2 @node Changing defaults
3 @chapter Changing defaults
6 The purpose of LilyPond's design is to provide the finest output
7 quality as a default. Nevertheless, it may happen that you need to
8 change this default layout. The layout is controlled through a large
9 number of proverbial ``knobs and switches.'' This chapter does not
10 list each and every knob. Rather, it outlines what groups of controls
11 are available and explains how to lookup which knob to use for a
14 The controls available for tuning are described in a separate
15 document, the @internalsref{Program reference} manual. This manual
16 lists all different variables, functions and options available in
17 LilyPond. It is written as a HTML document, which is available
18 @uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
19 but is also included with the LilyPond documentation package.
21 There are three areas where the default settings may be changed:
24 @item Output: changing the appearance of individual
25 objects. For example, changing stem directions, or the location of
28 @item Context: changing aspects of the translation from music events to
29 notation. For example, giving each staff a separate time signature.
31 @item Global layout: changing the appearance of the spacing, line
32 breaks and page dimensions.
35 Then, there are separate systems for typesetting text (like
36 @emph{ritardando}) and selecting different fonts. This chapter also
39 Internally, LilyPond uses Scheme (a LISP dialect) to provide
40 infrastructure. Overriding layout decisions in effect accesses the
41 program internals, so it is necessary to learn a (very small) subset
42 of Scheme. That is why this chapter starts with a short tutorial on
43 entering numbers, lists, strings and symbols in Scheme.
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 LilyPond are
120 For the rest of this section, we will assume that the data is entered
121 in a music file, so we add @code{#}s everywhere.
123 Scheme can be used to do calculations. It uses @emph{prefix}
124 syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
132 The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
133 is @code{3}. Calculations may be nested; the result of a function may
134 be used for another calculation.
142 These calculations are examples of evaluations; an expression like
143 @code{(* 3 4)} is replaced by its value @code{12}. A similar thing
144 happens with variables. After defining a variable
150 variables can also be used in expressions, here
153 twentyFour = #(* 2 twelve)
156 the number 24 is stored in the variable @code{twentyFour}.
158 The @emph{name} of a variable is also an expression, similar to a
159 number or a string. It is entered as
165 The quote mark @code{'} prevents Scheme interpreter from substituting
166 @code{24} for the @code{twentyFour}. Instead, we get the name
169 This syntax will be used very frequently, since many of the layout
170 tweaks involve assigning (Scheme) values to internal variables, for
174 \override Stem #'thickness = #2.6
177 This instruction adjusts the appearance of stems. The value @code{2.6}
178 is put into a the @code{thickness} variable of a @code{Stem}
179 object. This makes stems almost twice as thick as their normal size.
180 To distinguish between variables defined in input files (like
181 @code{twentyFour} in the example above), and internal variables, we
182 will call the latter ``properties.'' So, the stem object has a
183 @code{thickness} property.
185 Two-dimensional offsets (X and Y coordinates) as well as object sizes
186 (intervals with a left and right point) are entered as @code{pairs}. A
187 pair@footnote{In Scheme terminology, the pair is called @code{cons},
188 and its two elements are called car and cdr respectively.} is entered
189 as @code{(first . second)} and, like symbols, they must be quoted,
192 \override TextScript #'extra-offset = #'(1 . 2)
195 This assigns the pair (1, 2) to @code{extra-offset} variable of the
196 TextScript object. This moves the object 1 staff space to the right,
199 The two elements of a pair may be arbitrary values, for example
204 #'("blah-blah" . 3.14159265)
207 A list is entered by enclosing its elements in parentheses, and adding
208 a quote. For example,
214 We have been using lists all along. A calculation, like @code{(+ 1
215 2)} is also a list (containing the symbol @code{+} and the numbers 1
216 and 2). Normally lists are interpreted as calculations, and the Scheme
217 interpreter substitutes the outcome of the calculation. To enter a
218 list, we stop evaluation. This is done by quoting the list with a
219 quote @code{'} symbol. For calculations, do not use a quote.
221 Inside a quoted list or pair, there is no need to quote anymore. The
222 following is a pair of symbols, a list of symbols and a list of lists
227 #'(staff clef key-signature)
232 @node Interpretation contexts
233 @section Interpretation contexts
235 When music is printed, a lot of notation elements must be added to the
236 input, which is often bare bones. For example, compare the input and
237 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. This information can be presented on
249 several levels. For example, the effect of an accidental is limited
250 to a single stave, while a bar line must be synchronized across the
253 Within LilyPond, these rules and bits of information are grouped in
254 so-called Contexts. Examples of context are @context{Voice},
255 @context{Staff}, and @context{Score}. They are hierarchical, for
256 example, a @context{Staff} can contain many @context{Voice}s, and a
257 @context{Score} can contain many @context{Staff} contexts.
259 Each context has the responsibility for enforcing some notation rules,
260 creating some notation objects and maintaining the associated
261 properties. So, the synchronization of bar lines is handled at
262 @context{Score} context. The @context{Voice} may introduce an
263 accidentals and then the @context{Staff} context maintains the rule to
264 show or suppress the accidental for the remainder of the measure.
266 For simple scores, contexts are created implicitly, and you need not
267 be aware of them. For larger pieces, such as piano music, they must be
268 created explicitly to make sure that you get as many staves as you
269 need, and that they are in the correct order. For typesetting pieces
270 with specialized notation, it can be useful to modify existing or
274 Full description of all available contexts is in the program
277 @internalsref{Contexts}.
280 Translation @arrow{} Context.
283 @c [TODO: describe propagation]
287 * Creating contexts::
288 * Changing context properties on the fly ::
289 * Modifying context plug-ins::
290 * Layout tunings within contexts::
291 * Changing context default settings::
292 * Defining new contexts::
293 * Which properties to change::
296 @node Creating contexts
297 @subsection Creating contexts
299 For scores with only one voice and one staff, correct contexts are
300 created automatically. For more complex scores, it is necessary to
301 create them by hand. There are three commands which do this.
303 The easiest command is @code{\new}, and it also the quickest to type.
304 It is prepended to a music expression, for example
307 \new @var{type} @var{music expression}
311 where @var{type} is a context name (like @code{Staff} or
312 @code{Voice}). This command creates a new context, and starts
313 interpreting @var{music expression} with that.
315 A practical application of @code{\new} is a score with many
316 staves. Each part that should be on its own staff, is preceded with
319 @lilypond[verbatim,relative=2,raggedright]
320 << \new Staff { c4 c }
325 Like @code{\new}, the @code{\context} command also directs a music
326 expression to a context object, but gives the context an extra name. The
330 \context @var{type} = @var{id} @var{music}
333 This form will search for an existing context of type @var{type}
334 called @var{id}. If that context does not exist yet, it is created.
335 This is useful if the context is referred to later on. For example, when
336 setting lyrics the melody is in a named context
339 \context Voice = "@b{tenor}" @var{music}
343 so the texts can be properly aligned to its notes,
346 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
351 Another possibility is funneling two different music expressions into
352 one context. In the following example, articulations and notes are
356 music = \notes { c4 c4 }
357 arts = \notes { s4-. s4-> }
360 They are combined by sending both to the same @context{Voice} context,
363 << \new Staff \context Voice = "A" \music
364 \context Voice = "A" \arts
367 @lilypond[raggedright]
368 music = \notes { c4 c4 }
369 arts = \notes { s4-. s4-> }
371 \notes \relative c'' << \new Staff \context Voice = "A" \music
372 \context Voice = "A" \arts
379 The third command for creating contexts is
381 \context @var{type} @var{music}
386 This is similar to @code{\context} with @code{= @var{id}}, but matches
387 any context of type @var{type}, regardless of its given name.
389 This variant is used with music expressions that can be interpreted at
390 several levels. For example, the @code{\applyoutput} command (see
391 @ref{Running a function on all layout objects}). Without an explicit
392 @code{\context}, it is usually is applied to @context{Voice}
395 \applyoutput #@var{function} % apply to Voice
398 To have it interpreted at the @context{Score} or @context{Staff} level use
402 \context Score \applyoutput #@var{function}
403 \context Staff \applyoutput #@var{function}
407 @node Changing context properties on the fly
408 @subsection Changing context properties on the fly
410 Each context can have different @emph{properties}, variables contained
411 in that context. They can be changed during the interpretation step.
412 This is achieved by inserting the @code{\set} command in the music,
415 @code{\set } @var{context}@code{.}@var{prop}@code{ = #}@var{value}
419 @lilypond[verbatim,relative=2]
421 \set Score.skipBars = ##t
425 This command skips measures that have no notes. The result is that
426 multi rests are condensed. The value assigned is a Scheme object. In
427 this case, it is @code{#t}, the boolean True value.
429 If the @var{context} argument is left out, then the current bottom-most
430 context (typically @context{ChordNames}, @context{Voice}, or
431 @context{Lyrics}) is used. In this example,
433 @lilypond[verbatim,relative=2]
435 \set autoBeaming = ##f
440 the @var{context} argument to @code{\set} is left out, and the current
441 @internalsref{Voice} is used.
443 Contexts are hierarchical, so if a bigger context was specified, for
444 example @context{Staff}, then the change would also apply to all
445 @context{Voice}s in the current stave. The change is applied
446 `on-the-fly', during the music, so that the setting only affects the
447 second group of eighth notes.
449 There is also an @code{\unset} command,
451 @code{\set }@var{context}@code{.}@var{prop}
455 which removes the definition of @var{prop}. This command removes
456 the definition only if it is set in @var{context}. In
459 \set Staff.autoBeaming = ##f
460 \unset Voice.autoBeaming
464 the current @context{Voice} does not have the property, and the
465 definition at @context{Staff} level remains intact. Like @code{\set},
466 the @var{context} argument does not have to be specified for a bottom
469 Settings that should only apply to a single time-step can be entered
470 easily with @code{\once}, for example in
472 @lilypond[verbatim,relative=2]
474 \once \set fontSize = #4.7
479 the property @code{fontSize} is unset automatically after the second
482 A full description of all available context properties is in the
483 program reference, see
485 @internalsref{Tunable-context-properties}.
488 Translation @arrow{} Tunable context properties.
492 @node Modifying context plug-ins
493 @subsection Modifying context plug-ins
495 Notation contexts (like Score and Staff) not only store properties,
496 they also contain plug-ins, called ``engravers'' that create notation
497 elements. For example, the Voice context contains a
498 @code{Note_head_engraver} and the Staff context contains a
499 @code{Key_signature_engraver}.
501 For a full a description of each plug-in, see
503 @internalsref{Engravers}.
506 Program reference @arrow Translation @arrow{} Engravers.
508 Every context described in
510 @internalsref{Contexts}
513 Program reference @arrow Translation @arrow{} Context.
515 lists the engravers used for that context.
518 It can be useful to shuffle around these plug-ins. This is done by
519 starting a new context, with @code{\new} or @code{\context}, and
520 modifying it like this,
523 \new @var{context} \with @{
533 where the @dots{} should be the name of an engraver. Here is a simple
534 example which removes @code{Time_signature_engraver} and
535 @code{Clef_engraver} from a @code{Staff} context,
537 @lilypond[relative=1, verbatim]
542 \remove "Time_signature_engraver"
543 \remove "Clef_engraver"
550 In the second stave there are no time signature or clef symbols. This
551 is a rather crude method of making objects disappear since it will affect
552 the entire staff. The spacing will be adversely influenced too. A more
553 sophisticated methods of blanking objects is shown in @ref{Common
556 The next example shows a practical application. Bar lines and time
557 signatures are normally synchronized across the score. This is done
558 by the @code{Timing_engraver}. This plug-in keeps an administration of
559 time signature, location within the measure, etc. By moving the
560 @code{Timing_engraver} engraver from Score to Staff context, we can
561 have a score where each staff has its own time signature.
563 @cindex polymetric scores
566 @lilypond[relative=1,raggedright,verbatim]
568 \remove "Timing_engraver"
571 \consists "Timing_engraver"
577 \consists "Timing_engraver"
586 @node Layout tunings within contexts
587 @subsection Layout tunings within contexts
589 Each context is responsible for creating certain types of graphical
590 objects. The settings used for printing these objects are also stored by
591 context. By changing these settings, the appearance of objects can be
594 The syntax for this is
597 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
600 Here @var{name} is the name of a graphical object, like @code{Stem} or
601 @code{NoteHead}, and @var{property} is an internal variable of the
602 formatting system (`grob property' or `layout property'). The latter is a
603 symbol, so it must be quoted. The subsection @ref{Constructing a
604 tweak} explains what to fill in for @var{name}, @var{property}, and
605 @var{value}. Here we only discuss functionality of this command.
610 \override Staff.Stem #'thickness = #4.0
614 makes stems thicker (the default is 1.3, with staff line thickness as a
615 unit). Since the command specifies @context{Staff} as context, it only
616 applies to the current staff. Other staves will keep their normal
617 appearance. Here we see the command in action:
619 @lilypond[verbatim,relative=2]
621 \override Staff.Stem #'thickness = #4.0
627 The @code{\override} command is executed during the interpreting phase,
628 and changes the definition of the @code{Stem} within
629 @context{Staff}. After the command all stems are thickened.
631 Analogous to @code{\set}, the @var{context} argument may be left out,
632 causing it to default to @context{Voice}, and adding @code{\once} applies
633 the change during one timestep only
635 @lilypond[verbatim,relative=2]
637 \once \override Stem #'thickness = #4.0
642 The @code{\override} must be done before the object is
643 started. Therefore, when altering @emph{Spanner} objects, like slurs or
644 beams, the @code{\override} command must be executed at the moment when
645 the object is created. In this example,
648 @lilypond[verbatim,relative=2]
649 \override Slur #'thickness = #3.0
651 \override Beam #'thickness = #0.6
656 the slur is fatter and the beam is not. This is because the command for
657 @code{Beam} comes after the Beam is started. Therefore it has no effect.
659 Analogous to @code{\unset}, the @code{\revert} command for a context
660 undoes a @code{\override} command; like with @code{\unset}, it only
661 affects settings that were made in the same context. In other words, the
662 @code{\revert} in the next example does not do anything.
665 \override Voice.Stem #'thickness = #4.0
666 \revert Staff.Stem #'thickness
674 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
675 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
676 @internalsref{All-layout-objects}.
681 The back-end is not very strict in type-checking object properties.
682 Cyclic references in Scheme values for properties can cause hangs
686 @node Changing context default settings
687 @subsection Changing context default settings
689 The adjustments of the previous chapters can also be entered separate
690 from the music, in the @code{\paper} block,
699 \override Stem #'thickness
700 \remove "Time_signature_engraver"
711 takes the existing definition @context{Staff} from the identifier
712 @code{StaffContext}. This works analogously to other contexts, so that
713 the existing definition of @code{Voice} is in @code{\VoiceContext}.
718 \override Stem #'thickness
719 \remove "Time_signature_engraver"
723 affect all staves in the score.
725 The @code{\set} keyword is optional within the @code{\paper} block, so
738 It is not possible to collect changes in a variable, and apply them to
739 one @code{\context} definition by referring to that variable.
742 @node Defining new contexts
743 @subsection Defining new contexts
745 Specific contexts, like @context{Staff} and @code{Voice}, are made of
746 simple building blocks, and it is possible to compose engraver
747 plug-ins in different combinations, thereby creating new types of
750 The next example shows how to build a different type of
751 @context{Voice} context from scratch. It will be similar to
752 @code{Voice}, but print centered slash noteheads only. It can be used
753 to indicate improvisation in Jazz pieces,
755 @lilypond[raggedright]
758 \type "Engraver_group_engraver"
759 \consists "Note_heads_engraver"
760 \consists "Text_engraver"
761 \consists Pitch_squash_engraver
762 squashedPosition = #0
763 \override NoteHead #'style = #'slash
764 \override Stem #'transparent = ##t
767 \context { \StaffContext
768 \accepts "ImproVoice"
770 \score { \notes \relative c'' {
771 a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
772 c4 c^"undress" c_"while playing :)" c }
778 These settings are again done within a @code{\context} block inside a
789 In the following discussion, the example input shown should go on the
790 @dots{} in the previous fragment.
792 First, name the context gets a name. Instead of @context{Voice} it
793 will be called @context{ImproVoice},
799 Since it is similar to the @context{Voice}, we want commands that work
800 on (existing) @context{Voice}s to remain working. This is achieved by
801 giving the new context an alias @context{Voice},
807 The context will print notes, and instructive texts
810 \consists Note_heads_engraver
811 \consists Text_engraver
814 but only on the center line,
817 \consists Pitch_squash_engraver
818 squashedPosition = #0
821 The @internalsref{Pitch_squash_engraver} modifies note heads (created
822 by @internalsref{Note_heads_engraver}) and sets their vertical
823 position to the value of @code{squashedPosition}, in this case
824 @code{0}, the center line.
826 The notes look like a slash, without a stem,
829 \override NoteHead #'style = #'slash
830 \override Stem #'transparent = ##t
834 All these plug-ins have to cooperate, and this is achieved with a
835 special plug-in, which must be marked with the keyword @code{\type}.
836 This should always be @internalsref{Engraver_group_engraver},
839 \type "Engraver_group_engraver"
842 Putting together, we get
847 \type "Engraver_group_engraver"
848 \consists "Note_heads_engraver"
849 \consists "Text_script_engraver"
850 \consists Pitch_squash_engraver
851 squashedPosition = #0
852 \override NoteHead #'style = #'slash
853 \override Stem #'transparent = ##t
858 Contexts form hierarchies. We want to hang the @context{ImproVoice}
859 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
860 modify the @code{Staff} definition with the @code{\accepts}
861 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
862 which is sometimes when reusing existing context definitions. }
873 Putting both into a @code{\paper} block, like
883 \accepts "ImproVoice"
888 Then the output at the start of this subsection can be entered as
892 \notes \relative c'' {
897 c c_"while playing :)"
906 @node Which properties to change
907 @subsection Which properties to change
910 There are many different properties. Not all of them are listed in
911 this manual. However, the program reference lists them all in the
912 section @internalsref{Tunable-context-properties}, and most properties
913 are demonstrated in one of the
915 @uref{../../../../input/test/out-www/collated-files.html,tips-and-tricks}
924 @section Tuning output
926 In the previous section, we have already touched on a command that
927 changes layout details, the @code{\override} command. In this section,
928 we will look at in more detail how to use the command in practice.
929 First, we will give a a few versatile commands, which are sufficient
930 for many situations. The next section will discuss general use of
934 There are situations where default layout decisions are not
935 sufficient. In this section we discuss ways to override these
938 Formatting is internally done by manipulating so called objects
939 (graphic objects). Each object carries with it a set of properties
940 (object or layout properties) specific to the object. For example, a
941 stem object has properties that specify its direction, length, and
944 The most direct way of tuning the output is to alter the values of
945 these properties. There are two ways of doing that: First, you can
946 temporarily change the definition of one type of object, thus
947 affecting a whole set of objects. Second, you can select one specific
948 object, and set a layout property in that object.
950 Do not confuse layout properties with translation
951 properties. Translation properties always use a mixed caps style
952 naming, and are manipulated using @code{\set} and @code{\unset}:
954 \set Context.propertyName = @var{value}
957 Layout properties are use Scheme style variable naming, i.e. lower
958 case words separated with dashes. They are symbols, and should always
959 be quoted using @code{#'}. For example, this could be an imaginary
960 layout property name:
962 #'layout-property-name
969 * Constructing a tweak::
970 * Navigating the program reference::
971 * Layout interfaces::
972 * Determining the grob property::
978 @subsection Common tweaks
980 Some overrides are so common that predefined commands are provided as
981 a short-cut, for example, @code{\slurUp} and @code{\stemDown}. These
982 commands are described in
986 @ref{Notation manual}, under the sections for slurs and stems
989 The exact tuning possibilities for each type of layout object are
990 documented in the program reference of the respective
991 object. However, many layout objects share properties, which can be
992 used to apply generic tweaks. We mention a few of these:
995 @item The @code{extra-offset} property, which
996 @cindex @code{extra-offset}
997 has a pair of numbers as value, moves around objects in the printout.
998 The first number controls left-right movement; a positive number will
999 move the object to the right. The second number controls up-down
1000 movement; a positive number will move it higher. The units of these
1001 offsets are staff-spaces. The @code{extra-offset} property is a
1002 low-level feature: the formatting engine is completely oblivious to
1005 In the following example, the second fingering is moved a little to
1006 the left, and 1.8 staff space downwards:
1008 @cindex setting object properties
1010 @lilypond[relative=1,verbatim]
1013 \once \override Fingering
1014 #'extra-offset = #'(-0.3 . -1.8)
1019 Setting the @code{transparent} property will cause an object to be printed
1020 in `invisible ink': the object is not printed, but all its other
1021 behavior is retained. The object still takes up space, it takes part in
1022 collisions, and slurs, and ties and beams can be attached to it.
1024 @cindex transparent objects
1025 @cindex removing objects
1026 @cindex hiding objects
1027 @cindex invisible objects
1028 The following example demonstrates how to connect different voices
1029 using ties. Normally, ties only connect two notes in the same
1030 voice. By introducing a tie in a different voice,
1032 @lilypond[fragment,relative=2]
1041 and blanking a stem in that voice, the tie appears to cross voices:
1043 @lilypond[fragment,relative=2,verbatim]
1045 \once \override Stem #'transparent = ##t
1053 The @code{padding} property for objects with
1054 @cindex @code{padding}
1055 @code{side-position-interface} can be set to increase distance between
1056 symbols that are printed above or below notes. We only give an
1057 example; a more elaborate explanation is in @ref{Constructing a
1060 @lilypond[relative=1,verbatim]
1062 \override Script #'padding = #3
1068 More specific overrides are also possible. The next section
1069 discusses in depth how to figure out these statements for yourself.
1072 @node Constructing a tweak
1073 @subsection Constructing a tweak
1075 The general procedure of changing output, that is, entering
1079 \override Voice.Stem #'thickness = #3.0
1083 means that we have to determine these bits of information:
1086 @item the context: here @context{Voice}.
1087 @item the layout object: here @code{Stem}.
1088 @item the layout property: here @code{thickness}
1089 @item a sensible value: here @code{3.0}
1093 @cindex internal documentation
1094 @cindex finding graphical objects
1095 @cindex graphical object descriptions
1097 @cindex @code{\override}
1099 @cindex internal documentation
1101 We demonstrate how to glean this information from the notation manual
1102 and the program reference.
1104 The program reference is a set of HTML pages, which is part of the
1105 documentation package. On Unix systems, it is typically in
1106 @file{/usr/share/doc/lilypond}. If you have them, it is best to
1107 bookmark them in your webbrowser, because you will need them. They
1108 are also available on the web: go to the
1109 @uref{http://lilypond.org,LilyPond website}, click ``Documentation'',
1110 select the correct version, and then click ``Program reference.''
1112 If you have them, use the local HTML files. They will load faster,
1113 and they are exactly matched to LilyPond version installed.
1116 @node Navigating the program reference
1117 @subsection Navigating the program reference
1119 Suppose we want to move the fingering indication in the fragment
1122 @lilypond[relative=2,verbatim]
1128 If you visit the documentation of @code{Fingering} (in @ref{Fingering
1129 instructions}), you will notice that there is written:
1134 Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
1138 This fragments points to two parts of the program reference: a page
1139 on @code{FingerEvent} and on @code{Fingering}.
1141 The page on @code{FingerEvent} describes the properties of the music
1142 expression for the input @code{-2}. The page contains many links
1143 forward. For example, it says
1146 Accepted by: @internalsref{Fingering_engraver},
1150 That link brings us to the documentation for the Engraver, the
1154 This engraver creates the following layout objects: @internalsref{Fingering}.
1157 In other words, once the @code{FingerEvent}s are interpreted, the
1158 @code{Fingering_engraver} plug-in will process them.
1159 The @code{Fingering_engraver} is also listed to create
1160 @internalsref{Fingering} objects,
1163 Lo and behold, that is also the
1164 second bit of information listed under @b{See also} in the Notation
1165 manual. By clicking around in the program reference, we can follow the
1166 flow of information within the program, either forward (like we did
1167 here), or backwards, following links like this:
1171 @item @internalsref{Fingering}:
1172 @internalsref{Fingering} objects are created by:
1173 @b{@internalsref{Fingering_engraver}}
1175 @item @internalsref{Fingering_engraver}:
1176 Music types accepted: @b{@internalsref{fingering-event}}
1177 @item @internalsref{fingering-event}:
1178 Music event type @code{fingering-event} is in Music objects of type
1179 @b{@internalsref{FingerEvent}}
1182 This path goes against the flow of information in the program: it
1183 starts from the output, and ends at the input event.
1185 The program reference can also be browsed like a normal document. It
1186 contains a chapter on
1188 @internalsref{Music-definitions},
1193 on @internalsref{Translation}, and the @internalsref{Backend}. Every
1194 chapter lists all the definitions used, and all properties that may be
1198 @node Layout interfaces
1199 @subsection Layout interfaces
1201 @internalsref{Fingering} is a layout object. Such an object is a
1202 symbol within the score. It has properties, which store numbers (like
1203 thicknesses and directions), but also pointers to related objects.
1204 A layout object is also called @emph{grob},
1206 which is short for Graphical Object.
1209 The page for @code{Fingering} lists the definitions for the
1210 @code{Fingering} object. For example, the page says
1213 @code{padding} (dimension, in staff space):
1218 which means that the number will be kept at a distance of at least 0.6
1222 Each layout object may have several functions as a notational or
1223 typographical element. For example, the Fingering object
1224 has the following aspects
1227 @item Its size is independent of the horizontal spacing, unlike slurs or beams
1229 @item It is a piece of text. Granted, it's usually a very short text.
1231 @item That piece of text is typeset with a font, unlike slurs or beams.
1232 @item Horizontally, the center of the symbol should be aligned to the
1233 center of the notehead
1234 @item Vertically, the symbol is placed next to the note and the staff.
1237 vertical position is also coordinated with other super and subscript
1241 Each of these aspects is captured in a so-called @emph{interface},
1242 which are listed on the @internalsref{Fingering} page at the bottom
1245 This object supports the following interfaces:
1246 @internalsref{item-interface},
1247 @internalsref{self-alignment-interface},
1248 @internalsref{side-position-interface}, @internalsref{text-interface},
1249 @internalsref{text-script-interface}, @internalsref{font-interface},
1250 @internalsref{finger-interface}, and @internalsref{grob-interface}.
1253 Clicking any of the links will take you to the page of the respective
1254 object interface. Each interface has a number of properties. Some of
1255 them are not user-serviceable (``Internal properties''), but others
1258 We have been talking of `the' @code{Fingering} object, but actually it
1259 does not amount to much. The initialization file
1260 @file{scm/define-grobs.scm} shows the soul of the `object',
1265 (print-function . ,Text_item::print)
1267 (staff-padding . 0.6)
1268 (self-alignment-X . 0)
1269 (self-alignment-Y . 0)
1270 (script-priority . 100)
1271 (font-encoding . number)
1273 (meta . ((interfaces . (finger-interface font-interface
1274 text-script-interface text-interface
1275 side-position-interface self-alignment-interface
1280 as you can see, @code{Fingering} is nothing more than a bunch of
1281 variable settings, and the webpage is directly generated from this
1284 @node Determining the grob property
1285 @subsection Determining the grob property
1288 Recall that we wanted to change the position of the @b{2} in
1290 @lilypond[relative=2,verbatim]
1296 Since the @b{2} is vertically positioned next to its note, we have to
1297 meddle with the interface associated with this positioning. This is
1298 done using @code{side-position-interface}. The page for this interface
1302 @code{side-position-interface}
1304 Position a victim object (this one) next to other objects (the
1305 support). The property @code{direction} signifies where to put the
1306 victim object relative to the support (left or right, up or down?)
1311 below this description, the variable @code{padding} is described as
1315 (dimension, in staff space)
1317 add this much extra space between objects that are next to each
1322 By increasing the value of @code{padding}, we can move away the
1323 fingering. The following command inserts 3 staff spaces of white
1324 between the note and the fingering:
1326 \once \override Fingering #'padding = #3
1329 Inserting this command before the Fingering object is created,
1330 i.e. before @code{c2}, yields the following result:
1332 @lilypond[relative=2,fragment,verbatim]
1333 \once \override Fingering
1341 In this case, the context for this tweak is @context{Voice}, which
1342 does not have to be specified for @code{\override}. This fact can
1343 also be deduced from the program reference, for the page for the
1344 @internalsref{Fingering_engraver} plug-in says
1347 Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
1355 * Selecting font sizes::
1361 @node Selecting font sizes
1362 @subsection Selecting font sizes
1364 The most common thing to change about the appearance of fonts is their
1365 size. The font size of any context can be easily changed by setting
1366 the @code{fontSize} property for that context. Its value is a number:
1367 negative numbers make the font smaller, positive numbers larger. An
1368 example is given below:
1370 @lilypond[fragment,relative=1,verbatim]
1371 c4 c4 \set fontSize = #-3
1374 This command will set @code{font-size} (see below) in all layout
1375 objects in the current context. It does not change the size of
1376 variable symbols, such as beams or slurs.
1378 The font size is set by modifying the @code{font-size} property. Its
1379 value is a number indicating the size relative to the standard size.
1380 Each step up is an increase of approximately 12% of the font size. Six
1381 steps is exactly a factor two. The Scheme function @code{magstep}
1382 converts a @code{font-size} number to a scaling factor.
1384 LilyPond has fonts in different design sizes: the music fonts for
1385 smaller sizes are chubbier, while the text fonts are relatively wider.
1386 Font size changes are achieved by scaling the design size that is
1387 closest to the desired size.
1389 The @code{font-size} mechanism does not work for fonts selected
1390 through @code{font-name}. These may be scaled with
1391 @code{font-magnification}.
1394 One of the uses of @code{fontSize} is to get smaller symbols for cue
1395 notes. An elaborate example of those is in
1396 @inputfileref{input/test,cue-notes.ly}.
1398 @cindex @code{font-style}
1402 The following commands set @code{fontSize} for the current voice:
1404 @cindex @code{\tiny}
1406 @cindex @code{\small}
1408 @cindex @code{\normalsize}
1413 @cindex magnification
1417 @node Font selection
1418 @subsection Font selection
1420 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1421 can also be adjusted with a more fine-grained mechanism. By setting
1422 the object properties described below, you can select a different font;
1423 all three mechanisms work for every object that supports
1424 @code{font-interface}:
1428 @item @code{font-encoding}
1429 is a symbol that sets layout of the glyphs. Choices include
1430 @code{text} for normal text, @code{braces} (for piano staff braces),
1431 @code{music} (the standard music font, including ancient glyphs),
1432 @code{dynamic} (for dynamic signs) and @code{number} for the number
1436 @item @code{font-family}
1437 is a symbol indicating the general class of the typeface. Supported are
1438 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
1440 @item @code{font-shape}
1441 is a symbol indicating the shape of the font, there are typically
1442 several font shapes available for each font family. Choices are
1443 @code{italic}, @code{caps}, and @code{upright}.
1445 @item @code{font-series}
1446 is a symbol indicating the series of the font. There are typically several
1447 font series for each font family and shape. Choices are @code{medium}
1452 Fonts selected in the way sketched above come from a predefined style
1455 The font used for printing a object can be selected by setting
1456 @code{font-name}, e.g.
1458 \override Staff.TimeSignature
1459 #'font-name = #"cmr17"
1463 Any font can be used, as long as it is available to @TeX{}. Possible
1464 fonts include foreign fonts or fonts that do not belong to the
1465 Computer Modern font family. The size of fonts selected in this way
1466 can be changed with the @code{font-magnification} property. For
1467 example, @code{2.0} blows up all letters by a factor 2 in both
1471 @cindex font magnification
1477 Init files: @file{ly/declarations-init.ly} contains hints how new
1478 fonts may be added to LilyPond.
1482 No style sheet is provided for other fonts besides the @TeX{}
1483 Computer Modern family.
1485 @cindex font selection
1486 @cindex font magnification
1487 @cindex @code{font-interface}
1491 @section Text markup
1496 @cindex typeset text
1498 LilyPond has an internal mechanism to typeset texts. You can access it
1499 with the keyword @code{\markup}. Within markup mode, you can enter texts
1500 similar to lyrics: simply enter them, surrounded by spaces:
1503 @lilypond[verbatim,fragment,relative=1]
1504 c1^\markup { hello }
1505 c1_\markup { hi there }
1506 c1^\markup { hi \bold there, is \italic anyone home? }
1509 @cindex font switching
1511 The markup in the example demonstrates font switching commands. The
1512 command @code{\bold} and @code{\italic} apply to the first following
1513 word only; enclose a set of texts with braces to apply a command
1516 \markup @{ \bold @{ hi there @} @}
1520 For clarity, you can also do this for single arguments, e.g.
1523 \markup { is \italic { anyone } home }
1526 @cindex font size, texts
1529 In markup mode you can compose expressions, similar to mathematical
1530 expressions, XML documents, and music expressions. The braces group
1531 notes into horizontal lines. Other types of lists also exist: you can
1532 stack expressions grouped with @code{<} and @code{>} vertically with
1533 the command @code{\column}. Similarly, @code{\center-align} aligns
1534 texts by their center lines:
1536 @lilypond[verbatim,fragment,relative=1]
1537 c1^\markup { \column < a bbbb c > }
1538 c1^\markup { \center-align < a bbbb c > }
1539 c1^\markup { \line < a b c > }
1543 Markups can be stored in variables, and these variables
1544 may be attached to notes, like
1546 allegro = \markup { \bold \large { Allegro } }
1547 \notes { a^\allegro b c d }
1551 Some objects have alignment procedures of their own, which cancel out
1552 any effects of alignments applied to their markup arguments as a
1553 whole. For example, the @internalsref{RehearsalMark} is horizontally
1554 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1557 Similarly, for moving whole texts over notes with
1558 @code{\raise}, use the following trick:
1560 "" \raise #0.5 raised
1563 The text @code{raised} is now raised relative to the empty string
1564 @code{""} which is not visible. Alternatively, complete objects can
1565 be moved with layout properties such as @code{padding} and
1566 @code{extra-offset}.
1572 Init files: @file{scm/new-markup.scm}.
1577 Text layout is ultimately done by @TeX{}, which does kerning of
1578 letters. LilyPond does not account for kerning, so texts will be
1579 spaced slightly too wide.
1581 Syntax errors for markup mode are confusing.
1583 Markup texts cannot be used in the titling of the @code{\header}
1584 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1590 * Overview of text markup commands::
1593 @node Overview of text markup commands
1594 @subsection Overview of text markup commands
1596 @include markup-commands.tely
1600 @section Global layout
1602 The global layout determined by three factors: the page layout, the
1603 line breaks, and the spacing. These all influence each other. The
1604 choice of spacing determines how densely each system of music is set,
1605 which influences where line breaks are chosen, and thus
1606 ultimately how many pages a piece of music takes. This section
1607 explains how to tune the algorithm for spacing.
1609 Globally spoken, this procedure happens in three steps: first,
1610 flexible distances (``springs'') are chosen, based on durations. All
1611 possible line breaking combination are tried, and the one with the
1612 best results --- a layout that has uniform density and requires as
1613 little stretching or cramping as possible --- is chosen. When the score
1614 is processed by @TeX{}, each page is filled with systems, and page breaks
1615 are chosen whenever the page gets full.
1620 * Setting global staff size::
1621 * Vertical spacing::
1622 * Horizontal spacing::
1628 @node Setting global staff size
1629 @subsection Setting global staff size
1631 @cindex font size, setting
1632 @cindex staff size, setting
1633 @cindex @code{paper} file
1635 The Feta font provides musical symbols at eight different
1636 sizes. Each font is tuned for a different staff size: at a smaller size
1637 the font becomes heavier, to match the relatively heavier staff lines.
1638 The recommended font sizes are listed in the following table:
1640 @multitable @columnfractions .25 .25 .25 .25
1643 @tab @b{staff height (pt)}
1644 @tab @b{staff height (mm)}
1686 @c modern rental material ?
1690 These fonts are available in any sizes. The context property
1691 @code{fontSize} and the layout property @code{staff-space} (in
1692 @internalsref{StaffSymbol}) can be used to tune size for individual
1693 staves. The size of individual staves are relative to the global size,
1694 which can be set in the following manner:
1697 #(set-global-staff-size 14)
1700 This sets the global default size to 14pt staff height, and scales all
1705 This manual: @ref{Selecting font sizes}.
1710 * Vertical spacing::
1711 * Horizontal spacing::
1716 @node Vertical spacing
1717 @subsection Vertical spacing
1719 @cindex vertical spacing
1720 @cindex distance between staves
1721 @cindex staff distance
1722 @cindex between staves, distance
1723 @cindex staves per page
1724 @cindex space between staves
1726 The height of each system is determined automatically by LilyPond, to
1727 keep systems from bumping into each other, some minimum distances are
1728 set. By changing these, you can put staves closer together, and thus
1729 put more systems onto one page.
1731 Normally staves are stacked vertically. To make
1732 staves maintain a distance, their vertical size is padded. This is
1733 done with the property @code{minimumVerticalExtent}. It takes a pair
1734 of numbers, so if you want to make it smaller from its, then you could
1737 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1739 This sets the vertical size of the current staff to 4 staff spaces on
1740 either side of the center staff line. The argument of
1741 @code{minimumVerticalExtent} is interpreted as an interval, where the
1742 center line is the 0, so the first number is generally negative. The
1743 staff can be made larger at the bottom by setting it to @code{(-6
1746 The piano staves are handled a little differently: to make cross-staff
1747 beaming work correctly, it is necessary that the distance between staves
1748 is fixed beforehand. This is also done with a
1749 @internalsref{VerticalAlignment} object, created in
1750 @internalsref{PianoStaff}. In this object the distance between the
1751 staves is fixed by setting @code{forced-distance}. If you want to
1752 override this, use a @code{\context} block as follows:
1757 \override VerticalAlignment #'forced-distance = #9
1762 This would bring the staves together at a distance of 9 staff spaces,
1763 measured from the center line of each staff.
1767 Internals: Vertical alignment of staves is handled by the
1768 @internalsref{VerticalAlignment} object.
1773 @node Horizontal spacing
1774 @subsection Horizontal Spacing
1776 The spacing engine translates differences in durations into
1777 stretchable distances (``springs'') of differing lengths. Longer
1778 durations get more space, shorter durations get less. The shortest
1779 durations get a fixed amount of space (which is controlled by
1780 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1781 The longer the duration, the more space it gets: doubling a
1782 duration adds a fixed amount (this amount is controlled by
1783 @code{spacing-increment}) of space to the note.
1785 For example, the following piece contains lots of half, quarter, and
1786 8th notes, the eighth note is followed by 1 note head width (NHW).
1787 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1788 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1792 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1793 width of a note head, and @code{shortest-duration-space} is set to
1794 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1795 @code{shortest-duration-space}) of space. For normal notes, this space
1796 is always counted from the left edge of the symbol, so the shortest
1797 notes are generally followed by one NHW of space.
1799 If one would follow the above procedure exactly, then adding a single
1800 32th note to a score that uses 8th and 16th notes, would widen up the
1801 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1802 thus adding 1 NHW to every note. To prevent this, the
1803 shortest duration for spacing is not the shortest note in the score,
1804 but the most commonly found shortest note. Notes that are even
1805 shorter this are followed by a space that is proportional to their
1806 duration relative to the common shortest note. So if we were to add
1807 only a few 16th notes to the example above, they would be followed by
1810 @lilypond[fragment,verbatim,relative=2]
1811 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1814 The most common shortest duration is determined as follows: in every
1815 measure, the shortest duration is determined. The most common short
1816 duration, is taken as the basis for the spacing, with the stipulation
1817 that this shortest duration should always be equal to or shorter than
1818 1/8th note. The shortest duration is printed when you run lilypond
1819 with @code{--verbose}. These durations may also be customized. If you
1820 set the @code{common-shortest-duration} in
1821 @internalsref{SpacingSpanner}, then this sets the base duration for
1822 spacing. The maximum duration for this base (normally 1/8th), is set
1823 through @code{base-shortest-duration}.
1825 @cindex @code{common-shortest-duration}
1826 @cindex @code{base-shortest-duration}
1827 @cindex @code{stem-spacing-correction}
1828 @cindex @code{spacing}
1830 In the Introduction it was explained that stem directions influence
1831 spacing. This is controlled with @code{stem-spacing-correction}
1832 property in @internalsref{NoteSpacing}, which are generated for every
1833 @internalsref{Voice} context. The @code{StaffSpacing} object
1834 (generated at @internalsref{Staff} context) contains the same property
1835 for controlling the stem/bar line spacing. The following example
1836 shows these corrections, once with default settings, and once with
1837 exaggerated corrections:
1843 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
1844 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
1848 \paper { raggedright = ##t } }
1851 @cindex SpacingSpanner, overriding properties
1853 Properties of the @internalsref{SpacingSpanner} must be overridden
1854 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1855 created before any property commands are interpreted.
1857 \paper @{ \context @{
1859 \override SpacingSpanner #'spacing-increment = #3.0
1866 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1867 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1868 @internalsref{SeparatingGroupSpanner}.
1872 Spacing is determined on a score wide basis. If you have a score that
1873 changes its character (measured in durations) halfway during the
1874 score, the part containing the longer durations will be spaced too
1877 There is no convenient mechanism to manually override spacing.
1887 @subsection Line breaking
1890 @cindex breaking lines
1892 Line breaks are normally computed automatically. They are chosen such
1893 that lines look neither cramped nor loose, and that consecutive lines
1894 have similar density.
1896 Occasionally you might want to override the automatic breaks; you can
1897 do this by specifying @code{\break}. This will force a line break at
1898 this point. Line breaks can only occur at places where there are bar
1899 lines. If you want to have a line break where there is no bar line,
1900 you can force an invisible bar line by entering @code{\bar
1901 ""}. Similarly, @code{\noBreak} forbids a line break at a
1905 @cindex regular line breaks
1906 @cindex four bar music.
1908 For line breaks at regular intervals use @code{\break} separated by
1909 skips and repeated with @code{\repeat}:
1911 << \repeat unfold 7 @{
1912 s1 \noBreak s1 \noBreak
1913 s1 \noBreak s1 \break @}
1914 @emph{the real music}
1919 This makes the following 28 measures (assuming 4/4 time) be broken every
1920 4 measures, and only there.
1924 @code{\break}, and @code{\noBreak}.
1925 @cindex @code{\break}
1926 @cindex @code{\noBreak}
1930 Internals: @internalsref{BreakEvent}.
1934 @subsection Page layout
1937 @cindex breaking pages
1939 @cindex @code{indent}
1940 @cindex @code{linewidth}
1942 The most basic settings influencing the spacing are @code{indent} and
1943 @code{linewidth}. They are set in the @code{\paper} block. They
1944 control the indentation of the first line of music, and the lengths of
1947 If @code{raggedright} is set to true in the @code{\paper}
1948 block, then the lines are justified at their natural length. This
1949 useful for short fragments, and for checking how tight the natural
1953 @cindex vertical spacing
1955 The option @code{raggedlast} is similar to @code{raggedright}, but
1956 only affects the last line of the piece. No restrictions are put on
1957 that line. The result is similar to formatting paragraphs. In a
1958 paragraph, the last line simply takes its natural length.
1960 The page layout process happens outside the LilyPond formatting
1961 engine: variables controlling page layout are passed to the output,
1962 and are further interpreted by @code{lilypond} wrapper program. It
1963 responds to the following variables in the @code{\paper} block. The
1964 spacing between systems is controlled with @code{interscoreline}, its
1965 default is 16pt. The distance between the score lines will stretch in
1966 order to fill the full page @code{interscorelinefill} is set to a
1967 positive number. In that case @code{interscoreline} specifies the
1970 @cindex @code{textheight}
1971 @cindex @code{interscoreline}
1972 @cindex @code{interscorelinefill}
1974 If the variable @code{lastpagefill} is defined,
1975 @c fixme: this should only be done if lastpagefill= #t
1976 systems are evenly distributed vertically on the last page. This
1977 might produce ugly results in case there are not enough systems on the
1978 last page. The @command{lilypond-book} command ignores
1979 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1982 @cindex @code{lastpagefill}
1984 Page breaks are normally computed by @TeX{}, so they are not under
1985 direct control of LilyPond. However, you can insert commands into
1986 the @file{.tex} output to instruct @TeX{} where to break pages. This
1987 is done by setting the @code{between-systems-strings} on the
1988 @internalsref{NonMusicalPaperColumn} where the system is broken.
1989 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1990 The predefined command @code{\newpage} also does this.
1994 @cindex @code{papersize}
1996 To change the paper size, there are two commands,
1998 #(set-default-paper-size "a4")
2000 #(set-paper-size "a4")
2003 The second one sets the size of the @code{\paper} block that it's in.
2007 @cindex @code{\newpage}
2013 In this manual: @ref{Invoking lilypond}.
2015 Examples: @inputfileref{input/regression,between-systems.ly}.
2017 Internals: @internalsref{NonMusicalPaperColumn}.
2021 LilyPond has no concept of page layout, which makes it difficult to
2022 reliably choose page breaks in longer pieces.
2027 @node Output details
2028 @section Output details
2030 The default output format is La@TeX{}, which should be run
2031 through La@TeX{}. Using the option @option{-f}
2032 (or @option{--format}) other output formats can be selected also, but
2033 none of them work reliably.
2035 Now the music is output system by system (a `system' is a single line
2036 from the score, consisting of staves belonging together). From
2037 @TeX{}'s point of view, a system is an @code{\hbox} which contains a
2038 lowered @code{\vbox} so that it is centered vertically on the baseline
2039 of the text. Between systems, @code{\interscoreline} is inserted
2040 vertically to have stretchable space. The horizontal dimension of the
2041 @code{\hbox} is given by the @code{linewidth} parameter from
2042 LilyPond's @code{\paper} block.
2044 After the last system LilyPond emits a stronger variant of
2045 @code{\interscoreline} only if the macro
2046 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
2047 to the top of the page). You can avoid that by setting the variable
2048 @code{lastpagefill} in LilyPond's @code{\paper} block.
2050 @c FIXME: broken by page layout
2051 It is possible to fine-tune the vertical offset further by defining the
2052 macro @code{\lilypondscoreshift}:
2055 \def\lilypondscoreshift@{0.25\baselineskip@}
2059 where @code{\baselineskip} is the distance from one text line to the next.
2061 Here an example how to embed a small LilyPond file @code{foo.ly} into
2062 running La@TeX{} text without using the @code{lilypond-book} script
2063 (@pxref{lilypond-book manual}):
2066 \documentclass@{article@}
2068 \def\lilypondpaperlastpagefill@{@}
2070 \def\lilypondscoreshift@{0.25\baselineskip@}
2073 This is running text which includes an example music file
2079 The file @file{foo.tex} has been simply produced with
2085 The call to @code{\lineskip} assures that there is enough vertical space
2086 between the LilyPond box and the surrounding text lines.