Recall that we wanted to change the position of the @b{2} in
1146 @lilypond[quote,fragment,relative=2,verbatim]
1152 Since the @b{2} is vertically positioned next to its note, we have to
1153 meddle with the interface associated with this positioning. This is
1154 done using @code{side-position-interface}. The page for this interface
1158 @code{side-position-interface}
1160 Position a victim object (this one) next to other objects (the
1161 support). The property @code{direction} signifies where to put the
1162 victim object relative to the support (left or right, up or down?)
1167 below this description, the variable @code{padding} is described as
1172 (dimension, in staff space)
1174 Add this much extra space between objects that are next to each other.
1178 By increasing the value of @code{padding}, we can move away the
1179 fingering. The following command inserts 3 staff spaces of white
1180 between the note and the fingering:
1182 \once \override Voice.Fingering #'padding = #3
1185 Inserting this command before the Fingering object is created,
1186 i.e., before @code{c2}, yields the following result:
1188 @lilypond[quote,relative=2,fragment,verbatim]
1189 \once \override Voice.Fingering #'padding = #3
1196 In this case, the context for this tweak is @context{Voice}. This
1197 fact can also be deduced from the program reference, for the page for
1198 the @internalsref{Fingering_engraver} plug-in says
1201 Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
1204 @node Difficult tweaks
1205 @subsection Difficult tweaks
1207 There are two classes of difficult adjustments. First, when there are
1208 several of the same objects at one point, and you want to adjust only
1209 one. For example, if you want to change only one note head in a chord.
1211 In this case, the @code{\applyoutput} function must be used. The
1212 next example defines a Scheme function @code{set-position-font-size}
1213 that sets the @code{font-size} property, but only
1214 on objects that have @internalsref{note-head-interface} and are at the
1217 @lilypond[quote,verbatim]
1218 #(define ((set-position-font-size pos size) grob origin current)
1220 ((interfaces (ly:grob-property grob 'interfaces))
1221 (position (ly:grob-property grob 'staff-position)))
1223 ; is this a note head?
1224 (memq 'note-head-interface interfaces)
1226 ; is the Y coordinate right?
1230 (set! (ly:grob-property grob 'font-size) size))))
1234 \applyoutput #(set-position-font-size -2 4)
1240 A similar technique can be used for accidentals. In that case, the
1241 function should check for @code{accidental-interface}.
1243 Another difficult adjustment is the appearance of spanner objects,
1244 such as slur and tie. Initially, only one of these objects is created,
1245 and they can be adjusted with the normal mechanism. However, in some
1246 cases the spanners cross line breaks. If this happens, these objects
1247 are cloned. A separate object is created for every system that it is
1248 in. These are clones of the original object and inherit all
1249 properties, including @code{\override}s.
1251 In other words, an @code{\override} always affects all pieces of a
1252 broken spanner. To change only one part of a spanner at a line break,
1253 it is necessary to hook into the formatting process. The
1254 @code{after-line-breaking-callback} property contains the Scheme procedure
1255 that is called after the line breaks have been determined, and layout
1256 objects have been split over different systems.
1258 In the following example, we define a procedure
1259 @code{my-callback}. This procedure
1263 determines if we have been split across line breaks
1265 if yes, retrieves all the split objects
1267 checks if we are the last of the split objects
1269 if yes, it sets @code{extra-offset}.
1272 This procedure is installed into @internalsref{Tie}, so the last part
1273 of the broken tie is translated up.
1276 @lilypond[quote,verbatim,raggedright]
1277 #(define (my-callback grob)
1279 ; have we been split?
1280 (orig (ly:grob-original grob))
1282 ; if yes, get the split pieces (our siblings)
1283 (siblings (if (ly:grob? orig)
1284 (ly:spanner-broken-into orig) '() )))
1286 (if (and (>= (length siblings) 2)
1287 (eq? (car (last-pair siblings)) grob))
1288 (ly:grob-set-property! grob 'extra-offset '(-2 . 5)))))
1291 \override Tie #'after-line-breaking-callback =
1298 When applying this trick, the new @code{after-line-breaking-callback}
1299 should also call the old @code{after-line-breaking-callback}, if there
1300 is one. For example, if using this with @code{Slur},
1301 @code{Slur::after_line_breaking} should also be called.
1306 This section details the ways that the font can be changed.
1309 * Selecting font sizes::
1315 @node Selecting font sizes
1316 @subsection Selecting font sizes
1319 The easiest method of setting the font size of any context, is by
1320 setting the @code{fontSize} property.
1322 @lilypond[quote,fragment,relative=1,verbatim]
1331 It does not change the size of variable symbols, such as beams or
1334 Internally, the @code{fontSize} context property will cause the
1335 @code{font-size} property to be set in all layout objects. The value
1336 of @code{font-size} is a number indicating the size relative to the
1337 standard size for the current staff height. Each step up is an
1338 increase of approximately 12% of the font size. Six steps is exactly a
1339 factor two. The Scheme function @code{magstep} converts a
1340 @code{font-size} number to a scaling factor.
1342 @lilypond[quote,fragment,relative=1,verbatim]
1344 \override NoteHead #'font-size = #-4
1346 \override NoteHead #'font-size = #3
1350 LilyPond has fonts in different design sizes. The music fonts for
1351 smaller sizes are chubbier, while the text fonts are relatively wider.
1352 Font size changes are achieved by scaling the design size that is
1353 closest to the desired size. The standard font size (for
1354 @code{font-size} equals 0), depends on the standard staff height. For
1355 a 20pt staff, a 10pt font is selected.
1357 The @code{font-size} mechanism does not work for fonts selected
1358 through @code{font-name}. These may be scaled with
1359 @code{font-magnification}. The @code{font-size} property can only be
1360 set on layout objects that use fonts; these are the ones supporting
1361 the @internalsref{font-interface} layout interface.
1365 The following commands set @code{fontSize} for the current voice:
1367 @cindex @code{\tiny}
1369 @cindex @code{\small}
1371 @cindex @code{\normalsize}
1376 @cindex magnification
1380 @node Font selection
1381 @subsection Font selection
1385 @cindex font selection
1386 @cindex font magnification
1387 @cindex @code{font-interface}
1389 By setting the object properties described below, you can select a
1390 font from the preconfigured font families. LilyPond has default
1391 support for the feta music fonts and @TeX{}'s Computer Modern text
1396 @item @code{font-encoding}
1397 is a symbol that sets layout of the glyphs. Choices include @code{ec}
1398 for @TeX{} EC font encoding, @code{fetaBraces} for piano staff
1399 braces, @code{fetaMusic} the standard music font, including ancient
1400 glyphs, @code{fetaDynamic} for dynamic signs and @code{fetaNumber}
1401 for the number font.
1403 @item @code{font-family}
1404 is a symbol indicating the general class of the typeface. Supported are
1405 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
1407 @item @code{font-shape}
1408 is a symbol indicating the shape of the font. There are typically
1409 several font shapes available for each font family. Choices are
1410 @code{italic}, @code{caps}, and @code{upright}.
1412 @item @code{font-series}
1413 is a symbol indicating the series of the font. There are typically
1414 several font series for each font family and shape. Choices are
1415 @code{medium} and @code{bold}.
1419 Fonts selected in the way sketched above come from a predefined style
1422 The font used for printing a object can be selected by setting
1423 @code{font-name}, e.g.,
1425 \override Staff.TimeSignature
1426 #'font-name = #"cmr17"
1430 Any font can be used, as long as it is available to @TeX{}. Possible
1431 fonts include foreign fonts or fonts that do not belong to the
1432 Computer Modern font family. The size of fonts selected in this way
1433 can be changed with the @code{font-magnification} property. For
1434 example, @code{2.0} blows up all letters by a factor 2 in both
1438 @cindex font magnification
1444 Init files: @file{ly/@/declarations@/-init@/.ly} contains hints how new
1445 fonts may be added to LilyPond.
1450 @section Text markup
1455 @cindex typeset text
1457 The internal mechanism to typeset texts is accessed with the keyword
1458 @code{\markup}. Within markup mode, you can enter texts similar to
1459 lyrics. They are simply entered, while commands use the backslash @code{\}.
1462 @lilypond[quote,verbatim,fragment,relative=1]
1463 c1^\markup { hello }
1464 c1_\markup { hi there }
1465 c1^\markup { hi \bold there, is \italic anyone home? }
1468 @cindex font switching
1470 The markup in the example demonstrates font switching commands. The
1471 command @code{\bold} and @code{\italic} apply to the first following
1472 word only; enclose a set of texts with braces to apply a command
1475 \markup @{ \bold @{ hi there @} @}
1479 For clarity, you can also do this for single arguments, e.g.,
1482 \markup @{ is \italic @{ anyone @} home @}
1485 @cindex font size, texts
1488 In markup mode you can compose expressions, similar to mathematical
1489 expressions, XML documents, and music expressions. You can stack
1490 expressions grouped vertically with the command @code{\column}.
1491 Similarly, @code{\center-align} aligns texts by their center lines:
1493 @lilypond[quote,verbatim,fragment,relative=1]
1494 c1^\markup { \column { a bbbb \line { c d } } }
1495 c1^\markup { \center-align { a bbbb c } }
1496 c1^\markup { \line { a b c } }
1500 Markups can be stored in variables and these variables
1501 may be attached to notes, like
1503 allegro = \markup @{ \bold \large @{ Allegro @} @}
1504 @{ a^\allegro b c d @}
1508 Some objects have alignment procedures of their own, which cancel out
1509 any effects of alignments applied to their markup arguments as a
1510 whole. For example, the @internalsref{RehearsalMark} is horizontally
1511 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1514 Similarly, for moving whole texts over notes with
1515 @code{\raise}, use the following trick:
1516 @lilypond[quote,verbatim]
1518 c'^\markup { \raise #0.5 not-raised }
1519 c'^\markup { "" \raise #0.5 raised }
1523 On the second note, the text @code{raised} is moved relative to the
1524 empty string @code{""} which is not visible. Alternatively, complete
1525 objects can be moved with layout properties such as @code{padding} and
1526 @code{extra-offset}.
1533 Init files: @file{scm/@/new@/-markup@/.scm}.
1538 Kerning or generation of ligatures is only done when the @TeX{}
1539 backend is used. In this case, LilyPond does not account for them so
1540 texts will be spaced slightly too wide.
1542 Syntax errors for markup mode are confusing.
1548 * Overview of text markup commands::
1549 * New dynamic marks::
1553 @subsection Text encoding
1555 [FIXME: OBSOLETE, use UTF8 for input files.]
1558 Texts can be entered in different encodings. The encoding of the
1559 file can be set with @code{\encoding}.
1565 This command may be placed anywhere in the input file. The current
1566 encoding is passed as an extra argument to @code{\markup} commands,
1567 and is passed similarly to lyric syllables.
1569 If no @code{\encoding} has been specified, then the encoding is taken
1570 from the @code{\layout} block (or @code{\paper}, if @code{\layout}
1571 does not specify encoding). The variable @code{inputencoding} may be
1572 set to a string or symbol specifying the encoding, e.g.,
1576 inputencoding = "latin1"
1580 Normal strings are unaffected by @code{\encoding}. This means that
1581 the following will usually not produce `Baßtuba' in the title.
1585 title = "Grazing cow"
1586 instrument = "Baßtuba"
1591 Rather, you should say
1593 instrument = \markup @{ Baßtuba @}
1597 or set @code{inputencoding} in the @code{\paper} block.
1599 There is a special encoding, called @code{TeX}. This encoding does not
1600 reencode text for the font used. Rather, it tries to guess the width
1601 of @TeX{} commands, such as @code{\"}. Strings encoded with @code{TeX}
1602 are passed to the output back-end verbatim.
1605 @cindex @code{\encoding}
1606 @cindex inputencoding
1607 @cindex @TeX{} commands in strings
1611 @subsection Nested scores
1613 It is possible to nest music inside markups, by adding a @code{\score}
1614 block to a markup expression. Such a score must contain a @code{\layout}
1617 @lilypond[quote,verbatim,raggedright]
1621 \relative { c4 d e f }
1631 @node Overview of text markup commands
1632 @subsection Overview of text markup commands
1634 The following commands can all be used inside @code{\markup @{ @}}.
1636 @include markup-commands.tely
1639 @node New dynamic marks
1640 @subsection New dynamic marks
1642 It is possible to print new dynamic marks or text that should be aligned
1643 with dynamics. Use @code{make-dynamic-script} to create these marks.
1645 @cindex make-dynamic-script
1647 @lilypond[quote,verbatim,raggedright]
1648 sfzp = #(make-dynamic-script "sfzp")
1654 @cindex Dynamics, editorial
1655 @cindex Dynamics, parenthesis
1657 It is also possible to print dynamics in round parenthesis or square
1658 brackets. These are often used for adding editorial dynamics.
1661 @li lypond[quote,verbatim,raggedright]
1663 rndf = \markup{ \center-align <{ \bold{\italic (} \dynamic f \bold{\italic )} }> }
1664 boxf = \markup{ \bracket { \dynamic f } }
1665 { c'1_\rndf c'1_\boxf }
1671 @section Global layout
1673 The global layout is determined by three factors: the page layout, the
1674 line breaks, and the spacing. These all influence each other. The
1675 choice of spacing determines how densely each system of music is set.
1676 This influences where line breaks are chosen, and thus ultimately, how
1677 many pages a piece of music takes.
1679 Globally spoken, this procedure happens in three steps: first,
1680 flexible distances (``springs'') are chosen, based on durations. All
1681 possible line breaking combinations are tried, and the one with the
1682 best results -- a layout that has uniform density and requires as
1683 little stretching or cramping as possible -- is chosen.
1685 After spacing and linebreaking, the systems are distributed across
1686 pages, taking into account the size of the page, and the size of the
1692 * Setting global staff size::
1695 * Vertical spacing::
1696 * Vertical spacing of piano staves::
1697 * Horizontal spacing::
1701 * Multiple movements::
1706 @node Setting global staff size
1707 @subsection Setting global staff size
1709 @cindex font size, setting
1710 @cindex staff size, setting
1711 @cindex @code{layout} file
1713 To set the global staff size, use @code{set-global-staff-size}.
1716 #(set-global-staff-size 14)
1720 This sets the global default size to 14pt staff height and scales all
1723 The Feta font provides musical symbols at eight different
1724 sizes. Each font is tuned for a different staff size: at a smaller size
1725 the font becomes heavier, to match the relatively heavier staff lines.
1726 The recommended font sizes are listed in the following table:
1729 @multitable @columnfractions .15 .2 .22 .2
1732 @tab @b{staff height (pt)}
1733 @tab @b{staff height (mm)}
1775 @c modern rental material?
1780 These fonts are available in any sizes. The context property
1781 @code{fontSize} and the layout property @code{staff-space} (in
1782 @internalsref{StaffSymbol}) can be used to tune the size for individual
1783 staves. The sizes of individual staves are relative to the global size.
1791 This manual: @ref{Selecting font sizes}.
1795 @subsection Paper size
1799 @cindex @code{papersize}
1801 To change the paper size, there are two equal commands,
1803 #(set-default-paper-size "a4")
1805 #(set-paper-size "a4")
1809 The first command sets the size of all pages. The second command sets the size
1810 of the pages that the @code{\paper} block applies to -- if the @code{\paper}
1811 block is at the top of the file, then it will apply to all pages. If the
1812 @code{\paper} block is inside a @code{\score}, then the paper size will only
1813 apply to that score.
1815 The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
1816 @code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
1821 If the symbol @code{landscape} is supplied as an argument to
1822 @code{set-default-paper-size}, the pages will be rotated by 90 degrees,
1823 and wider line widths will be set correspondingly.
1826 #(set-default-paper-size "a6" 'landscape)
1831 @subsection Page layout
1835 @cindex header, page
1836 @cindex footer, page
1838 LilyPond will do page layout, set margins, and add headers and
1839 footers to each page.
1841 The default layout responds to the following settings in the
1842 @code{\paper} block.
1848 @item firstpagenumber
1849 The value of the page number of the first page. Default is@tie{}1.
1851 @item printfirstpagenumber
1852 If set to true, will print the page number in the first page. Default is
1856 The width of the page.
1859 The height of the page.
1862 Margin between header and top of the page.
1865 Margin between footer and bottom of the page.
1868 Margin between the left side of the page and the beginning of the music.
1871 The length of the systems.
1874 Distance between the top-most music system and the page header.
1877 Distance between the bottom-most music system and the page footer.
1880 If set to true, systems will not be spread across the page.
1882 This should be set false for pieces that have only two or three
1883 systems per page, for example orchestral scores.
1885 @item raggedlastbottom
1886 If set to false, systems will be spread to fill the last page.
1888 Pieces that amply fill two pages or more should have this set to
1891 @item betweensystemspace
1892 This dimensions determines the distance between systems. It is the
1893 ideal distance between the center of the bottom staff of one system
1894 and the center of the top staff of the next system.
1896 Increasing this will provide a more even appearance of the page at the
1897 cost of using more vertical space.
1899 @item betweensystempadding
1900 This dimension is the minimum amount of white space that will always
1901 be present between the bottom-most symbol of one system, and the
1902 top-most of the next system.
1904 Increasing this will put systems whose bounding boxes almost touch
1907 @item aftertitlespace
1908 Amount of space between the title and the first system.
1910 @item beforetitlespace
1911 Amount of space between the last system of the previous piece and the
1914 @item betweentitlespace
1915 Amount of space between consecutive titles (e.g., the title of the
1916 book and the title of a piece).
1928 raggedlastbottom = ##t
1932 You can also define these values in Scheme. In that case @code{mm},
1933 @code{in}, @code{pt}, and @code{cm} are variables defined in
1934 @file{paper-defaults.ly} with values in millimeters. That's why the
1935 value has to be multiplied in the example
1939 #(define bottommargin (* 2 cm))
1946 The default footer is empty, except for the first page, where the
1947 @code{copyright} field from @code{\header} is inserted, and the last
1948 page, where @code{tagline} from @code{\header} is added. The default
1949 tagline is ``Engraved by LilyPond (@var{version})''.@footnote{Nicely
1950 printed parts are good PR for us, so please leave the tagline if you
1953 The header and footer are created by the functions @code{make-footer}
1954 and @code{make-header}, defined in @code{\paper}. The default
1955 implementations are in @file{scm/@/page@/-layout@/.scm}.
1957 The following settings influence the header and footer layout.
1961 @item printpagenumber
1962 this boolean controls whether a pagenumber is printed.
1966 The page layout itself is done by two functions in the
1967 @code{\paper} block, @code{page-music-height} and
1968 @code{page-make-stencil}. The former tells the line-breaking algorithm
1969 how much space can be spent on a page, the latter creates the actual
1970 page given the system to put on it.
1975 The option rightmargin is defined but doesn't set the right margin
1976 yet. The value for the right margin has to be defined adjusting the
1977 values of the leftmargin and linewidth.
1979 The default page header puts the page number and the @code{instrument}
1980 field from the @code{\header} block on a line.
1983 @node Vertical spacing
1984 @subsection Vertical spacing
1986 @cindex vertical spacing
1987 @cindex distance between staves
1988 @cindex staff distance
1989 @cindex between staves, distance
1990 @cindex staves per page
1991 @cindex space between staves
1993 The height of each system is determined automatically. To prevent
1994 systems from bumping into each other, some minimum distances are set.
1995 By changing these, you can put staves closer together, and thus put
1996 more systems onto one page.
1998 Normally staves are stacked vertically. To make staves maintain a
1999 distance, their vertical size is padded. This is done with the
2000 property @code{minimumVerticalExtent}. It takes a pair of numbers, so
2001 if you want to make it smaller than its default @code{#'(-4 . 4)},
2005 \set Staff.minimumVerticalExtent = #'(-3 . 3)
2009 This sets the vertical size of the current staff to 3 staff spaces on
2010 either side of the center staff line. The argument of
2011 @code{minimumVerticalExtent} is interpreted as an interval, where the
2012 center line is the 0, so the first number is generally negative. The
2013 staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
2015 To change the amount of space between systems, use
2016 @code{betweensystemspace}. A score with only one staff is still
2017 considered to have systems, so setting @code{betweensystemspace}
2018 will be much more useful than changing @code{minimumVerticalExtent}.
2022 betweensystemspace = 10\mm
2029 Internals: Vertical alignment of staves is handled by the
2030 @internalsref{VerticalAlignment} object.
2034 @code{minimumVerticalExtent} is syntactic sugar for setting
2035 @code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
2036 current context. It can only be changed score wide.
2041 @node Vertical spacing of piano staves
2042 @subsection Vertical spacing of piano staves
2044 The distance between staves of a @internalsref{PianoStaff} cannot be
2045 computed during formatting. Rather, to make cross-staff beaming work
2046 correctly, that distance has to be fixed beforehand.
2048 The distance of staves in a @code{PianoStaff} is set with the
2049 @code{forced-distance} property of the
2050 @internalsref{VerticalAlignment} object, created in
2051 @internalsref{PianoStaff}.
2053 It can be adjusted as follows
2055 \new PianoStaff \with @{
2056 \override VerticalAlignment #'forced-distance = #7
2063 This would bring the staves together at a distance of 7 staff spaces,
2064 measured from the center line of each staff.
2066 The difference is demonstrated in the following example,
2067 @lilypond[quote,verbatim]
2069 \new PianoStaff \with {
2070 \override VerticalAlignment #'forced-distance = #7
2086 @code{forced-distance} cannot be changed per system.
2089 @node Horizontal spacing
2090 @subsection Horizontal Spacing
2092 The spacing engine translates differences in durations into
2093 stretchable distances (``springs'') of differring lengths. Longer
2094 durations get more space, shorter durations get less. The shortest
2095 durations get a fixed amount of space (which is controlled by
2096 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
2097 The longer the duration, the more space it gets: doubling a
2098 duration adds a fixed amount (this amount is controlled by
2099 @code{spacing-increment}) of space to the note.
2101 For example, the following piece contains lots of half, quarter, and
2102 8th notes; the eighth note is followed by 1 note head width (NHW).
2103 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
2105 @lilypond[quote,fragment,verbatim,relative=1]
2106 c2 c4. c8 c4. c8 c4. c8 c8
2110 Normally, @code{spacing-increment} is set to 1.2 staff space, which is
2111 approximately the width of a note head, and
2112 @code{shortest-duration-space} is set to 2.0, meaning that the
2113 shortest note gets 2.4 staff space (2.0 times the
2114 @code{spacing-increment}) of horizontal space. This space is counted
2115 from the left edge of the symbol, so the shortest notes are generally
2116 followed by one NHW of space.
2118 If one would follow the above procedure exactly, then adding a single
2119 32nd note to a score that uses 8th and 16th notes, would widen up the
2120 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
2121 thus adding 1 NHW to every note. To prevent this, the shortest
2122 duration for spacing is not the shortest note in the score, but rather
2123 the one which occurs most frequently.
2126 The most common shortest duration is determined as follows: in every
2127 measure, the shortest duration is determined. The most common shortest
2128 duration is taken as the basis for the spacing, with the stipulation
2129 that this shortest duration should always be equal to or shorter than
2130 an 8th note. The shortest duration is printed when you run
2131 @code{lilypond} with the @code{--verbose} option.
2133 These durations may also be customized. If you set the
2134 @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
2135 this sets the base duration for spacing. The maximum duration for this
2136 base (normally an 8th), is set through @code{base-shortest-duration}.
2138 @cindex @code{common-shortest-duration}
2139 @cindex @code{base-shortest-duration}
2140 @cindex @code{stem-spacing-correction}
2141 @cindex @code{spacing}
2143 Notes that are even shorter than the common shortest note are
2144 followed by a space that is proportional to their duration relative to
2145 the common shortest note. So if we were to add only a few 16th notes
2146 to the example above, they would be followed by half a NHW:
2148 @lilypond[quote,fragment,verbatim,relative=2]
2149 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
2153 In the introduction (see @ref{Engraving}), it was explained that stem
2154 directions influence spacing. This is controlled with the
2155 @code{stem-spacing-correction} property in the
2156 @internalsref{NoteSpacing}, object. These are generated for every
2157 @internalsref{Voice} context. The @code{StaffSpacing} object
2158 (generated in @internalsref{Staff} context) contains the same property
2159 for controlling the stem/bar line spacing. The following example shows
2160 these corrections, once with default settings, and once with
2161 exaggerated corrections:
2163 @lilypond[quote,raggedright]
2167 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
2168 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
2177 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
2178 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
2179 @internalsref{SeparatingGroupSpanner}.
2183 Spacing is determined on a score wide basis. If you have a score that
2184 changes its character (measured in durations) halfway during the
2185 score, the part containing the longer durations will be spaced too
2188 There is no convenient mechanism to manually override spacing. The
2189 following work-around may be used to insert extra space into a score.
2191 \once \override Score.SeparationItem #'padding = #1
2194 No work-around exists for decreasing the amount of space.
2197 @subsection Line length
2200 @cindex breaking pages
2202 @cindex @code{indent}
2203 @cindex @code{linewidth}
2205 @c Although linewidth can be set in \layout, it should be set in paper
2206 @c block, to get page layout right.
2207 @c Setting indent in \paper block makes not much sense, but it works.
2209 @c Bit verbose and vague, use examples?
2210 The most basic settings influencing the spacing are @code{indent} and
2211 @code{linewidth}. They are set in the @code{\layout} block. They
2212 control the indentation of the first line of music, and the lengths of
2215 If @code{raggedright} is set to true in the @code{\layout} block, then
2216 the lines are justified at their natural length. This is useful for
2217 short fragments, and for checking how tight the natural spacing is.
2220 @cindex vertical spacing
2222 The option @code{raggedlast} is similar to @code{raggedright}, but
2223 only affects the last line of the piece. No restrictions are put on
2224 that line. The result is similar to formatting text paragraphs. In a
2225 paragraph, the last line simply takes its natural length.
2226 @c Note that for text there are several options for the last line.
2227 @c While Knuth TeX uses natural length, lead typesetters use the same
2228 @c stretch as the previous line. eTeX uses \lastlinefit to
2229 @c interpolate between both these solutions.
2232 @subsection Line breaking
2235 @cindex breaking lines
2237 Line breaks are normally computed automatically. They are chosen so
2238 that lines look neither cramped nor loose, and that consecutive lines
2239 have similar density.
2241 Occasionally you might want to override the automatic breaks; you can
2242 do this by specifying @code{\break}. This will force a line break at
2243 this point. Line breaks can only occur at places where there are bar
2244 lines. If you want to have a line break where there is no bar line,
2245 you can force an invisible bar line by entering @code{\bar
2246 ""}. Similarly, @code{\noBreak} forbids a line break at a
2250 @cindex regular line breaks
2251 @cindex four bar music.
2253 For line breaks at regular intervals use @code{\break} separated by
2254 skips and repeated with @code{\repeat}:
2256 << \repeat unfold 7 @{
2257 s1 \noBreak s1 \noBreak
2258 s1 \noBreak s1 \break @}
2259 @emph{the real music}
2264 This makes the following 28 measures (assuming 4/4 time) be broken every
2265 4 measures, and only there.
2269 @code{\break}, and @code{\noBreak}.
2270 @cindex @code{\break}
2271 @cindex @code{\noBreak}
2275 Internals: @internalsref{BreakEvent}.
2279 @subsection Page breaking
2281 The default page breaking may be overriden by inserting
2282 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
2283 analogous to @code{\break} and @code{\noBreak}. They should be
2284 inserted at a bar line. These commands force and forbid a page-break
2285 from happening. Of course, the @code{\pageBreak} command also forces
2288 Page breaks are computed by the @code{page-breaking} function in the
2289 @code{\paper} block.
2293 @cindex @code{\pageBreak}
2295 @cindex @code{\noPageBreak}
2299 @node Multiple movements
2300 @subsection Multiple movements
2302 @cindex bibliographic information
2305 @cindex Engraved by LilyPond
2307 A document may contain multiple pieces of music. Examples of these
2308 are an etude book, or an orchestral part with multiple movements.
2309 Each movement is entered with a @code{\score} block,
2317 The movements are combined together in a @code{\book} block, like
2331 The header for each piece of music can be put inside the @code{\score}
2332 block. The @code{piece} name from the header will be printed before
2333 each movement. The title for the entire book can be put inside the
2334 @code{\book}, but if it is not present, the @code{\header} which is at
2335 the top of the file is inserted.
2337 @cindex Engraved by LilyPond
2338 @cindex signature line
2343 title = "Eight miniatures"
2344 composer = "Igor Stravinsky"
2348 \header @{ piece = "Romanze" @}
2352 \header @{ piece = "Menuetto" @}
2358 @node Creating titles
2359 @subsection Creating titles
2361 Titles are created for each @code{\score} block, and over a
2364 The contents of the titles are taken from the @code{\header} blocks.
2365 The header block for a book supports the following
2368 The title of the music. Centered on top of the first page.
2371 Subtitle, centered below the title.
2374 Subsubtitle, centered below the subtitle.
2377 Name of the poet, flush-left below the subtitle.
2380 Name of the composer, flush-right below the subtitle.
2383 Meter string, flush-left below the poet.
2386 Name of the opus, flush-right below the composer.
2389 Name of the arranger, flush-right below the opus.
2392 Name of the instrument, centered below the arranger.
2395 To whom the piece is dedicated.
2398 Name of the piece, flush-left below the instrument.
2400 @cindex page breaks, forcing
2402 This forces the title to start on a new page.
2405 Here is a demonstration of the fields available,
2407 @lilypond[quote,verbatim,linewidth=11.0\cm]
2416 subtitle = "the subtitle,"
2417 subsubtitle = "and the sub sub title"
2419 composer = "Composer"
2420 texttranslator = "Text Translator"
2422 arranger = "Arranger"
2423 instrument = "Instrument"
2444 Different fonts may be selected for each element by using
2445 @code{\markup}, e.g.,
2449 title = \markup @{ \italic @{ The italic title @} @}
2453 A more advanced option is to change the definitions of the following
2454 variables in the @code{\paper} block. The init file
2455 @file{ly/titling-init.ly} lists the default layout.
2458 @item bookTitleMarkup
2459 This is the title put over an entire @code{\book} block. Typically,
2460 it has the composer and the title of the piece
2462 @item scoreTitleMarkup
2463 This is the title put over a @code{\score} block within a
2464 @code{\book}. Typically, it has the name of the movement (@code{piece}
2467 @item oddHeaderMarkup
2468 This is the page header for odd-numbered pages.
2470 @item evenHeaderMarkup
2471 This is the page header for even-numbered pages. If unspecified,
2472 the odd header is used instead.
2474 By default, headers are defined such that the page number is on the
2475 outside edge, and the instrument is centered.
2477 @item oddFooterMarkup
2478 This is the page footer for odd-numbered pages.
2480 @item evenFooterMarkup
2481 This is the page footer for even-numbered pages. If unspecified,
2482 the odd header is used instead.
2484 By default, the footer has the copyright notice on the first, and
2485 the tagline on the last page.
2495 The following definition will put the title flush left, and the
2496 composer flush right on a single line.
2500 bookTitleMarkup = \markup {
2502 \fromproperty #'header:title
2503 \fromproperty #'header:composer
2511 @node File structure
2512 @section File structure
2514 The major part of this manual is concerned with entering various
2515 forms of music in LilyPond. However, many music expressions are not
2516 valid input on their own, for example, a @code{.ly} file containing
2523 will result in a parsing error. Instead, music should be inside other
2524 expressions, which may be put in a file by themselves. Such
2525 expressions are called toplevel expressions. This section enumerates
2528 A @code{.ly} file contains any number of toplevel expressions, where a
2529 toplevel expression is one of the following
2533 An output definition, such as @code{\paper}, @code{\midi}, and
2534 @code{\layout}. Such a definition at the toplevel changes the default
2535 settings for the block entered.
2538 A @code{\header} block. This sets the global header block. This
2539 is the block containing the definitions for book-wide settings, like
2540 composer, title, etc.
2543 An @code{\addquote} statement. See @ref{Quoting other voices}
2544 for more information.
2547 A @code{\score} block. This score will be collected with other
2548 toplevel scores, and combined as a single @code{\book}.
2550 This behavior can be changed by setting the variable
2551 @code{toplevel-score-handler} at toplevel. The default handler is
2552 defined in the init file @file{scm/@/lily@/.scm}.
2555 A @code{\book} block logically combines multiple movements
2556 (i.e., multiple @code{\score} blocks) in one document. A number of
2557 @code{\scores} creates a single output file, where all movement are
2560 This behavior can be changed by setting the variable
2561 @code{toplevel-book-handler} at toplevel. The default handler is
2562 defined in the init file @file{scm/@/lily@/.scm}.
2564 @item A compound music expression, such as
2569 This will add the piece in a @code{\score} and format it in a
2570 single book together with all other toplevel @code{\score}s and music
2573 This behavior can be changed by setting the variable
2574 @code{toplevel-music-handler} at toplevel. The default handler is
2575 defined in the init file @file{scm/@/lily@/.scm}.
2577 @item An indentifier, such as
2579 foo = @{ c4 d e d @}
2582 This can be used later on in the file by entering @code{\foo}.
2586 The following example shows three things that may be entered at
2591 % movements are non-justified by default
2603 At any point in a file, any of the following lexical instructions can
2607 @item @code{\version}
2608 @item @code{\include}
2609 @item @code{\encoding}
2610 @item @code{\renameinput}