2 @node Changing defaults
3 @chapter Changing defaults
6 The purpose of LilyPond's design is to provide the finest output
7 quality as a default. Nevertheless, it may happen that you need to
8 change that default layout. The layout is controlled through a large
9 number of proverbial ``knobs and switches.'' This chapter does not
10 list each and every knob. Rather, it outlines what groups of controls
11 are available, and it explains how to lookup which knob to use for a
14 The controls are available for tuning are described in a separate
15 document, the @internalsref{Program reference} manual. This manual
16 lists all different variables, functions and options available in
17 LilyPond. It is available as a HTML document, which is available
18 @uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
19 but is also included with the LilyPond documentation package.
21 There are three areas where the default settings may be changed:
24 @item Output: changing the appearance of individual
25 objects. For example, changing stem directions, or the location of
28 @item Context: changing aspects of the translation from music events to
29 notation. For example, giving each staff a separate time signature.
31 @item Global layout: changing the appearance of the spacing, line
32 breaks and page dimensions.
35 Then, there are separate systems for typesetting text (like
36 @emph{ritardando}) and selecting different fonts. This chapter also
39 Internally, LilyPond uses Scheme (a LISP dialect) to provide
40 infrastructure. Overriding layout decisions in effect accesses the
41 program internals, so it is necessary to learn a (very small) subset
42 of Scheme. That is why this chapter starts with a short tutorial on
43 entering numbers, lists, strings and symbols in Scheme.
48 * Interpretation contexts::
57 @section Scheme tutorial
61 @cindex Scheme, in-line code
62 @cindex accessing Scheme
63 @cindex evaluating Scheme
66 LilyPond uses the Scheme programming language, both as part of the
67 input syntax, and as internal mechanism to glue together modules of
68 the program. This section is a very brief overview of entering data in
69 Scheme.@footnote{If you want to know more about Scheme, see
70 @uref{http://www.schemers.org}.}
72 The most basic thing of a language is data: numbers, character
73 strings, lists, etc. Here is a list of data types that are relevant to
78 Boolean values are True or False. The Scheme for True is @code{#t}
79 and False is @code{#f}.
81 Numbers are entered in the standard fashion,
82 @code{1} is the (integer) number one, while @code{-1.5} is a
83 floating point number (a non-integer number).
85 Strings are enclosed in double quotes,
90 Strings may span several lines
97 Quotation marks and newlines can also be added with so-called escape
98 sequences. The string @code{a said "b"} is entered as
103 Newlines and backslashes are escaped with @code{\n} and @code{\\}
108 In a music file, snippets of Scheme code are introduced with the hash
109 mark @code{#}. So, the previous examples translated in LilyPondese are
120 For the rest of this section, we will assume that the data is entered
121 in a music file, so we add @code{#}s everywhere.
123 Scheme can be used to do calculations. It uses @emph{prefix}
124 syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
132 The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
133 is @code{3}. Calculations may be nested: the result of a function may
134 be used for another calculation.
142 These calculations are examples of evaluations: an expression like
143 @code{(* 3 4)} is replaced by its value @code{12}. A similar thing
144 happens with variables. After defining a variable
150 variables can also be used in expressions, here
153 twentyFour = #(* 2 twelve)
156 the number 24 is stored in the variable @code{twentyFour}.
158 The @emph{name} of a variable is also an expression, similar to a
159 number or a string. It is entered as
165 The quote mark @code{'} prevents Scheme interpreter from substituting
166 @code{24} for the @code{twentyFour}. Instead, we get the name
169 This syntax will be used very frequently, since many of the layout
170 tweaks involve assigning (Scheme) values to internal variables, for
174 \override Stem #'thickness = #2.6
177 This instruction adjusts the appearance of stems. The value @code{2.6}
178 is put into a the @code{thickness} variable of a @code{Stem}
179 object. This makes stems almost twice as thick as their normal size.
180 To distinguish between variables defined in input files (like
181 @code{twentyFour} in the example above), and internal variables, we
182 will call the latter ``properties.'' So, the stem object has a
183 @code{thickness} property.
185 Two-dimensional offsets (X and Y coordinates) as well as object sizes
186 (intervals with a left and right point) are entered as @code{pairs}. A
187 pair@footnote{In Scheme terminology, the pair is called @code{cons},
188 and its two elements are called car and cdr respectively.} is entered
189 as @code{(first . second)}, and like symbols, they must be quoted,
192 \override TextScript #'extra-offset = #'(1 . 2)
195 This assigns the pair (1, 2) to @code{extra-offset} variable of the
196 TextScript object. This moves the object 1 staff space to the right,
199 The two elements of a pair may be arbitrary values, for example
204 #'("blah-blah" . 3.14159265)
207 A list is entered by enclosing its elements in parentheses, and adding
208 a quote. For example,
214 We have been using lists all along. A calculation, like @code{(+ 1
215 2)} is also a list (containing the symbol @code{+} and the numbers 1
216 and 2). 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 @node Interpretation contexts
233 @section Interpretation contexts
235 When music is printed, a lot of things notation elements must be added
236 to the input, which is often bare bones. For example, compare the
237 input and output of the following example
239 @lilypond[verbatim,relative=2]
243 The input is rather sparse, but in the output, bar lines, accidentals,
244 clef and time signature are added. LilyPond @emph{interprets} the
245 input. During this step, the musical information is inspected in time
246 order, similar to reading a score from left to right. While reading,
247 the program remembers where measure boundaries are, and what pitches
248 need explicit accidentals.
250 This is contextual information. and it can be present on several
251 levels. For example, the effect of an accidental is limited to a
252 single stave, while a bar line must be synchronized across the entire
253 score. To match this hierarchy, LilyPond's interpretation step is
254 hierarchical. There are interpretation contexts, like
255 @context{Voice}, Staff and Score, and each level can maintain its own
258 Full description of all available contexts is in the program
261 @internalsref{Contexts}
264 Translation @arrow{} Context.
267 @c [TODO: describe propagation]
271 * Creating contexts::
272 * Changing context properties on the fly ::
273 * Modifying context plug-ins::
274 * Layout tunings within contexts::
275 * Changing context default settings::
276 * Defining new contexts::
277 * Which properties to change::
280 @node Creating contexts
281 @subsection Creating contexts
283 For scores with only one voice and one staff, correct contexts are
284 created automatically. For more complex scores, it is necessary to
285 instantiate them by hand. There are three commands to do this.
287 The easiest command is @code{\new}, and it also the quickest to type.
288 It is prepended to a music expression, for example
291 \new @var{type} @var{music expression}
295 where @var{type} is a context name (like @code{Staff} or
296 @code{Voice}). This command creates a new context, and starts
297 interpreting @var{music expression} with that.
299 A practical application of @code{\new} is a score with many
300 staves. Each part that should be on its own staff, gets a @code{\new
303 @lilypond[verbatim,relative=2,raggedright]
304 << \new Staff { c4 c }
309 Like @code{\new}, the @code{\context} command also directs a music
310 expression to a context object, but gives the context an extra name. The
314 \context @var{type} = @var{id} @var{music}
317 This form will search for an existing context of type @var{type}
318 called @var{id}. If that context does not exist yet, it is created.
319 This is useful if the context referred to later on. For example, when
320 setting lyrics the melody is in a named context
323 \context Voice = "@b{tenor}" @var{music}
327 so the texts can be properly aligned to its notes,
330 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
335 Another possibility is funneling two different music expressions into
336 one context. In the following example, articulations and notes are
340 music = \notes { c4 c4 }
341 arts = \notes { s4-. s4-> }
344 They are combined by sending both to the same @context{Voice} context,
347 << \new Staff \context Voice = "A" \music
348 \context Voice = "A" \arts
351 @lilypond[raggedright]
352 music = \notes { c4 c4 }
353 arts = \notes { s4-. s4-> }
355 \notes \relative c'' << \new Staff \context Voice = "A" \music
356 \context Voice = "A" \arts
363 The third command for creating contexts is
365 \context @var{type} @var{music}
370 This is similar to @code{\context} with @code{= @var{id}}, but matches
371 any context of type @var{type}, regardless of its given name.
373 This variant is used with music expressions that can be interpreted at
374 several levels. For example, the @code{\applyoutput} command (see
375 @ref{Running a function on all layout objects}). Without an explicit
376 @code{\context}, it is usually is applied to @context{Voice}
379 \applyoutput #@var{function} % apply to Voice
382 To have it interpreted at @context{Score} or @context{Staff} level use
386 \context Score \applyoutput #@var{function}
387 \context Staff \applyoutput #@var{function}
391 @node Changing context properties on the fly
392 @subsection Changing context properties on the fly
394 Each context can have different @emph{properties}, variables contained
395 in that context. They can be changed during the interpretation step.
396 This is achieved by inserting the @code{\set} command in the music,
399 @code{\set } @var{context}@code{.}@var{prop}@code{ = #}@var{value}
403 @lilypond[verbatim,relative=2]
405 \set Score.skipBars = ##t
409 This command skips measures that have no notes. The result is that
410 multi rests are condensed. The value assigned is a Scheme object. In
411 this case, it is @code{#t}, the boolean True value.
413 If the @var{context} argument is left out, then the current bottom-most
414 context (typically @context{ChordNames}, @context{Voice} or
415 @context{Lyrics}) is used. In this example,
417 @lilypond[verbatim,relative=2]
419 \set autoBeaming = ##f
424 the @var{context} argument to @code{\set} is left out, and the current
425 @internalsref{Voice} is used.
427 Contexts are hierarchical, so if a bigger context was specified, for
428 example @context{Staff}, then the change would also apply to all
429 @context{Voice}s in the current stave. The change is applied
430 `on-the-fly', during the music, so that the setting only affects the
431 second group of eighth notes.
433 There is also an @code{\unset} command,
435 @code{\set }@var{context}@code{.}@var{prop}
439 which removes the definition of @var{prop}. This command only removes
440 the definition if it is set in @var{context}. In
443 \set Staff.autoBeaming = ##f
444 \unset Voice.autoBeaming
448 the current @context{Voice} does not have the property, and the
449 definition at @context{Staff} level remains intact. Like @code{\set},
450 the @var{context} argument does not have to be specified for a bottom
453 Settings that should only apply to a single time-step can be entered
454 easily with @code{\once}, for example in
456 @lilypond[verbatim,relative=2]
458 \once \set fontSize = #4.7
463 the property @code{fontSize} is unset automatically after the second
466 A full description of all available context properties is in the
467 program reference, see
469 @internalsref{Tunable-context-properties}.
472 Translation @arrow{} Tunable context properties.
476 @node Modifying context plug-ins
477 @subsection Modifying context plug-ins
479 Notation contexts (like Score and Staff) not only store properties,
480 they also contain plug-ins, called ``engravers'' that create notation
481 elements. For example, the Voice context contains a
482 @code{Note_head_engraver} and the Staff context contains a
483 @code{Key_signature_engraver}.
485 For a full a description of each plug-in, see
487 @internalsref{Engravers}
490 Program reference @arrow Translation @arrow{} Engravers.
492 Every context described in
494 @internalsref{Contexts}
497 Program reference @arrow Translation @arrow{} Context.
499 lists the engravers used for that context.
502 It can be useful to shuffle around these plug-ins. This is done by
503 starting a new context, with @code{\new} or @code{\context}, and
504 modifying it like this,
507 \new @var{context} \with @{
517 where the @dots{} should be the name of an engraver. Here is a simple
518 example which removes @code{Time_signature_engraver} and
519 @code{Clef_engraver} from a @code{Staff} context,
521 @lilypond[relative=1, verbatim]
526 \remove "Time_signature_engraver"
527 \remove "Clef_engraver"
534 In the second stave there are no time signature or clef symbols. This
535 is a rather crude method of making objects disappear, it will affect
536 the entire staff. The spacing will be adversely influenced too. A more
537 sophisticated methods of blanking objects is shown in @ref{Common
540 The next example shows a practical application. Bar lines and time
541 signatures are normally synchronized across the score. This is done
542 by the @code{Timing_engraver}. This plug-in keeps an administration of
543 time signature, location within the measure, etc. By moving the
544 @code{Timing_engraver} engraver from Score to Staff context, we can
545 have score where each staff has its own time signature.
547 @cindex polymetric scores
550 @lilypond[relative=1,raggedright,verbatim]
552 \remove "Timing_engraver"
555 \consists "Timing_engraver"
561 \consists "Timing_engraver"
570 @node Layout tunings within contexts
571 @subsection Layout tunings within contexts
573 Each context is responsible for creating certain types of graphical
574 objects. The settings used for printing these objects are also stored by
575 context. By changing these settings, the appearance of objects can be
578 The syntax for this is
581 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
584 Here @var{name} is the name of a graphical object, like @code{Stem} or
585 @code{NoteHead}. @var{property} is an internal variable of the
586 formatting system (`grob property' or `layout property'). It is a
587 symbol, so it must be quoted. The subsection @ref{Constructing a
588 tweak} explains what to fill in for @var{name}, @var{property} and
589 @var{value}. Here we only discuss functionality of this command.
594 \override Staff.Stem #'thickness = #4.0
598 makes stems thicker (the default is 1.3, with staff line thickness as a
599 unit). Since the command specifies @context{Staff} as context, it only
600 applies to the current staff. Other staves will keep their normal
601 appearance. Here we see the command in action:
603 @lilypond[verbatim,relative=2]
605 \override Staff.Stem #'thickness = #4.0
611 The @code{\override} command is executed during the interpreting phase,
612 and changes the definition of the @code{Stem} within
613 @context{Staff}. After the command all stems are thickened.
615 Analogous to @code{\set}, the @var{context} argument may be left out,
616 causing it to default to @context{Voice} and adding @code{\once} applies
617 the change during only one timestep
619 @lilypond[verbatim,relative=2]
621 \once \override Stem #'thickness = #4.0
626 The @code{\override} must be done before the object is
627 started. Therefore, when altering @emph{Spanner} objects, like slurs or
628 beams, the @code{\override} command must be executed at the moment that
629 the object is created. In this example,
632 @lilypond[verbatim,relative=2]
633 \override Slur #'thickness = #3.0
635 \override Beam #'thickness = #0.6
640 the slur is fatter and the beam is not. This is because the command for
641 @code{Beam} comes after the Beam is started. Therefore it has no effect.
643 Analogous to @code{\unset}, the @code{\revert} command for a context
644 undoes a @code{\override} command; like with @code{\unset}, it only
645 affects settings that were made in the same context. In other words, the
646 @code{\revert} in the next example does not do anything.
649 \override Voice.Stem #'thickness = #4.0
650 \revert Staff.Stem #'thickness
658 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
659 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
660 @internalsref{All-layout-objects}.
665 The back-end is not very strict in type-checking object properties.
666 Cyclic references in Scheme values for properties can cause hangs
670 @node Changing context default settings
671 @subsection Changing context default settings
673 The adjustments of the previous chapters can also be entered separate
674 from the music, in the @code{\paper} block,
683 \override Stem #'thickness
684 \remove "Time_signature_engraver"
695 takes the existing definition @context{Staff} from the identifier
696 @code{StaffContext}. This works analogously other contexts, so the
697 existing definition of @code{Voice} is in
698 @code{\VoiceContext}.
703 \override Stem #'thickness
704 \remove "Time_signature_engraver"
708 affect all staves in the score.
710 The @code{\set} keyword is optional within the @code{\paper} block, so
723 It is not possible to collect changes in a variable, and apply them to
724 one @code{\context} definition by referencing that variable.
727 @node Defining new contexts
728 @subsection Defining new contexts
730 Specific contexts, like @context{Staff} and @code{Voice} are made of
731 simple building blocks, and it is possible to compose engraver
732 plug-ins in different combinations, thereby creating new types of
735 The next example shows how to build a different type of
736 @context{Voice} context from scratch. It will be similar to
737 @code{Voice}, but print centered slash noteheads only. It can be used
738 to indicate improvisation in Jazz pieces,
740 @lilypond[raggedright]
743 \type "Engraver_group_engraver"
744 \consists "Note_heads_engraver"
745 \consists "Text_engraver"
746 \consists Pitch_squash_engraver
747 squashedPosition = #0
748 \override NoteHead #'style = #'slash
749 \override Stem #'transparent = ##t
752 \context { \StaffContext
753 \accepts "ImproVoice"
755 \score { \notes \relative c'' {
756 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
757 c4 c^"undress" c_"while playing :)" c }
763 These settings are again done within a @code{\context} block inside a
774 In the following discussion, the example input shown should go on the
775 @dots{} of the previous fragment.
777 First, name the context gets a name. Instead of @context{Voice} it
778 will be called @context{ImproVoice},
784 Since it is similar to the @context{Voice}, we want commands that work
785 on (existing) @context{Voice}s to remain working. This is achieved by
786 giving the new context an alias @context{Voice},
792 The context will print notes, and instructive texts
795 \consists Note_heads_engraver
796 \consists Text_engraver
799 but only on the center line,
802 \consists Pitch_squash_engraver
803 squashedPosition = #0
806 The @internalsref{Pitch_squash_engraver} modifies note heads (created
807 by @internalsref{Note_heads_engraver}) and sets their vertical
808 position to the value of @code{squashedPosition}, in this case
809 @code{0}, the center line.
811 The notes look like a slash, without a stem,
814 \override NoteHead #'style = #'slash
815 \override Stem #'transparent = ##t
819 All these plug-ins have to cooperate, and this is achieved with a
820 special plug-in, which must be marked with the keyword @code{\type}.
821 This should always be @internalsref{Engraver_group_engraver},
824 \type "Engraver_group_engraver"
832 \type "Engraver_group_engraver"
833 \consists "Note_heads_engraver"
834 \consists "Text_script_engraver"
835 \consists Pitch_squash_engraver
836 squashedPosition = #0
837 \override NoteHead #'style = #'slash
838 \override Stem #'transparent = ##t
843 Contexts form hierarchies. We want to hang the @context{ImproVoice}
844 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
845 modify the @code{Staff} definition with the @code{\accepts}
846 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
847 which is sometimes when reusing existing context definitions. }
858 Putting both into a @code{\paper} block, like
868 \accepts "ImproVoice"
873 Then the output at the start of this subsection can be entered as
877 \notes \relative c'' {
882 c c_"while playing :)"
891 @node Which properties to change
892 @subsection Which properties to change
895 There are many different properties. Not all of them are listed in
896 this manual. However, the program reference lists them all in the
897 section @internalsref{Context-properties}, and most properties are
898 demonstrated in one of the
900 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
909 @section Tuning output
911 In the previous section, we have already touched on a command that
912 changes layout details, the @code{\override} command. In this section,
913 we will look at in more detail how to use the command in practice.
914 First, we will give a a few versatile commands, which are sufficient
915 for many situations. The next section will discuss general use of
920 -nmost adjustments simply
927 There are situations where default layout decisions are not
928 sufficient. In this section we discuss ways to override these
931 Formatting is internally done by manipulating so called objects
932 (graphic objects). Each object carries with it a set of properties
933 (object or layout properties) specific to that object. For example, a
934 stem object has properties that specify its direction, length and
937 The most direct way of tuning the output is by altering the values of
938 these properties. There are two ways of doing that: first, you can
939 temporarily change the definition of one type of object, thus
940 affecting a whole set of objects. Second, you can select one specific
941 object, and set a layout property in that object.
943 Do not confuse layout properties with translation
944 properties. Translation properties always use a mixed caps style
945 naming, and are manipulated using @code{\set} and @code{\unset}:
947 \set Context.propertyName = @var{value}
950 Layout properties are use Scheme style variable naming, i.e. lower
951 case words separated with dashes. They are symbols, and should always
952 be quoted using @code{#'}. For example, this could be an imaginary
953 layout property name:
955 #'layout-property-name
961 * Constructing a tweak::
962 * Navigating the program reference::
963 * Layout interfaces::
964 * Determining the grob property::
970 @subsection Common tweaks
972 Some overrides are so common that predefined commands are provided as
973 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
974 commands are described in
978 @ref{Notation manual}, under the sections for slurs and stems
981 The exact tuning possibilities for each type of layout object are
982 documented in the program reference of the respective
983 object. However, many layout objects share properties, which can be
984 used to apply generic tweaks. We mention a couple of these:
987 @item The @code{extra-offset} property, which
988 @cindex @code{extra-offset}
989 has a pair of numbers as value, moves around objects in the printout.
990 The first number controls left-right movement; a positive number will
991 move the object to the right. The second number controls up-down
992 movement; a positive number will move it higher. The units of these
993 offsets are staff-spaces. The @code{extra-offset} property is a
994 low-level feature: the formatting engine is completely oblivious to
997 In the following example, the second fingering is moved a little to
998 the left, and 1.8 staff space downwards:
1000 @cindex setting object properties
1002 @lilypond[relative=1,verbatim]
1005 \once \override Fingering
1006 #'extra-offset = #'(-0.3 . -1.8)
1011 Setting the @code{transparent} property will cause an object to be printed
1012 in `invisible ink': the object is not printed, but all its other
1013 behavior is retained. The object still takes up space, it takes part in
1014 collisions, and slurs, and ties and beams can be attached to it.
1016 @cindex transparent objects
1017 @cindex removing objects
1018 @cindex hiding objects
1019 @cindex invisible objects
1020 The following example demonstrates how to connect different voices
1021 using ties. Normally, ties only connect two notes in the same
1022 voice. By introducing a tie in a different voice,
1024 @lilypond[fragment,relative=2]
1033 and blanking a stem in that voice, the tie appears to cross voices:
1035 @lilypond[fragment,relative=2,verbatim]
1037 \once \override Stem #'transparent = ##t
1045 The @code{padding} property for objects with
1046 @cindex @code{padding}
1047 @code{side-position-interface} can be set to increase distance between
1048 symbols that are printed above or below notes. We only give an
1049 example; a more elaborate explanation is in @ref{Constructing a
1052 @lilypond[relative=1,verbatim]
1054 \override Script #'padding = #3
1060 More specific overrides are also possible. The following section
1061 discusses in depth how to figure out these statements for yourself.
1064 @node Constructing a tweak
1065 @subsection Constructing a tweak
1067 The general procedure of changing output, that is, entering
1071 \override Voice.Stem #'thickness = #3.0
1075 means that we have to determine these bits of information:
1078 @item The context, here: @context{Voice}.
1079 @item The layout object, here @code{Stem}.
1080 @item The layout property, here @code{thickness}
1081 @item A sensible value, here @code{3.0}
1085 @cindex internal documentation
1086 @cindex finding graphical objects
1087 @cindex graphical object descriptions
1089 @cindex @code{\override}
1091 @cindex internal documentation
1093 We demonstrate how to glean this information from the notation manual
1094 and the program reference.
1096 The program reference is a set of HTML pages, which is part of the
1097 documentation package. On Unix systems, it is is typically in
1098 @file{/usr/share/doc/lilypond}, if you have them, it is best to
1099 bookmark them in your webbrowser, because you will need them. They
1100 are also available on the web: go to the
1101 @uref{http://lilypond.org,LilyPond website}, click ``Documentation'',
1102 select the correct version, and then click ``Program reference.''
1104 If you have them, use the local HTML files. They will load faster,
1105 and they are exactly matched to LilyPond version installed.
1108 @node Navigating the program reference
1109 @subsection Navigating the program reference
1111 Suppose we want to move the fingering indication in the fragment
1114 @lilypond[relative=2,verbatim]
1120 If you visit the documentation of @code{Fingering} (in @ref{Fingering
1121 instructions}), you will notice that there is written:
1126 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
1130 This fragments points to two parts of the program reference: a page
1131 on @code{FingerEvent} and @code{Fingering}.
1133 The page on @code{FingerEvent} describes the properties of the music
1134 expression for the input @code{-2}. The page contains many links
1135 forward. For example, it says
1138 Accepted by: @internalsref{Fingering_engraver},
1142 That link brings us to the documentation for the Engraver, the
1146 This engraver creates the following layout objects: @internalsref{Fingering}.
1149 In other words, once the @code{FingerEvent}s are interpreted, the
1150 @code{Fingering_engraver} plug-in will process them.
1151 The @code{Fingering_engraver} is also listed to create
1152 @internalsref{Fingering} objects,
1155 Lo and behold, that is also the
1156 second bit of information listed under @b{See also} in the Notation
1157 manual. By clicking around in the program reference, we can follow the
1158 flow of information within the program, either forward (like we did
1159 here), or backwards, following links like this:
1163 @item @internalsref{Fingering}:
1164 @internalsref{Fingering} objects are created by:
1165 @b{@internalsref{Fingering_engraver}}
1167 @item @internalsref{Fingering_engraver}:
1168 Music types accepted: @b{@internalsref{fingering-event}}
1169 @item @internalsref{fingering-event}:
1170 Music event type @code{fingering-event} is in Music objects of type
1171 @b{@internalsref{FingerEvent}}
1174 This path goes against the flow of information in the program: it
1175 starts from the output, and ends at the input event.
1177 The program reference can also be browsed like a normal document. It
1178 contains a chapter on @internalsref{Music definitions}, on
1179 @internalsref{Translation}, and the @internalsref{Backend}. Every
1180 chapter lists all the definitions used, and all properties that may
1184 @node Layout interfaces
1185 @subsection Layout interfaces
1187 @internalsref{Fingering} is a layout object. Such an object is a
1188 symbol within the score. It has properties, which store numbers (like
1189 thicknesses and directions), but also pointers to related objects.
1190 A layout object is also called @emph{grob},
1192 which is short for Graphical Object.
1195 The page for @code{Fingering} lists the definitions for the
1196 @code{Fingering} object. For example, the page says
1199 @code{padding} (dimension, in staff space):
1204 which means that the number will be kept at a distance of at least 0.6
1208 Each layout object may have several functions as a notational or
1209 typographical element. For example, the Fingering object
1210 has the following aspects
1213 @item Its size is independent of the horizontal spacing, unlike slurs or beams
1215 @item It is a piece of text. Granted, it's usually a very short text.
1217 @item That piece of text is set in a font, unlike slurs or beams.
1218 @item Horizontally, the center of the symbol should be aligned to the
1219 center of the notehead
1220 @item Vertically, the symbol is placed next to the note and the staff.
1223 vertical position is also coordinated with other super and subscript
1227 Each of these aspects is captured in a so-called @emph{interface},
1228 which are listed on the @internalsref{Fingering} page at the bottom
1231 This object supports the following interfaces:
1232 @internalsref{item-interface},
1233 @internalsref{self-alignment-interface},
1234 @internalsref{side-position-interface}, @internalsref{text-interface},
1235 @internalsref{text-script-interface}, @internalsref{font-interface},
1236 @internalsref{finger-interface} and @internalsref{grob-interface}
1239 Clicking any of the links will take you to the page of the respective
1240 object interface. Each interface has a number of properties. Some of
1241 them are not user-serviceable (``Internal properties''), but others
1244 We have been talking of `the' @code{Fingering} object, but actually it
1245 does not amount to much. The initialization file
1246 @file{scm/define-grobs.scm} shows the soul of the `object',
1251 (print-function . ,Text_item::print)
1253 (staff-padding . 0.6)
1254 (self-alignment-X . 0)
1255 (self-alignment-Y . 0)
1256 (script-priority . 100)
1257 (font-encoding . number)
1259 (meta . ((interfaces . (finger-interface font-interface
1260 text-script-interface text-interface
1261 side-position-interface self-alignment-interface
1266 as you can see, @code{Fingering} is nothing more than a bunch of
1267 variable settings, and the webpage is directly generated from this
1270 @node Determining the grob property
1271 @subsection Determining the grob property
1274 Recall that we wanted to change the position of the @b{2} in
1276 @lilypond[relative=2,verbatim]
1282 Since the @b{2} is vertically positioned next to its note, we have to
1283 meddle with the interface associated with this positioning. This is
1284 done by @code{side-position-interface}. The page for this interface says
1287 @code{side-position-interface}
1289 Position a victim object (this one) next to other objects (the
1290 support). The property @code{direction} signifies where to put the
1291 victim object relative to the support (left or right, up or down?)
1296 below this description, the variable @code{padding} is described as
1300 (dimension, in staff space)
1302 add this much extra space between objects that are next to each
1307 By increasing the value of @code{padding}, we can move away the
1308 fingering. The following command inserts 3 staff spaces of white
1309 between the note and the fingering:
1311 \once \override Fingering #'padding = #3
1314 Inserting this command before the Fingering object is created,
1315 i.e. before @code{c2}, yields the following result:
1317 @lilypond[relative=2,fragment,verbatim]
1318 \once \override Fingering
1326 In this case, the context for this tweak is @context{Voice}, which
1327 does not have to be specified for @code{\override}. This fact can
1328 also be deduced from the program reference, for the page for the
1329 @internalsref{Fingering_engraver} plug-in says
1332 Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
1340 * Selecting font sizes::
1346 @node Selecting font sizes
1347 @subsection Selecting font sizes
1349 The most common thing to change about the appearance of fonts is their
1350 size. The font size of any context can be easily changed by setting
1351 the @code{fontSize} property for that context. Its value is a number:
1352 negative numbers make the font smaller, positive numbers larger. An
1353 example is given below:
1355 @lilypond[fragment,relative=1,verbatim]
1356 c4 c4 \set fontSize = #-3
1359 This command will set @code{font-size} (see below) in all layout
1360 objects in the current context. It does not change the size of
1361 variable symbols, such as beams or slurs.
1363 The font size is set by modifying the @code{font-size} property. Its
1364 value is a number indicating the size relative to the standard size.
1365 Each step up is an increase of approximately 12% of the font size. Six
1366 steps is exactly a factor two. The Scheme function @code{magstep}
1367 converts a @code{font-size} number to a scaling factor.
1369 LilyPond has fonts in different design sizes: the music fonts for
1370 smaller sizes are chubbier, while the text fonts are relatively wider.
1371 Font size changes are achieved by scaling the design size that is
1372 closest to the desired size.
1374 The @code{font-size} mechanism does not work for fonts selected
1375 through @code{font-name}. These may be scaled with
1376 @code{font-magnification}.
1379 One of the uses of @code{fontSize} is to get smaller symbols for cue
1380 notes. An elaborate example of those is in
1381 @inputfileref{input/test,cue-notes.ly}.
1383 @cindex @code{font-style}
1387 The following commands set @code{fontSize} for the current voice.
1389 @cindex @code{\tiny}
1391 @cindex @code{\small}
1393 @cindex @code{\normalsize}
1398 @cindex magnification
1402 @node Font selection
1403 @subsection Font selection
1405 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1406 can also be adjusted with a more fine-grained mechanism. By setting
1407 the object properties described below, you can select a different font;
1408 all three mechanisms work for every object that supports
1409 @code{font-interface}:
1413 @item @code{font-encoding}
1414 is a symbol that sets layout of the glyphs. Choices include
1415 @code{text} for normal text, @code{braces} (for piano staff braces),
1416 @code{music} (the standard music font, including ancient glyphs),
1417 @code{dynamic} (for dynamic signs) and @code{number} for the number
1421 @item @code{font-family}
1422 is a symbol indicating the general class of the typeface. Supported are
1423 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1425 @item @code{font-shape}
1426 is a symbol indicating the shape of the font, there are typically
1427 several font shapes available for each font family. Choices are
1428 @code{italic}, @code{caps} and @code{upright}.
1430 @item @code{font-series}
1431 is a symbol indicating the series of the font. There are typically several
1432 font series for each font family and shape. Choices are @code{medium}
1437 Fonts selected in the way sketched above come from a predefined style
1440 The font used for printing a object can be selected by setting
1441 @code{font-name}, e.g.
1443 \override Staff.TimeSignature
1444 #'font-name = #"cmr17"
1448 Any font can be used, as long as it is available to @TeX{}. Possible
1449 fonts include foreign fonts or fonts that do not belong to the
1450 Computer Modern font family. The size of fonts selected in this way
1451 can be changed with the @code{font-magnification} property. For
1452 example, @code{2.0} blows up all letters by a factor 2 in both
1456 @cindex font magnification
1462 Init files: @file{ly/declarations-init.ly} contains hints how new
1463 fonts may be added to LilyPond.
1467 No style sheet is provided for other fonts besides the @TeX{}
1468 Computer Modern family.
1470 @cindex font selection
1471 @cindex font magnification
1472 @cindex @code{font-interface}
1476 @section Text markup
1481 @cindex typeset text
1483 LilyPond has an internal mechanism to typeset texts. You can access it
1484 with the keyword @code{\markup}. Within markup mode, you can enter texts
1485 similar to lyrics: simply enter them, surrounded by spaces:
1488 @lilypond[verbatim,fragment,relative=1]
1489 c1^\markup { hello }
1490 c1_\markup { hi there }
1491 c1^\markup { hi \bold there, is \italic anyone home? }
1494 @cindex font switching
1496 The markup in the example demonstrates font switching commands. The
1497 command @code{\bold} and @code{\italic} only apply to the first
1498 following word; enclose a set of texts with braces to apply a command
1501 \markup @{ \bold @{ hi there @} @}
1505 For clarity, you can also do this for single arguments, e.g.
1508 \markup { is \italic { anyone } home }
1511 @cindex font size, texts
1514 In markup mode you can compose expressions, similar to mathematical
1515 expressions, XML documents and music expressions. The braces group
1516 notes into horizontal lines. Other types of lists also exist: you can
1517 stack expressions grouped with @code{<}, and @code{>} vertically with
1518 the command @code{\column}. Similarly, @code{\center-align} aligns
1519 texts by their center lines:
1521 @lilypond[verbatim,fragment,relative=1]
1522 c1^\markup { \column < a bbbb c > }
1523 c1^\markup { \center-align < a bbbb c > }
1524 c1^\markup { \line < a b c > }
1528 Markups can be stored in variables, and these variables
1529 may be attached to notes, like
1531 allegro = \markup { \bold \large { Allegro } }
1532 \notes { a^\allegro b c d }
1536 Some objects have alignment procedures of their own, which cancel out
1537 any effects of alignments applied to their markup arguments as a
1538 whole. For example, the @internalsref{RehearsalMark} is horizontally
1539 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1542 Similarly, for moving whole texts over notes with
1543 @code{\raise}, use the following trick:
1545 "" \raise #0.5 raised
1548 The text @code{raised} is now raised relative to the empty string
1549 @code{""} which is not visible. Alternatively, complete objects can
1550 be moved with layout properties such as @code{padding} and
1551 @code{extra-offset}.
1557 Init files: @file{scm/new-markup.scm}.
1562 Text layout is ultimately done by @TeX{}, which does kerning of
1563 letters. LilyPond does not account for kerning, so texts will be
1564 spaced slightly too wide.
1566 Syntax errors for markup mode are confusing.
1568 Markup texts cannot be used in the titling of the @code{\header}
1569 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1575 * Overview of text markup commands::
1578 @node Overview of text markup commands
1579 @subsection Overview of text markup commands
1581 @include markup-commands.tely
1585 @section Global layout
1587 The global layout determined by three factors: the page layout, the
1588 line breaks and the spacing. These all influence each other. The
1589 choice of spacing determines how densely each system of music is set,
1590 which influences where line breaks breaks are chosen, and thus
1591 ultimately how many pages a piece of music takes. This section
1592 explains how to tune the algorithm for spacing.
1594 Globally spoken, this procedure happens in three steps: first,
1595 flexible distances (``springs'') are chosen, based on durations. All
1596 possible line breaking combination are tried, and the one with the
1597 best results---a layout that has uniform density and requires as
1598 little stretching or cramping as possible---is chosen. When the score
1599 is processed by @TeX{}, each page is filled with systems, and page breaks
1600 are chosen whenever the page gets full.
1605 * Setting global staff size::
1606 * Vertical spacing::
1607 * Horizontal spacing::
1613 @node Setting global staff size
1614 @subsection Setting global staff size
1616 @cindex font size, setting
1617 @cindex staff size, setting
1618 @cindex @code{paper} file
1620 The Feta font provides musical symbols at eight different
1621 sizes. Each font is tuned for a different staff size: at smaller sizes
1622 the font gets heavier, to match the relatively heavier staff lines.
1623 The recommended font sizes are listed in the following table:
1625 @multitable @columnfractions .25 .25 .25 .25
1628 @tab @b{staff height (pt)}
1629 @tab @b{staff height (mm)}
1671 @c modern rental material ?
1675 These fonts are available in any sizes. The context property
1676 @code{fontSize} and the layout property @code{staff-space} (in
1677 @internalsref{StaffSymbol}) can be used to tune size for individual
1678 staves. The size of individual staves are relative to the global size,
1679 which can be set in the following manner:
1682 #(set-global-staff-size 14)
1685 This sets the global default size to 14pt staff height, and scales all
1690 This manual: @ref{Selecting font sizes}.
1695 * Vertical spacing::
1696 * Horizontal spacing::
1701 @node Vertical spacing
1702 @subsection Vertical spacing
1704 @cindex vertical spacing
1705 @cindex distance between staves
1706 @cindex staff distance
1707 @cindex between staves, distance
1708 @cindex staves per page
1709 @cindex space between staves
1711 The height of each system is determined automatically by LilyPond, to
1712 keep systems from bumping into each other, some minimum distances are
1713 set. By changing these, you can put staves closer together, and thus
1714 put more systems onto one page.
1716 Normally staves are stacked vertically. To make
1717 staves maintain a distance, their vertical size is padded. This is
1718 done with the property @code{minimumVerticalExtent}. It takes a pair
1719 of numbers, so if you want to make it smaller from its, then you could
1722 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1724 This sets the vertical size of the current staff to 4 staff spaces on
1725 either side of the center staff line. The argument of
1726 @code{minimumVerticalExtent} is interpreted as an interval, where the
1727 center line is the 0, so the first number is generally negative. The
1728 staff can be made larger at the bottom by setting it to @code{(-6
1731 The piano staves are handled a little differently: to make cross-staff
1732 beaming work correctly, it is necessary that the distance between staves
1733 is fixed beforehand. This is also done with a
1734 @internalsref{VerticalAlignment} object, created in
1735 @internalsref{PianoStaff}. In this object the distance between the
1736 staves is fixed by setting @code{forced-distance}. If you want to
1737 override this, use a @code{\context} block as follows:
1742 \override VerticalAlignment #'forced-distance = #9
1747 This would bring the staves together at a distance of 9 staff spaces,
1748 measured from the center line of each staff.
1752 Internals: Vertical alignment of staves is handled by the
1753 @internalsref{VerticalAlignment} object.
1758 @node Horizontal spacing
1759 @subsection Horizontal Spacing
1761 The spacing engine translates differences in durations into
1762 stretchable distances (``springs'') of differing lengths. Longer
1763 durations get more space, shorter durations get less. The shortest
1764 durations get a fixed amount of space (which is controlled by
1765 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1766 The longer the duration, the more space it gets: doubling a
1767 duration adds a fixed amount (this amount is controlled by
1768 @code{spacing-increment}) of space to the note.
1770 For example, the following piece contains lots of half, quarter and
1771 8th notes, the eighth note is followed by 1 note head width (NHW).
1772 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1773 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1777 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1778 width of a note head, and @code{shortest-duration-space} is set to
1779 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1780 @code{shortest-duration-space}) of space. For normal notes, this space
1781 is always counted from the left edge of the symbol, so the shortest
1782 notes are generally followed by one NHW of space.
1784 If one would follow the above procedure exactly, then adding a single
1785 32th note to a score that uses 8th and 16th notes, would widen up the
1786 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1787 thus adding 1 NHW to every note. To prevent this, the
1788 shortest duration for spacing is not the shortest note in the score,
1789 but the most commonly found shortest note. Notes that are even
1790 shorter this are followed by a space that is proportional to their
1791 duration relative to the common shortest note. So if we were to add
1792 only a few 16th notes to the example above, they would be followed by
1795 @lilypond[fragment,verbatim,relative=2]
1796 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1799 The most common shortest duration is determined as follows: in every
1800 measure, the shortest duration is determined. The most common short
1801 duration, is taken as the basis for the spacing, with the stipulation
1802 that this shortest duration should always be equal to or shorter than
1803 1/8th note. The shortest duration is printed when you run lilypond
1804 with @code{--verbose}. These durations may also be customized. If you
1805 set the @code{common-shortest-duration} in
1806 @internalsref{SpacingSpanner}, then this sets the base duration for
1807 spacing. The maximum duration for this base (normally 1/8th), is set
1808 through @code{base-shortest-duration}.
1810 @cindex @code{common-shortest-duration}
1811 @cindex @code{base-shortest-duration}
1812 @cindex @code{stem-spacing-correction}
1813 @cindex @code{spacing}
1815 In the introduction it was explained that stem directions influence
1816 spacing. This is controlled with @code{stem-spacing-correction}
1817 property in @internalsref{NoteSpacing}, which are generated for every
1818 @internalsref{Voice} context. The @code{StaffSpacing} object
1819 (generated at @internalsref{Staff} context) contains the same property
1820 for controlling the stem/bar line spacing. The following example
1821 shows these corrections, once with default settings, and once with
1822 exaggerated corrections:
1828 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
1829 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
1833 \paper { raggedright = ##t } }
1836 @cindex SpacingSpanner, overriding properties
1838 Properties of the @internalsref{SpacingSpanner} must be overridden
1839 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1840 created before any property commands are interpreted.
1842 \paper @{ \context @{
1844 \override SpacingSpanner #'spacing-increment = #3.0
1851 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1852 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1853 @internalsref{SeparatingGroupSpanner}.
1857 Spacing is determined on a score wide basis. If you have a score that
1858 changes its character (measured in durations) halfway during the
1859 score, the part containing the longer durations will be spaced too
1862 There is no convenient mechanism to manually override spacing.
1872 @subsection Line breaking
1875 @cindex breaking lines
1877 Line breaks are normally computed automatically. They are chosen such
1878 that lines look neither cramped nor loose, and that consecutive lines
1879 have similar density.
1881 Occasionally you might want to override the automatic breaks; you can
1882 do this by specifying @code{\break}. This will force a line break at
1883 this point. Line breaks can only occur at places where there are bar
1884 lines. If you want to have a line break where there is no bar line,
1885 you can force an invisible bar line by entering @code{\bar
1886 ""}. Similarly, @code{\noBreak} forbids a line break at a
1890 @cindex regular line breaks
1891 @cindex four bar music.
1893 For line breaks at regular intervals use @code{\break} separated by
1894 skips and repeated with @code{\repeat}:
1896 << \repeat unfold 7 @{
1897 s1 \noBreak s1 \noBreak
1898 s1 \noBreak s1 \break @}
1899 @emph{the real music}
1904 This makes the following 28 measures (assuming 4/4 time) be broken every
1905 4 measures, and only there.
1909 @code{\break}, @code{\noBreak}
1910 @cindex @code{\break}
1911 @cindex @code{\noBreak}
1915 Internals: @internalsref{BreakEvent}.
1919 @subsection Page layout
1922 @cindex breaking pages
1924 @cindex @code{indent}
1925 @cindex @code{linewidth}
1927 The most basic settings influencing the spacing are @code{indent} and
1928 @code{linewidth}. They are set in the @code{\paper} block. They
1929 control the indentation of the first line of music, and the lengths of
1932 If @code{raggedright} is set to true in the @code{\paper}
1933 block, then the lines are justified at their natural length. This
1934 useful for short fragments, and for checking how tight the natural
1938 @cindex vertical spacing
1940 The option @code{raggedlast} is similar to @code{raggedright}, but
1941 only affects the last line of the piece. No restrictions are put on
1942 that line. The result is similar to formatting paragraphs. In a
1943 paragraph, the last line simply takes its natural length.
1945 The page layout process happens outside the LilyPond formatting
1946 engine: variables controlling page layout are passed to the output,
1947 and are further interpreted by @code{lilypond} wrapper program. It
1948 responds to the following variables in the @code{\paper} block. The
1949 spacing between systems is controlled with @code{interscoreline}, its
1950 default is 16pt. The distance between the score lines will stretch in
1951 order to fill the full page @code{interscorelinefill} is set to a
1952 positive number. In that case @code{interscoreline} specifies the
1955 @cindex @code{textheight}
1956 @cindex @code{interscoreline}
1957 @cindex @code{interscorelinefill}
1959 If the variable @code{lastpagefill} is defined,
1960 @c fixme: this should only be done if lastpagefill= #t
1961 systems are evenly distributed vertically on the last page. This
1962 might produce ugly results in case there are not enough systems on the
1963 last page. The @command{lilypond-book} command ignores
1964 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1967 @cindex @code{lastpagefill}
1969 Page breaks are normally computed by @TeX{}, so they are not under
1970 direct control of LilyPond. However, you can insert a commands into
1971 the @file{.tex} output to instruct @TeX{} where to break pages. This
1972 is done by setting the @code{between-systems-strings} on the
1973 @internalsref{NonMusicalPaperColumn} where the system is broken.
1974 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1975 The predefined command @code{\newpage} also does this.
1979 @cindex @code{papersize}
1981 To change the paper size, there are two commands,
1983 #(set-default-paper-size "a4")
1985 #(set-paper-size "a4")
1988 The second one sets the size of the @code{\paper} block that it's in.
1992 @cindex @code{\newpage}
1998 In this manual: @ref{Invoking lilypond}.
2000 Examples: @inputfileref{input/regression,between-systems.ly}.
2002 Internals: @internalsref{NonMusicalPaperColumn}.
2006 LilyPond has no concept of page layout, which makes it difficult to
2007 reliably choose page breaks in longer pieces.
2012 @node Output details
2013 @section Output details
2015 The default output format is La@TeX{}, which should be run
2016 through La@TeX{}. Using the option @option{-f}
2017 (or @option{--format}) other output formats can be selected also, but
2018 none of them work reliably.
2020 Now the music is output system by system (a `system' consists of all
2021 staves belonging together). From @TeX{}'s point of view, a system is an
2022 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
2023 vertically on the baseline of the text. Between systems,
2024 @code{\interscoreline} is inserted vertically to have stretchable space.
2025 The horizontal dimension of the @code{\hbox} is given by the
2026 @code{linewidth} parameter from LilyPond's @code{\paper} block.
2028 After the last system LilyPond emits a stronger variant of
2029 @code{\interscoreline} only if the macro
2030 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
2031 to the top of the page). You can avoid that by setting the variable
2032 @code{lastpagefill} in LilyPond's @code{\paper} block.
2034 It is possible to fine-tune the vertical offset further by defining the
2035 macro @code{\lilypondscoreshift}:
2038 \def\lilypondscoreshift@{0.25\baselineskip@}
2042 where @code{\baselineskip} is the distance from one text line to the next.
2044 Here an example how to embed a small LilyPond file @code{foo.ly} into
2045 running La@TeX{} text without using the @code{lilypond-book} script
2046 (@pxref{lilypond-book manual}):
2049 \documentclass@{article@}
2051 \def\lilypondpaperlastpagefill@{@}
2053 \def\lilypondscoreshift@{0.25\baselineskip@}
2056 This is running text which includes an example music file
2062 The file @file{foo.tex} has been simply produced with
2068 The call to @code{\lineskip} assures that there is enough vertical space
2069 between the LilyPond box and the surrounding text lines.