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 how to tune them.
13 Which controls are available for tuning is described in a separate
14 document, the @internalsref{Program reference} manual. This manual
15 lists all different variables, functions and options available in
16 LilyPond. It is available as a HTML document, which is available
17 @uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
18 but is also included with the LilyPond documentation package.
20 There are X areas where the default settings may be changed:
23 @item Output: changing the appearance of individual
24 objects. For example, changing stem directions, or the location of
27 @item Context: changing aspects of the translation from music events to
28 notation. For example, giving each staff a separate time signature.
30 @item Global layout: changing the appearance of the spacing, line
31 breaks and page dimensions.
34 Then, there are separate systems for typesetting text (like
35 @emph{ritardando}) and selecting different fonts. This chapter also
38 Internally, LilyPond uses Scheme (a LISP dialect) to provide
39 infrastructure. Overriding layout decisions in effect accesses the
40 program internals, so it is necessary to learn a (very small) subset
41 of Scheme. That is why this chapter starts with a short tutorial on
42 entering numbers, lists, strings and symbols in Scheme.
47 * 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). For entering lists, use a quote @code{'} and for
217 calculations, do not use a quote.
219 Inside a quoted list or pair, there is no need to quote anymore. The
220 following is a pair of symbols, a list of symbols and a list of lists
225 #'(staff clef key-signature)
230 @node Interpretation contexts
231 @section Interpretation contexts
233 When music is printed, a lot of things notation elements must be added
234 to the input, which is often bare bones. For example, compare the
235 input and output of the following example
237 @lilypond[verbatim,relative=2]
241 The input is rather sparse, but in the output, bar lines, accidentals,
242 clef and time signature are added. LilyPond @emph{interprets} the
243 input. During this step, the musical information is inspected in time
244 order, similar to reading a score from left to right. While reading,
245 the program remembers where measure boundaries are, and what pitches
246 need explicit accidentals.
248 This is contextual information. and it can be present on several
249 levels. For example, the effect of an accidental is limited to a
250 single stave, while a bar line must be synchronized across the entire
251 score. To match this hierarchy, LilyPond's interpretation step is
252 hierarchical. There are interpretation contexts, like
253 @context{Voice}, Staff and Score, and each level can maintain its own
256 Full description of all available contexts is in the program
259 @internalsref{Contexts}
262 Translation @arrow{} Context.
266 * Creating contexts::
267 * Changing context properties on the fly ::
268 * Modifying context plug-ins::
269 * Layout tunings within contexts::
270 * Changing context default settings::
271 * Defining new contexts::
272 * Which properties to change::
275 @node Creating contexts
276 @subsection Creating contexts
280 For scores with only one voice and one staff, correct contexts are
281 created automatically. For more complex scores, it is necessary to
282 instantiate them by hand. There are three commands to do this.
284 The easiest command is @code{\new}, and it also the quickest to type.
285 It is prepended to a music expression, for example
288 \new @var{type} @var{music expression}
292 where @var{type} is a context name (like @code{Staff} or
293 @code{Voice}). This command creates a new context, and starts
294 interpreting @var{music expression} with that.
296 A practical application of @code{\new} is a score with many
297 staves. Each part that should be on its own staff, gets a @code{\new
300 @lilypond[verbatim,relative=2,raggedright]
301 << \new Staff { c4 c }
306 Like @code{\new}, the @code{\context} command also directs a music
307 expression to a context object, but gives the context an extra name. The
311 \context @var{type} = @var{id} @var{music}
314 This form will search for an existing context of type @var{type}
315 called @var{id}. If that context does not exist yet, it is created.
316 This is useful if the context referred to later on. For example, when
317 setting lyrics the melody is in a named context
320 \context Voice = "@b{tenor}" @var{music}
324 so the texts can be properly aligned to its notes,
327 \new Lyrics \lyricsto "@b{tenor}" @var{lyrics}
332 Another possibility is funneling two different music expressions into
333 one context. In the following example, articulations and notes are
337 music = \notes { c4 c4 }
338 arts = \notes { s4-. s4-> }
341 They are combined by sending both to the same @context{Voice} context,
344 << \new Staff \context Voice = "A" \music
345 \context Voice = "A" \arts
348 @lilypond[raggedright]
349 music = \notes { c4 c4 }
350 arts = \notes { s4-. s4-> }
352 \notes \relative c'' << \new Staff \context Voice = "A" \music
353 \context Voice = "A" \arts
360 The third command for creating contexts is
362 \context @var{type} @var{music}
367 This is similar to @code{\context} with @code{= @var{id}}, but matches
368 any context of type @var{type}, regardless of its given name.
370 This variant is used with music expressions that can be interpreted at
371 several levels. For example, the @code{\applyoutput} command (see
372 @ref{Running a function on all layout objects}). Without an explicit
373 @code{\context}, it is usually is applied to @context{Voice}
376 \applyoutput #@var{function} % apply to Voice
379 To have it interpreted at @context{Score} or @context{Staff} level use
383 \context Score \applyoutput #@var{function}
384 \context Staff \applyoutput #@var{function}
388 @node Changing context properties on the fly
389 @subsection Changing context properties on the fly
391 Each context can have different @emph{properties}, variables contained
392 in that context. They can be changed during the interpretation step.
393 This is achieved by inserting the @code{\set} command in the music,
396 @code{\set } @var{context}@code{.}@var{prop}@code{ = #}@var{value}
400 @lilypond[verbatim,relative=2]
402 \set Score.skipBars = ##t
406 This command skips measures that have no notes. The result is that
407 multi rests are condensed. The value assigned is a Scheme object. In
408 this case, it is @code{#t}, the boolean True value.
410 If the @var{context} argument is left out, then the current bottom-most
411 context (typically @context{ChordNames}, @context{Voice} or
412 @context{Lyrics}) is used. In this example,
414 @lilypond[verbatim,relative=2]
416 \set autoBeaming = ##f
421 the @var{context} argument to @code{\set} is left out, and the current
422 @internalsref{Voice} is used.
424 Contexts are hierarchical, so if a bigger context was specified, for
425 example @context{Staff}, then the change would also apply to all
426 @context{Voice}s in the current stave. The change is applied
427 `on-the-fly', during the music, so that the setting only affects the
428 second group of eighth notes.
430 There is also an @code{\unset} command,
432 @code{\set }@var{context}@code{.}@var{prop}
436 which removes the definition of @var{prop}. This command only removes
437 the definition if it is set in @var{context}. In
440 \set Staff.autoBeaming = ##f
441 \unset Voice.autoBeaming
445 the current @context{Voice} does not have the property, and the
446 definition at @context{Staff} level remains intact. Like @code{\set},
447 the @var{context} argument does not have to be specified for a bottom
450 Settings that should only apply to a single time-step can be entered
451 easily with @code{\once}, for example in
453 @lilypond[verbatim,relative=2]
455 \once \set fontSize = #4.7
460 the property @code{fontSize} is unset automatically after the second
463 A full description of all available context properties is in the
464 program reference, see
466 @internalsref{Tunable-context-properties}.
469 Translation @arrow{} Tunable context properties.
473 @node Modifying context plug-ins
474 @subsection Modifying context plug-ins
476 Notation contexts (like Score and Staff) not only store properties,
477 they also contain plug-ins, called ``engravers'' that create notation
478 elements. For example, the Voice context contains a
479 @code{Note_head_engraver} and the Staff context contains a
480 @code{Key_signature_engraver}.
482 For a full a description of each plug-in, see
484 @internalsref{Engravers}
487 Program reference @arrow Translation @arrow{} Engravers.
489 Every context described in
491 @internalsref{Contexts}
494 Program reference @arrow Translation @arrow{} Context.
496 lists the engravers used for that context.
499 It can be useful to shuffle around these plug-ins. This is done by
500 starting a new context, with @code{\new} or @code{\context}, and
501 modifying it like this,
504 \new @var{context} \with @{
514 where the @dots{} should be the name of an engraver. Here is a simple
515 example which removes @code{Time_signature_engraver} and
516 @code{Clef_engraver} from a @code{Staff} context,
518 @lilypond[relative=1, verbatim]
523 \remove "Time_signature_engraver"
524 \remove "Clef_engraver"
531 In the second stave there are no time signature or clef symbols. This
532 is a rather crude method of making objects disappear, it will affect the
533 entire staff. The spacing will be adversely influenced too. More
534 sophisticated methods of blanking objects are shown in (TODO).
536 The next example shows a practical application. Bar lines and time
537 signatures are normally synchronized across the score. This is done
538 by the @code{Timing_engraver}. This plug-in keeps an administration of
539 time signature, location within the measure, etc. By moving the
540 @code{Timing_engraver} engraver from Score to Staff context, we can
541 have score where each staff has its own time signature.
543 @cindex polymetric scores
546 @lilypond[relative=1,raggedright,verbatim]
548 \remove "Timing_engraver"
551 \consists "Timing_engraver"
557 \consists "Timing_engraver"
566 @node Layout tunings within contexts
567 @subsection Layout tunings within contexts
569 Each context is responsible for creating certain types of graphical
570 objects. The settings used for printing these objects are also stored by
571 context. By changing these settings, the appearance of objects can be
574 The syntax for this is
577 \override @var{context}.@var{name}@code{ #'}@var{property} = #@var{value}
580 Here @var{name} is the name of a graphical object, like @code{Stem} or
581 @code{NoteHead}. @var{property} is an internal variable of the
582 formatting system (`grob property' or `layout property'). It is a
583 symbol, so it must be quoted. The subsection refTODO explains what to
584 fill in for @var{name}, @var{property} and @var{value}. Here we only
585 discuss functionality of this command.
590 \override Staff.Stem #'thickness = #4.0
594 makes stems thicker (the default is 1.3, with staff line thickness as a
595 unit). Since the command specifies @context{Staff} as context, it only
596 applies to the current staff. Other staves will keep their normal
597 appearance. Here we see the command in action:
599 @lilypond[verbatim,relative=2]
601 \override Staff.Stem #'thickness = #4.0
607 The @code{\override} command is executed during the interpreting phase,
608 and changes the definition of the @code{Stem} within
609 @context{Staff}. After the command all stems are thickened.
611 Analogous to @code{\set}, the @var{context} argument may be left out,
612 causing it to default to @context{Voice} and adding @code{\once} applies
613 the change during only one timestep
615 @lilypond[verbatim,relative=2]
617 \once \override Stem #'thickness = #4.0
622 The @code{\override} must be done before the object is
623 started. Therefore, when altering @emph{Spanner} objects, like slurs or
624 beams, the @code{\override} command must be executed at the moment that
625 the object is created. In this example,
628 @lilypond[verbatim,relative=2]
629 \override Slur #'thickness = #3.0
631 \override Beam #'thickness = #0.6
636 the slur is fatter and the beam is not. This is because the command for
637 @code{Beam} comes after the Beam is started. Therefore it has no effect.
639 Analogous to @code{\unset}, the @code{\revert} command for a context
640 undoes a @code{\override} command; like with @code{\unset}, it only
641 affects settings that were made in the same context. In other words, the
642 @code{\revert} in the next example does not do anything.
645 \override Voice.Stem #'thickness = #4.0
646 \revert Staff.Stem #'thickness
654 Internals: @internalsref{OverrideProperty}, @internalsref{RevertProperty},
655 @internalsref{PropertySet}, @internalsref{All-backend-properties}, and
656 @internalsref{All-layout-objects}.
661 The back-end is not very strict in type-checking object properties.
662 Cyclic references in Scheme values for properties can cause hangs
666 @node Changing context default settings
667 @subsection Changing context default settings
669 The adjustments of the previous chapters can also be entered separate
670 from the music, in the @code{\paper} block,
679 \override Stem #'thickness
680 \remove "Time_signature_engraver"
691 takes the existing definition @context{Staff} from the identifier
692 @code{StaffContext}. This works analogously other contexts, so the
693 existing definition of @code{Voice} is in
694 @code{\VoiceContext}.
699 \override Stem #'thickness
700 \remove "Time_signature_engraver"
704 affect all staves in the score.
706 The @code{\set} keyword is optional within the @code{\paper} block, so
719 It is not possible to collect changes in a variable, and apply them to
720 one @code{\context} definition by referencing that variable.
723 @node Defining new contexts
724 @subsection Defining new contexts
726 Specific contexts, like @context{Staff} and @code{Voice} are made of
727 simple building blocks, and it is possible to compose engraver
728 plug-ins in different combinations, thereby creating new types of
731 The next example shows how to build a different type of
732 @context{Voice} context from scratch. It will be similar to
733 @code{Voice}, but print centered slash noteheads only. It can be used
734 to indicate improvisation in Jazz pieces,
736 @lilypond[raggedright]
739 \type "Engraver_group_engraver"
740 \consists "Note_heads_engraver"
741 \consists "Text_engraver"
742 \consists Pitch_squash_engraver
743 squashedPosition = #0
744 \override NoteHead #'style = #'slash
745 \override Stem #'transparent = ##t
748 \context { \StaffContext
749 \accepts "ImproVoice"
751 \score { \notes \relative c'' {
752 a4 d8 bes8 \new ImproVoice { c4^"ad lib"
753 c4 c^"undress" c c_"while playing :)" }
759 These settings are again done within a @code{\context} block inside a
770 In the following discussion, the example input shown should go on the
771 @dots{} of the previous fragment.
773 First, name the context gets a name. Instead of @context{Voice} it
774 will be called @context{ImproVoice},
780 Since it is similar to the @context{Voice}, we want commands that work
781 on (existing) @context{Voice}s to remain working. This is achieved by
782 giving the new context an alias @context{Voice},
788 The context will print notes, and instructive texts
791 \consists Note_heads_engraver
792 \consists Text_engraver
795 but only on the center line,
798 \consists Pitch_squash_engraver
799 squashedPosition = #0
802 The @internalsref{Pitch_squash_engraver} modifies note heads (created
803 by @internalsref{Note_heads_engraver}) and sets their vertical
804 position to the value of @code{squashedPosition}, in this case
805 @code{0}, the center line.
807 The notes look like a slash, without a stem,
810 \override NoteHead #'style = #'slash
811 \override Stem #'transparent = ##t
815 All these plug-ins have to cooperate, and this is achieved with a
816 special plug-in, which must be marked with the keyword @code{\type}.
817 This should always be @internalsref{Engraver_group_engraver},
820 \type "Engraver_group_engraver"
828 \type "Engraver_group_engraver"
829 \consists "Note_heads_engraver"
830 \consists "Text_script_engraver"
831 \consists Pitch_squash_engraver
832 squashedPosition = #0
833 \override NoteHead #'style = #'slash
834 \override Stem #'transparent = ##t
839 Contexts form hierarchies. We want to hang the @context{ImproVoice}
840 under @context{Staff}, just like normal @code{Voice}s. Therefore, we
841 modify the @code{Staff} definition with the @code{\accepts}
842 command,@footnote{The opposite of @code{\accepts} is @code{\denies},
843 which is sometimes when reusing existing context definitions. }
857 @node Which properties to change
858 @subsection Which properties to change
861 There are many different properties. Not all of them are listed in
862 this manual. However, the program reference lists them all in the
863 section @internalsref{Context-properties}, and most properties are
864 demonstrated in one of the
866 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
875 @section Tuning output
880 There are situations where default layout decisions are not
881 sufficient. In this section we discuss ways to override these
884 Formatting is internally done by manipulating so called objects
885 (graphic objects). Each object carries with it a set of properties
886 (object or layout properties) specific to that object. For example, a
887 stem object has properties that specify its direction, length and
890 The most direct way of tuning the output is by altering the values of
891 these properties. There are two ways of doing that: first, you can
892 temporarily change the definition of one type of object, thus
893 affecting a whole set of objects. Second, you can select one specific
894 object, and set a layout property in that object.
896 Do not confuse layout properties with translation
897 properties. Translation properties always use a mixed caps style
898 naming, and are manipulated using @code{\set} and @code{\unset}:
900 \set Context.propertyName = @var{value}
903 Layout properties are use Scheme style variable naming, i.e. lower
904 case words separated with dashes. They are symbols, and should always
905 be quoted using @code{#'}. For example, this could be an imaginary
906 layout property name:
908 #'layout-property-name
914 * Constructing a tweak::
920 @subsection Common tweaks
922 Some overrides are so common that predefined commands are provided as
923 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
924 commands are described in
928 @ref{Notation manual}, under the sections for slurs and stems
931 The exact tuning possibilities for each type of layout object are
932 documented in the program reference of the respective
933 object. However, many layout objects share properties, which can be
934 used to apply generic tweaks. We mention a couple of these:
937 @item The @code{extra-offset} property, which
938 @cindex @code{extra-offset}
939 has a pair of numbers as value, moves around objects in the printout.
940 The first number controls left-right movement; a positive number will
941 move the object to the right. The second number controls up-down
942 movement; a positive number will move it higher. The units of these
943 offsets are staff-spaces. The @code{extra-offset} property is a
944 low-level feature: the formatting engine is completely oblivious to
947 In the following example, the second fingering is moved a little to
948 the left, and 1.8 staff space downwards:
950 @cindex setting object properties
952 @lilypond[relative=1,verbatim]
955 \once \override Fingering
956 #'extra-offset = #'(-0.3 . -1.8)
961 Setting the @code{transparent} property will cause an object to be printed
962 in `invisible ink': the object is not printed, but all its other
963 behavior is retained. The object still takes up space, it takes part in
964 collisions, and slurs, and ties and beams can be attached to it.
966 @cindex transparent objects
967 @cindex removing objects
968 @cindex invisible objects
969 The following example demonstrates how to connect different voices
970 using ties. Normally, ties only connect two notes in the same
971 voice. By introducing a tie in a different voice, and blanking a stem
972 in that voice, the tie appears to cross voices:
974 @lilypond[fragment,relative=2,verbatim]
976 \once \override Stem #'transparent = ##t
984 The @code{padding} property for objects with
985 @cindex @code{padding}
986 @code{side-position-interface} can be set to increase distance between
987 symbols that are printed above or below notes. We only give an
988 example; a more elaborate explanation is in @ref{Constructing a
991 @lilypond[relative=1,verbatim]
993 \override Script #'padding = #3
999 More specific overrides are also possible. The following section
1000 discusses in depth how to figure out these statements for yourself.
1003 @node Constructing a tweak
1004 @subsection Constructing a tweak
1007 @cindex internal documentation
1008 @cindex finding graphical objects
1009 @cindex graphical object descriptions
1011 @cindex @code{\override}
1013 @cindex internal documentation
1017 Three pieces of information are required to use @code{\override} and
1018 @code{\set}: the name of the layout object, the context and the name
1019 of the property. We demonstrate how to glean this information from
1020 the notation manual and the program reference.
1022 The generated documentation is a set of HTML pages which should be
1023 included if you installed a binary distribution, typically in
1024 @file{/usr/share/doc/lilypond}. They are also available on the web:
1025 go to the @uref{http://lilypond.org,LilyPond website}, click
1026 ``Documentation'', select the correct version, and then click
1027 ``Program reference.'' It is advisable to bookmark the local HTML
1028 files. They will load faster than the ones on the web and matches the
1029 version of LilyPond you are using.
1033 @c [TODO: revise for new site.]
1035 Suppose we want to move the fingering indication in the fragment
1038 @lilypond[relative=2,verbatim]
1044 If you visit the documentation of @code{Fingering} (in @ref{Fingering
1045 instructions}), you will notice that there is written:
1050 Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
1057 In other words, the fingerings once entered, are internally stored as
1058 @code{FingerEvent} music objects. When printed, a @code{Fingering}
1059 layout object is created for every @code{FingerEvent}.
1061 The Fingering object has a number of different functions, and each of
1062 those is captured in an interface. The interfaces are listed under
1063 @internalsref{Fingering} in the program reference.
1067 The @code{Fingering} object has a fixed size
1068 (@internalsref{item-interface}), the symbol is a piece of text
1069 (@internalsref{text-interface}), whose font can be set
1070 (@internalsref{font-interface}). It is centered horizontally
1071 (@internalsref{self-alignment-interface}), it is placed vertically
1072 next to other objects (@internalsref{side-position-interface}), and
1073 its placement is coordinated with other scripts
1074 (@internalsref{text-script-interface}). It also has the standard
1075 @internalsref{grob-interface} (grob stands for Graphical object)
1077 @cindex graphical object
1078 @cindex layout object
1079 @cindex object, layout
1080 with all the variables that come with
1081 it. Finally, it denotes a fingering instruction, so it has
1082 @internalsref{finger-interface}.
1084 For the vertical placement, we have to look under
1085 @code{side-position-interface}:
1087 @code{side-position-interface}
1089 Position a victim object (this one) next to other objects (the
1090 support). In this case, the property @code{direction} signifies where to put the
1091 victim object relative to the support (left or right, up or down?)
1096 below this description, the variable @code{padding} is described as
1100 (dimension, in staff space)
1102 add this much extra space between objects that are next to each
1103 other. Default value: @code{0.6}
1107 By increasing the value of @code{padding}, we can move away the
1108 fingering. The following command inserts 3 staff spaces of white
1109 between the note and the fingering:
1111 \once \override Fingering #'padding = #3
1114 Inserting this command before the Fingering object is created,
1115 i.e. before @code{c2}, yields the following result:
1117 @lilypond[relative=2,fragment,verbatim]
1118 \once \override Fingering
1125 The context name @code{Voice} in the example above can be determined
1126 as follows. In the documentation for @internalsref{Fingering}, it says
1128 Fingering grobs are created by: @internalsref{Fingering_engraver} @c
1131 Clicking @code{Fingering_engraver} shows the documentation of
1132 the module responsible for interpreting the fingering instructions and
1133 translating them to a @code{Fingering} object. Such a module is called
1134 an @emph{engraver}. The documentation of the @code{Fingering_engraver}
1137 Fingering_engraver is part of contexts: Voice
1139 so tuning the settings for Fingering should be done with
1141 \override Fingering @dots{}
1144 Of course, the tweak may also done in a larger context than
1145 @code{Voice}, for example, @internalsref{Staff} or
1146 @internalsref{Score}.
1150 Internals: the program reference also contains alphabetical lists of
1151 @internalsref{Contexts}, @internalsref{All-layout-objects} and
1152 @internalsref{Music-expressions}, so you can also find which objects
1153 to tweak by browsing the internals document.
1159 * Selecting font sizes::
1163 @node Selecting font sizes
1164 @subsection Selecting font sizes
1166 The most common thing to change about the appearance of fonts is their
1167 size. The font size of any context can be easily changed by setting
1168 the @code{fontSize} property for that context. Its value is a number:
1169 negative numbers make the font smaller, positive numbers larger. An
1170 example is given below:
1172 @lilypond[fragment,relative=1,verbatim]
1173 c4 c4 \set fontSize = #-3
1176 This command will set @code{font-size} (see below) in all layout
1177 objects in the current context. It does not change the size of
1178 variable symbols, such as beams or slurs.
1180 The font size is set by modifying the @code{font-size} property. Its
1181 value is a number indicating the size relative to the standard size.
1182 Each step up is an increase of approximately 12% of the font size. Six
1183 steps is exactly a factor two. The Scheme function @code{magstep}
1184 converts a @code{font-size} number to a scaling factor.
1186 LilyPond has fonts in different design sizes: the music fonts for
1187 smaller sizes are chubbier, while the text fonts are relatively wider.
1188 Font size changes are achieved by scaling the design size that is
1189 closest to the desired size.
1191 The @code{font-size} mechanism does not work for fonts selected
1192 through @code{font-name}. These may be scaled with
1193 @code{font-magnification}.
1196 One of the uses of @code{fontSize} is to get smaller symbols for cue
1197 notes. An elaborate example of those is in
1198 @inputfileref{input/test,cue-notes.ly}.
1200 @cindex @code{font-style}
1204 The following commands set @code{fontSize} for the current voice.
1206 @cindex @code{\tiny}
1208 @cindex @code{\small}
1210 @cindex @code{\normalsize}
1215 @cindex magnification
1219 @node Font selection
1220 @subsection Font selection
1222 Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
1223 can also be adjusted with a more fine-grained mechanism. By setting
1224 the object properties described below, you can select a different font;
1225 all three mechanisms work for every object that supports
1226 @code{font-interface}:
1230 @item @code{font-encoding}
1231 is a symbol that sets layout of the glyphs. Choices include
1232 @code{text} for normal text, @code{braces} (for piano staff braces),
1233 @code{music} (the standard music font, including ancient glyphs),
1234 @code{dynamic} (for dynamic signs) and @code{number} for the number
1238 @item @code{font-family}
1239 is a symbol indicating the general class of the typeface. Supported are
1240 @code{roman} (Computer Modern), @code{sans} and @code{typewriter}
1242 @item @code{font-shape}
1243 is a symbol indicating the shape of the font, there are typically
1244 several font shapes available for each font family. Choices are
1245 @code{italic}, @code{caps} and @code{upright}.
1247 @item @code{font-series}
1248 is a symbol indicating the series of the font. There are typically several
1249 font series for each font family and shape. Choices are @code{medium}
1254 Fonts selected in the way sketched above come from a predefined style
1257 The font used for printing a object can be selected by setting
1258 @code{font-name}, e.g.
1260 \override Staff.TimeSignature
1261 #'font-name = #"cmr17"
1265 Any font can be used, as long as it is available to @TeX{}. Possible
1266 fonts include foreign fonts or fonts that do not belong to the
1267 Computer Modern font family. The size of fonts selected in this way
1268 can be changed with the @code{font-magnification} property. For
1269 example, @code{2.0} blows up all letters by a factor 2 in both
1273 @cindex font magnification
1279 Init files: @file{ly/declarations-init.ly} contains hints how new
1280 fonts may be added to LilyPond.
1284 No style sheet is provided for other fonts besides the @TeX{}
1285 Computer Modern family.
1287 @cindex font selection
1288 @cindex font magnification
1289 @cindex @code{font-interface}
1293 @section Text markup
1298 @cindex typeset text
1300 LilyPond has an internal mechanism to typeset texts. You can access it
1301 with the keyword @code{\markup}. Within markup mode, you can enter texts
1302 similar to lyrics: simply enter them, surrounded by spaces:
1305 @lilypond[verbatim,fragment,relative=1]
1306 c1^\markup { hello }
1307 c1_\markup { hi there }
1308 c1^\markup { hi \bold there, is \italic anyone home? }
1311 @cindex font switching
1313 The markup in the example demonstrates font switching commands. The
1314 command @code{\bold} and @code{\italic} only apply to the first
1315 following word; enclose a set of texts with braces to apply a command
1318 \markup @{ \bold @{ hi there @} @}
1322 For clarity, you can also do this for single arguments, e.g.
1325 \markup { is \italic { anyone } home }
1328 @cindex font size, texts
1331 In markup mode you can compose expressions, similar to mathematical
1332 expressions, XML documents and music expressions. The braces group
1333 notes into horizontal lines. Other types of lists also exist: you can
1334 stack expressions grouped with @code{<}, and @code{>} vertically with
1335 the command @code{\column}. Similarly, @code{\center-align} aligns
1336 texts by their center lines:
1338 @lilypond[verbatim,fragment,relative=1]
1339 c1^\markup { \column < a bbbb c > }
1340 c1^\markup { \center-align < a bbbb c > }
1341 c1^\markup { \line < a b c > }
1345 Markups can be stored in variables, and these variables
1346 may be attached to notes, like
1348 allegro = \markup { \bold \large { Allegro } }
1349 \notes { a^\allegro b c d }
1353 Some objects have alignment procedures of their own, which cancel out
1354 any effects of alignments applied to their markup arguments as a
1355 whole. For example, the @internalsref{RehearsalMark} is horizontally
1356 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
1359 Similarly, for moving whole texts over notes with
1360 @code{\raise}, use the following trick:
1362 "" \raise #0.5 raised
1365 The text @code{raised} is now raised relative to the empty string
1366 @code{""} which is not visible. Alternatively, complete objects can
1367 be moved with layout properties such as @code{padding} and
1368 @code{extra-offset}.
1374 Init files: @file{scm/new-markup.scm}.
1379 Text layout is ultimately done by @TeX{}, which does kerning of
1380 letters. LilyPond does not account for kerning, so texts will be
1381 spaced slightly too wide.
1383 Syntax errors for markup mode are confusing.
1385 Markup texts cannot be used in the titling of the @code{\header}
1386 field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
1392 * Overview of text markup commands::
1395 @node Overview of text markup commands
1396 @subsection Overview of text markup commands
1398 @include markup-commands.tely
1402 @section Global layout
1404 The global layout determined by three factors: the page layout, the
1405 line breaks and the spacing. These all influence each other. The
1406 choice of spacing determines how densely each system of music is set,
1407 which influences where line breaks breaks are chosen, and thus
1408 ultimately how many pages a piece of music takes. This section
1409 explains how to tune the algorithm for spacing.
1411 Globally spoken, this procedure happens in three steps: first,
1412 flexible distances (``springs'') are chosen, based on durations. All
1413 possible line breaking combination are tried, and the one with the
1414 best results---a layout that has uniform density and requires as
1415 little stretching or cramping as possible---is chosen. When the score
1416 is processed by @TeX{}, each page is filled with systems, and page breaks
1417 are chosen whenever the page gets full.
1422 * Vertical spacing::
1423 * Horizontal spacing::
1427 @node Vertical spacing
1428 @subsection Vertical spacing
1430 @cindex vertical spacing
1431 @cindex distance between staves
1432 @cindex staff distance
1433 @cindex between staves, distance
1434 @cindex staves per page
1435 @cindex space between staves
1437 The height of each system is determined automatically by LilyPond, to
1438 keep systems from bumping into each other, some minimum distances are
1439 set. By changing these, you can put staves closer together, and thus
1440 put more systems onto one page.
1442 Normally staves are stacked vertically. To make
1443 staves maintain a distance, their vertical size is padded. This is
1444 done with the property @code{minimumVerticalExtent}. It takes a pair
1445 of numbers, so if you want to make it smaller from its, then you could
1448 \set Staff.minimumVerticalExtent = #'(-4 . 4)
1450 This sets the vertical size of the current staff to 4 staff spaces on
1451 either side of the center staff line. The argument of
1452 @code{minimumVerticalExtent} is interpreted as an interval, where the
1453 center line is the 0, so the first number is generally negative. The
1454 staff can be made larger at the bottom by setting it to @code{(-6
1457 The piano staves are handled a little differently: to make cross-staff
1458 beaming work correctly, it is necessary that the distance between staves
1459 is fixed beforehand. This is also done with a
1460 @internalsref{VerticalAlignment} object, created in
1461 @internalsref{PianoStaff}. In this object the distance between the
1462 staves is fixed by setting @code{forced-distance}. If you want to
1463 override this, use a @code{\context} block as follows:
1468 \override VerticalAlignment #'forced-distance = #9
1473 This would bring the staves together at a distance of 9 staff spaces,
1474 measured from the center line of each staff.
1478 Internals: Vertical alignment of staves is handled by the
1479 @internalsref{VerticalAlignment} object.
1484 @node Horizontal spacing
1485 @subsection Horizontal Spacing
1487 The spacing engine translates differences in durations into
1488 stretchable distances (``springs'') of differing lengths. Longer
1489 durations get more space, shorter durations get less. The shortest
1490 durations get a fixed amount of space (which is controlled by
1491 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
1492 The longer the duration, the more space it gets: doubling a
1493 duration adds a fixed amount (this amount is controlled by
1494 @code{spacing-increment}) of space to the note.
1496 For example, the following piece contains lots of half, quarter and
1497 8th notes, the eighth note is followed by 1 note head width (NHW).
1498 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1499 @lilypond[fragment,verbatim,relative=1] c2 c4. c8 c4. c8 c4. c8 c8
1503 Normally, @code{shortest-duration-space} is set to 1.2, which is the
1504 width of a note head, and @code{shortest-duration-space} is set to
1505 2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
1506 @code{shortest-duration-space}) of space. For normal notes, this space
1507 is always counted from the left edge of the symbol, so the shortest
1508 notes are generally followed by one NHW of space.
1510 If one would follow the above procedure exactly, then adding a single
1511 32th note to a score that uses 8th and 16th notes, would widen up the
1512 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1513 thus adding 1 NHW to every note. To prevent this, the
1514 shortest duration for spacing is not the shortest note in the score,
1515 but the most commonly found shortest note. Notes that are even
1516 shorter this are followed by a space that is proportional to their
1517 duration relative to the common shortest note. So if we were to add
1518 only a few 16th notes to the example above, they would be followed by
1521 @lilypond[fragment,verbatim,relative=2]
1522 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1525 The most common shortest duration is determined as follows: in every
1526 measure, the shortest duration is determined. The most common short
1527 duration, is taken as the basis for the spacing, with the stipulation
1528 that this shortest duration should always be equal to or shorter than
1529 1/8th note. The shortest duration is printed when you run lilypond
1530 with @code{--verbose}. These durations may also be customized. If you
1531 set the @code{common-shortest-duration} in
1532 @internalsref{SpacingSpanner}, then this sets the base duration for
1533 spacing. The maximum duration for this base (normally 1/8th), is set
1534 through @code{base-shortest-duration}.
1536 @cindex @code{common-shortest-duration}
1537 @cindex @code{base-shortest-duration}
1538 @cindex @code{stem-spacing-correction}
1539 @cindex @code{spacing}
1541 In the introduction it was explained that stem directions influence
1542 spacing. This is controlled with @code{stem-spacing-correction}
1543 property in @internalsref{NoteSpacing}, which are generated for every
1544 @internalsref{Voice} context. The @code{StaffSpacing} object
1545 (generated at @internalsref{Staff} context) contains the same property
1546 for controlling the stem/bar line spacing. The following example
1547 shows these corrections, once with default settings, and once with
1548 exaggerated corrections:
1554 \override Staff.NoteSpacing #'stem-spacing-correction
1556 \override Staff.StaffSpacing #'stem-spacing-correction
1561 \paper { raggedright = ##t } }
1564 @cindex SpacingSpanner, overriding properties
1566 Properties of the @internalsref{SpacingSpanner} must be overridden
1567 from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
1568 created before any property commands are interpreted.
1570 \paper @{ \context @{
1572 SpacingSpanner \override #'spacing-increment = #3.0
1579 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1580 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1581 @internalsref{SeparatingGroupSpanner}.
1585 Spacing is determined on a score wide basis. If you have a score that
1586 changes its character (measured in durations) halfway during the
1587 score, the part containing the longer durations will be spaced too
1590 There is no convenient mechanism to manually override spacing.
1597 @cindex font size, setting
1598 @cindex staff size, setting
1599 @cindex @code{paper} file
1601 The Feta font provides musical symbols at eight different
1602 sizes. Each font is tuned for a different staff size: at smaller sizes
1603 the font gets heavier, to match the relatively heavier staff lines.
1604 The recommended font sizes are listed in the following table:
1606 @multitable @columnfractions .25 .25 .25 .25
1609 @tab @b{staff height (pt)}
1610 @tab @b{staff height (mm)}
1652 @c modern rental material ?
1656 These fonts are available in any sizes. The context property
1657 @code{fontSize} and the layout property @code{staff-space} (in
1658 @internalsref{StaffSymbol}) can be used to tune size for individual
1659 staves. The size of individual staves are relative to the global size,
1660 which can be set in the following manner:
1663 #(set-global-staff-size 14)
1666 This sets the global default size to 14pt staff height, and scales all
1671 This manual: @ref{Selecting font sizes}.
1680 @subsection Line breaking
1683 @cindex breaking lines
1685 Line breaks are normally computed automatically. They are chosen such
1686 that lines look neither cramped nor loose, and that consecutive lines
1687 have similar density.
1689 Occasionally you might want to override the automatic breaks; you can
1690 do this by specifying @code{\break}. This will force a line break at
1691 this point. Line breaks can only occur at places where there are bar
1692 lines. If you want to have a line break where there is no bar line,
1693 you can force an invisible bar line by entering @code{\bar
1694 ""}. Similarly, @code{\noBreak} forbids a line break at a
1698 @cindex regular line breaks
1699 @cindex four bar music.
1701 For line breaks at regular intervals use @code{\break} separated by
1702 skips and repeated with @code{\repeat}:
1704 << \repeat unfold 7 @{
1705 s1 \noBreak s1 \noBreak
1706 s1 \noBreak s1 \break @}
1707 @emph{the real music}
1712 This makes the following 28 measures (assuming 4/4 time) be broken every
1713 4 measures, and only there.
1717 @code{\break}, @code{\noBreak}
1718 @cindex @code{\break}
1719 @cindex @code{\noBreak}
1723 Internals: @internalsref{BreakEvent}.
1727 @subsection Page layout
1730 @cindex breaking pages
1732 @cindex @code{indent}
1733 @cindex @code{linewidth}
1735 The most basic settings influencing the spacing are @code{indent} and
1736 @code{linewidth}. They are set in the @code{\paper} block. They
1737 control the indentation of the first line of music, and the lengths of
1740 If @code{raggedright} is set to true in the @code{\paper}
1741 block, then the lines are justified at their natural length. This
1742 useful for short fragments, and for checking how tight the natural
1746 @cindex vertical spacing
1748 The page layout process happens outside the LilyPond formatting
1749 engine: variables controlling page layout are passed to the output,
1750 and are further interpreted by @code{lilypond} wrapper program. It
1751 responds to the following variables in the @code{\paper} block. The
1752 spacing between systems is controlled with @code{interscoreline}, its
1753 default is 16pt. The distance between the score lines will stretch in
1754 order to fill the full page @code{interscorelinefill} is set to a
1755 positive number. In that case @code{interscoreline} specifies the
1758 @cindex @code{textheight}
1759 @cindex @code{interscoreline}
1760 @cindex @code{interscorelinefill}
1762 If the variable @code{lastpagefill} is defined,
1763 @c fixme: this should only be done if lastpagefill= #t
1764 systems are evenly distributed vertically on the last page. This
1765 might produce ugly results in case there are not enough systems on the
1766 last page. The @command{lilypond-book} command ignores
1767 @code{lastpagefill}. See @ref{lilypond-book manual} for more
1770 @cindex @code{lastpagefill}
1772 Page breaks are normally computed by @TeX{}, so they are not under
1773 direct control of LilyPond. However, you can insert a commands into
1774 the @file{.tex} output to instruct @TeX{} where to break pages. This
1775 is done by setting the @code{between-systems-strings} on the
1776 @internalsref{NonMusicalPaperColumn} where the system is broken.
1777 An example is shown in @inputfileref{input/regression,between-systems.ly}.
1778 The predefined command @code{\newpage} also does this.
1782 @cindex @code{papersize}
1784 To change the paper size, use the following Scheme code:
1787 #(set-paper-size "a4")
1794 @cindex @code{\newpage}
1800 In this manual: @ref{Invoking lilypond}.
1802 Examples: @inputfileref{input/regression,between-systems.ly}.
1804 Internals: @internalsref{NonMusicalPaperColumn}.
1808 LilyPond has no concept of page layout, which makes it difficult to
1809 reliably choose page breaks in longer pieces.
1814 @node Output details
1815 @section Output details
1817 The default output format is La@TeX{}, which should be run
1818 through La@TeX{}. Using the option @option{-f}
1819 (or @option{--format}) other output formats can be selected also, but
1820 none of them work reliably.
1822 Now the music is output system by system (a `system' consists of all
1823 staves belonging together). From @TeX{}'s point of view, a system is an
1824 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
1825 vertically on the baseline of the text. Between systems,
1826 @code{\interscoreline} is inserted vertically to have stretchable space.
1827 The horizontal dimension of the @code{\hbox} is given by the
1828 @code{linewidth} parameter from LilyPond's @code{\paper} block.
1830 After the last system LilyPond emits a stronger variant of
1831 @code{\interscoreline} only if the macro
1832 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
1833 to the top of the page). You can avoid that by setting the variable
1834 @code{lastpagefill} in LilyPond's @code{\paper} block.
1836 It is possible to fine-tune the vertical offset further by defining the
1837 macro @code{\lilypondscoreshift}:
1840 \def\lilypondscoreshift@{0.25\baselineskip@}
1844 where @code{\baselineskip} is the distance from one text line to the next.
1846 Here an example how to embed a small LilyPond file @code{foo.ly} into
1847 running La@TeX{} text without using the @code{lilypond-book} script
1848 (@pxref{lilypond-book manual}):
1851 \documentclass@{article@}
1853 \def\lilypondpaperlastpagefill@{@}
1855 \def\lilypondscoreshift@{0.25\baselineskip@}
1858 This is running text which includes an example music file
1864 The file @file{foo.tex} has been simply produced with
1870 The call to @code{\lineskip} assures that there is enough vertical space
1871 between the LilyPond box and the surrounding text lines.