1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Output formats
11 This is a placeholder until I can write a nice intro for this chapter.
22 The global paper layout is determined by three factors: the page layout, the
23 line breaks, and the spacing. These all influence each other. The
24 choice of spacing determines how densely each system of music is set.
25 This influences where line breaks are chosen, and thus ultimately, how
26 many pages a piece of music takes.
28 Globally spoken, this procedure happens in three steps: first,
29 flexible distances (``springs'') are chosen, based on durations. All
30 possible line breaking combinations are tried, and the one with the
31 best results -- a layout that has uniform density and requires as
32 little stretching or cramping as possible -- is chosen.
34 After spacing and linebreaking, the systems are distributed across
35 pages, taking into account the size of the page, and the size of the
41 * Setting global staff size::
42 * Selecting notation font size::
47 * Vertical spacing of piano staves::
48 * Horizontal spacing::
52 * Multiple movements::
57 @node Setting global staff size
58 @subsection Setting global staff size
60 @cindex font size, setting
61 @cindex staff size, setting
62 @cindex @code{layout} file
64 To set the global staff size, use @code{set-global-staff-size}.
67 #(set-global-staff-size 14)
71 This sets the global default size to 14pt staff height and scales all
74 The Feta font provides musical symbols at eight different
75 sizes. Each font is tuned for a different staff size: at a smaller size
76 the font becomes heavier, to match the relatively heavier staff lines.
77 The recommended font sizes are listed in the following table:
80 @multitable @columnfractions .15 .2 .22 .2
83 @tab @b{staff height (pt)}
84 @tab @b{staff height (mm)}
126 @c modern rental material?
131 These fonts are available in any sizes. The context property
132 @code{fontSize} and the layout property @code{staff-space} (in
133 @internalsref{StaffSymbol}) can be used to tune the size for individual
134 staves. The sizes of individual staves are relative to the global size.
142 This manual: @ref{Selecting notation font size}.
145 @node Selecting notation font size
146 @subsection Selecting notation font size
148 The easiest method of setting the font size of any context, is by
149 setting the @code{fontSize} property.
151 @lilypond[quote,fragment,relative=1,verbatim]
160 It does not change the size of variable symbols, such as beams or
163 Internally, the @code{fontSize} context property will cause the
164 @code{font-size} property to be set in all layout objects. The value
165 of @code{font-size} is a number indicating the size relative to the
166 standard size for the current staff height. Each step up is an
167 increase of approximately 12% of the font size. Six steps is exactly a
168 factor two. The Scheme function @code{magstep} converts a
169 @code{font-size} number to a scaling factor.
171 @lilypond[quote,fragment,relative=1,verbatim]
173 \override NoteHead #'font-size = #-4
175 \override NoteHead #'font-size = #3
179 LilyPond has fonts in different design sizes. The music fonts for
180 smaller sizes are chubbier, while the text fonts are relatively wider.
181 Font size changes are achieved by scaling the design size that is
182 closest to the desired size. The standard font size (for
183 @code{font-size} equals 0), depends on the standard staff height. For
184 a 20pt staff, a 10pt font is selected.
186 The @code{font-size} property can only be set on layout objects that
187 use fonts. These are the ones supporting the
188 @internalsref{font-interface} layout interface.
192 The following commands set @code{fontSize} for the current voice:
196 @cindex @code{\small}
198 @cindex @code{\normalsize}
203 @subsection Paper size
207 @cindex @code{papersize}
209 To change the paper size, there are two commands,
211 #(set-default-paper-size "a4")
213 #(set-paper-size "a4")
217 The first command sets the size of all pages. The second command sets the size
218 of the pages that the @code{\paper} block applies to -- if the @code{\paper}
219 block is at the top of the file, then it will apply to all pages. If the
220 @code{\paper} block is inside a @code{\book}, then the paper size will only
223 The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
224 @code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
229 If the symbol @code{landscape} is supplied as an argument to
230 @code{set-default-paper-size}, the pages will be rotated by 90 degrees,
231 and wider line widths will be set correspondingly.
234 #(set-default-paper-size "a6" 'landscape)
238 @node Page formatting
239 @subsection Page formatting
241 @cindex page formatting
246 LilyPond will do page layout, set margins, and add headers and
247 footers to each page.
249 The default layout responds to the following settings in the
252 @cindex @code{\paper}
256 @item firstpagenumber
257 The value of the page number of the first page. Default is@tie{}1.
259 @item printfirstpagenumber
260 If set to true, will print the page number in the first page. Default is
263 @item printpagenumber
264 If set to false, page numbers will not be printed.
267 The width of the page.
270 The height of the page.
273 Margin between header and top of the page.
276 Margin between footer and bottom of the page.
279 Margin between the left side of the page and the beginning of the music.
282 The length of the systems.
285 Distance between the top-most music system and the page header.
288 Distance between the bottom-most music system and the page footer.
291 If set to true, systems will not be spread across the page.
293 This should be set false for pieces that have only two or three
294 systems per page, for example orchestral scores.
296 @item raggedlastbottom
297 If set to false, systems will be spread to fill the last page.
299 Pieces that amply fill two pages or more should have this set to
302 @item betweensystemspace
303 This dimensions determines the distance between systems. It is the
304 ideal distance between the center of the bottom staff of one system
305 and the center of the top staff of the next system.
307 Increasing this will provide a more even appearance of the page at the
308 cost of using more vertical space.
310 @item betweensystempadding
311 This dimension is the minimum amount of white space that will always
312 be present between the bottom-most symbol of one system, and the
313 top-most of the next system.
315 Increasing this will put systems whose bounding boxes almost touch
319 @item horizontalshift
320 All systems (including titles and system separators) are shifted by
321 this amount to the right. Page markup, such as headers and footers are
322 not affected by this. The purpose of this variable is to make space
323 for instrument names at the left.
326 @item aftertitlespace
327 Amount of space between the title and the first system.
329 @item beforetitlespace
330 Amount of space between the last system of the previous piece and the
333 @item betweentitlespace
334 Amount of space between consecutive titles (e.g., the title of the
335 book and the title of a piece).
337 @item printallheaders
338 Setting this to #t will print all headers for each \score in a
339 \book. Normally only the piece and opus \headers are printed.
341 @item systemSeparatorMarkup
342 This contains a markup object, which will be inserted between
343 systems. This is often used for orchestral scores.
345 The markup command @code{\slashSeparator} is provided as a sensible
348 @lilypond[raggedright]
350 systemSeparatorMarkup = \slashSeparator
353 \relative { c1 \break c1 }
367 raggedlastbottom = ##t
371 You can also define these values in Scheme. In that case @code{mm},
372 @code{in}, @code{pt}, and @code{cm} are variables defined in
373 @file{paper-defaults.ly} with values in millimeters. That's why the
374 value has to be multiplied in the example
378 #(define bottommargin (* 2 cm))
385 The default footer is empty, except for the first page, where the
386 @code{copyright} field from @code{\header} is inserted, and the last
387 page, where @code{tagline} from @code{\header} is added. The default
388 tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
389 printed parts are good PR for us, so please leave the tagline if you
392 The header and footer are created by the functions @code{make-footer}
393 and @code{make-header}, defined in @code{\paper}. The default
394 implementations are in @file{scm/@/page@/-layout@/.scm}.
396 The page layout itself is done by two functions in the
397 @code{\paper} block, @code{page-music-height} and
398 @code{page-make-stencil}. The former tells the line-breaking algorithm
399 how much space can be spent on a page, the latter creates the actual
400 page given the system to put on it.
405 The option rightmargin is defined but doesn't set the right margin
406 yet. The value for the right margin has to be defined adjusting the
407 values of the leftmargin and linewidth.
409 The default page header puts the page number and the @code{instrument}
410 field from the @code{\header} block on a line.
414 @subsection Score layout
416 @cindex @code{\layout}
418 While @code{\paper} contains settings that relate to the page formatting
419 of the whole document, @code{\layout} contains settings for score-specific
426 minimumVerticalExtent = #'(-6 . 6
429 \override TextScript #'padding = #1.0
430 \override Glissando #'thickness = #3
438 This manual: @ref{Changing context default settings}
441 @node Vertical spacing
442 @subsection Vertical spacing
444 @cindex vertical spacing
445 @cindex distance between staves
446 @cindex staff distance
447 @cindex between staves, distance
448 @cindex staves per page
449 @cindex space between staves
451 The height of each system is determined automatically. To prevent
452 systems from bumping into each other, some minimum distances are set.
453 By changing these, you can put staves closer together, and thus put
454 more systems onto one page.
456 Normally staves are stacked vertically. To make staves maintain a
457 distance, their vertical size is padded. This is done with the
458 property @code{minimumVerticalExtent}. It takes a pair of numbers, so
459 if you want to make it smaller than its default @code{#'(-4 . 4)},
463 \set Staff.minimumVerticalExtent = #'(-3 . 3)
467 This sets the vertical size of the current staff to 3 staff spaces on
468 either side of the center staff line. The argument of
469 @code{minimumVerticalExtent} is interpreted as an interval, where the
470 center line is the 0, so the first number is generally negative. The
471 staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
473 To change the amount of space between systems, use
474 @code{betweensystemspace}. A score with only one staff is still
475 considered to have systems, so setting @code{betweensystemspace}
476 will be much more useful than changing @code{minimumVerticalExtent}.
480 betweensystemspace = 10\mm
487 Internals: Vertical alignment of staves is handled by the
488 @internalsref{VerticalAlignment} object.
492 @code{minimumVerticalExtent} is syntactic sugar for setting
493 @code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
494 current context. It can only be changed score wide.
499 @node Vertical spacing of piano staves
500 @subsection Vertical spacing of piano staves
502 The distance between staves of a @internalsref{PianoStaff} cannot be
503 computed during formatting. Rather, to make cross-staff beaming work
504 correctly, that distance has to be fixed beforehand.
506 The distance of staves in a @code{PianoStaff} is set with the
507 @code{forced-distance} property of the
508 @internalsref{VerticalAlignment} object, created in
509 @internalsref{PianoStaff}.
511 It can be adjusted as follows
513 \new PianoStaff \with @{
514 \override VerticalAlignment #'forced-distance = #7
521 This would bring the staves together at a distance of 7 staff spaces,
522 measured from the center line of each staff.
524 The difference is demonstrated in the following example,
525 @lilypond[quote,verbatim]
527 \new PianoStaff \with {
528 \override VerticalAlignment #'forced-distance = #7
544 @code{forced-distance} cannot be changed per system.
547 @node Horizontal spacing
548 @subsection Horizontal Spacing
550 The spacing engine translates differences in durations into
551 stretchable distances (``springs'') of differring lengths. Longer
552 durations get more space, shorter durations get less. The shortest
553 durations get a fixed amount of space (which is controlled by
554 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
555 The longer the duration, the more space it gets: doubling a
556 duration adds a fixed amount (this amount is controlled by
557 @code{spacing-increment}) of space to the note.
559 For example, the following piece contains lots of half, quarter, and
560 8th notes; the eighth note is followed by 1 note head width (NHW).
561 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
563 @lilypond[quote,fragment,verbatim,relative=1]
564 c2 c4. c8 c4. c8 c4. c8 c8
568 Normally, @code{spacing-increment} is set to 1.2 staff space, which is
569 approximately the width of a note head, and
570 @code{shortest-duration-space} is set to 2.0, meaning that the
571 shortest note gets 2.4 staff space (2.0 times the
572 @code{spacing-increment}) of horizontal space. This space is counted
573 from the left edge of the symbol, so the shortest notes are generally
574 followed by one NHW of space.
576 If one would follow the above procedure exactly, then adding a single
577 32nd note to a score that uses 8th and 16th notes, would widen up the
578 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
579 thus adding 1 NHW to every note. To prevent this, the shortest
580 duration for spacing is not the shortest note in the score, but rather
581 the one which occurs most frequently.
584 The most common shortest duration is determined as follows: in every
585 measure, the shortest duration is determined. The most common shortest
586 duration is taken as the basis for the spacing, with the stipulation
587 that this shortest duration should always be equal to or shorter than
588 an 8th note. The shortest duration is printed when you run
589 @code{lilypond} with the @code{--verbose} option.
591 These durations may also be customized. If you set the
592 @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
593 this sets the base duration for spacing. The maximum duration for this
594 base (normally an 8th), is set through @code{base-shortest-duration}.
596 @cindex @code{common-shortest-duration}
597 @cindex @code{base-shortest-duration}
598 @cindex @code{stem-spacing-correction}
599 @cindex @code{spacing}
601 Notes that are even shorter than the common shortest note are
602 followed by a space that is proportional to their duration relative to
603 the common shortest note. So if we were to add only a few 16th notes
604 to the example above, they would be followed by half a NHW:
606 @lilypond[quote,fragment,verbatim,relative=2]
607 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
611 In the introduction (see @ref{Engraving}), it was explained that stem
612 directions influence spacing. This is controlled with the
613 @code{stem-spacing-correction} property in the
614 @internalsref{NoteSpacing}, object. These are generated for every
615 @internalsref{Voice} context. The @code{StaffSpacing} object
616 (generated in @internalsref{Staff} context) contains the same property
617 for controlling the stem/bar line spacing. The following example shows
618 these corrections, once with default settings, and once with
619 exaggerated corrections:
621 @lilypond[quote,raggedright]
625 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
626 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
635 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
636 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
637 @internalsref{SeparatingGroupSpanner}.
641 Spacing is determined on a score wide basis. If you have a score that
642 changes its character (measured in durations) halfway during the
643 score, the part containing the longer durations will be spaced too
646 There is no convenient mechanism to manually override spacing. The
647 following work-around may be used to insert extra space into a score.
649 \once \override Score.SeparationItem #'padding = #1
652 No work-around exists for decreasing the amount of space.
655 @subsection Line length
658 @cindex breaking pages
660 @cindex @code{indent}
661 @cindex @code{linewidth}
663 @c Although linewidth can be set in \layout, it should be set in paper
664 @c block, to get page layout right.
665 @c Setting indent in \paper block makes not much sense, but it works.
667 @c Bit verbose and vague, use examples?
668 The most basic settings influencing the spacing are @code{indent} and
669 @code{linewidth}. They are set in the @code{\layout} block. They
670 control the indentation of the first line of music, and the lengths of
673 If @code{raggedright} is set to true in the @code{\layout} block, then
674 the lines are justified at their natural length. This is useful for
675 short fragments, and for checking how tight the natural spacing is.
678 @cindex vertical spacing
680 The option @code{raggedlast} is similar to @code{raggedright}, but
681 only affects the last line of the piece. No restrictions are put on
682 that line. The result is similar to formatting text paragraphs. In a
683 paragraph, the last line simply takes its natural length.
684 @c Note that for text there are several options for the last line.
685 @c While Knuth TeX uses natural length, lead typesetters use the same
686 @c stretch as the previous line. eTeX uses \lastlinefit to
687 @c interpolate between both these solutions.
690 @subsection Line breaking
693 @cindex breaking lines
695 Line breaks are normally computed automatically. They are chosen so
696 that lines look neither cramped nor loose, and that consecutive lines
697 have similar density.
699 Occasionally you might want to override the automatic breaks; you can
700 do this by specifying @code{\break}. This will force a line break at
701 this point. Line breaks can only occur at places where there are bar
702 lines. If you want to have a line break where there is no bar line,
703 you can force an invisible bar line by entering @code{\bar
704 ""}. Similarly, @code{\noBreak} forbids a line break at a
708 @cindex regular line breaks
709 @cindex four bar music.
711 For line breaks at regular intervals use @code{\break} separated by
712 skips and repeated with @code{\repeat}:
714 << \repeat unfold 7 @{
715 s1 \noBreak s1 \noBreak
716 s1 \noBreak s1 \break @}
717 @emph{the real music}
722 This makes the following 28 measures (assuming 4/4 time) be broken every
723 4 measures, and only there.
727 @code{\break}, and @code{\noBreak}.
728 @cindex @code{\break}
729 @cindex @code{\noBreak}
733 Internals: @internalsref{BreakEvent}.
737 @subsection Page breaking
739 The default page breaking may be overriden by inserting
740 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
741 analogous to @code{\break} and @code{\noBreak}. They should be
742 inserted at a bar line. These commands force and forbid a page-break
743 from happening. Of course, the @code{\pageBreak} command also forces
746 Page breaks are computed by the @code{page-breaking} function in the
749 To force a new page for a new piece (in a collection of pieces or a
750 piece in several movements), use @code{breakbefore} in the header.
760 @cindex @code{\pageBreak}
762 @cindex @code{\noPageBreak}
766 @node Multiple movements
767 @subsection Multiple movements
769 @cindex bibliographic information
772 @cindex Music engraving by LilyPond
774 A document may contain multiple pieces of music and texts. Examples
775 of these are an etude book, or an orchestral part with multiple
776 movements. Each movement is entered with a @code{\score} block,
784 and texts are entered with a @code{\markup} block,
794 The movements and texts are combined together in a @code{\book} block,
812 The header for each piece of music can be put inside the @code{\score}
813 block. The @code{piece} name from the header will be printed before
814 each movement. The title for the entire book can be put inside the
815 @code{\book}, but if it is not present, the @code{\header} which is at
816 the top of the file is inserted.
818 @cindex Engraved by LilyPond
819 @cindex signature line
824 title = "Eight miniatures"
825 composer = "Igor Stravinsky"
829 \header @{ piece = "Romanze" @}
832 ..text of second verse..
835 ..text of third verse..
839 \header @{ piece = "Menuetto" @}
845 @node Creating titles
846 @subsection Creating titles
848 Titles are created for each @code{\score} block, and over a
851 The contents of the titles are taken from the @code{\header} blocks.
852 The header block for a book supports the following
855 The dedicatee of the music, centered at the top of the first page.
858 The title of the music, centered just below the dedication.
861 Subtitle, centered below the title.
864 Subsubtitle, centered below the subtitle.
867 Name of the poet, flush-left below the subtitle.
870 Name of the composer, flush-right below the subtitle.
873 Meter string, flush-left below the poet.
876 Name of the opus, flush-right below the composer.
879 Name of the arranger, flush-right below the opus.
882 Name of the instrument, centered below the arranger. Also
883 centered at the top of pages (other than the first page).
886 Name of the piece, flush-left below the instrument.
888 @cindex page breaks, forcing
890 This forces the title to start on a new page (set to ##t or ##f).
893 Copyright notice, centered at the bottom of the first page. To
894 insert the copyright symbol, see @ref{Text encoding}.
897 Centered at the bottom of the last page.
901 Here is a demonstration of the fields available. Note that you
902 may use any @ref{Text markup} commands in the header.
904 @lilypond[quote,verbatim,linewidth=11.0\cm]
912 dedication = "dedicated to me"
913 title = \markup \center-align { "Title first line" "Title second line, longer" }
914 subtitle = "the subtitle,"
915 subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
917 composer = \markup \center-align { "composer" \small "(1847-1973)" }
918 texttranslator = "Text Translator"
919 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
920 arranger = "Arranger"
921 opus = \markup { \fontsize #8.5 "o" \fontsize #2.5 "p" \fontsize #-2.5 "u" \fontsize #-5.3 "s" \fontsize #7.5 " " }
922 instrument = \markup \bold \italic "instrument"
946 A more advanced option is to change the definitions of the following
947 variables in the @code{\paper} block. The init file
948 @file{ly/titling-init.ly} lists the default layout.
951 @item bookTitleMarkup
952 This is the title put over an entire @code{\book} block. Typically,
953 it has the composer and the title of the piece
955 @item scoreTitleMarkup
956 This is the title put over a @code{\score} block within a
957 @code{\book}. Typically, it has the name of the movement (@code{piece}
960 @item oddHeaderMarkup
961 This is the page header for odd-numbered pages.
963 @item evenHeaderMarkup
964 This is the page header for even-numbered pages. If unspecified,
965 the odd header is used instead.
967 By default, headers are defined such that the page number is on the
968 outside edge, and the instrument is centered.
970 @item oddFooterMarkup
971 This is the page footer for odd-numbered pages.
973 @item evenFooterMarkup
974 This is the page footer for even-numbered pages. If unspecified,
975 the odd header is used instead.
977 By default, the footer has the copyright notice on the first, and
978 the tagline on the last page.
988 The following definition will put the title flush left, and the
989 composer flush right on a single line.
993 bookTitleMarkup = \markup {
995 \fromproperty #'header:title
996 \fromproperty #'header:composer
1005 @section Sound output
1010 MIDI (Musical Instrument Digital Interface) is a standard for
1011 connecting and controlling digital instruments. A MIDI file is a
1012 series of notes in a number of tracks. It is not an actual
1013 sound file; you need special software to translate between the
1014 series of notes and actual sounds.
1016 Pieces of music can be converted to MIDI files, so you can listen to
1017 what was entered. This is convenient for checking the music; octaves
1018 that are off or accidentals that were mistyped stand out very much
1019 when listening to the MIDI output.
1023 Many musically interesting effects, such as swing, articulation,
1024 slurring, etc., are not translated to midi.
1026 The midi output allocates a channel for each staff, and one for global
1027 settings. Therefore the midi file should not have more than 15 staves
1028 (or 14 if you do not use drums). Other staves will remain silent.
1030 Not all midi players correctly handle tempo changes in the midi
1031 output. Players that are known to work include
1032 @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1035 * Creating MIDI files::
1037 * MIDI instrument names::
1040 @node Creating MIDI files
1041 @subsection Creating MIDI files
1043 To create a MIDI from a music piece of music, add a @code{\midi} block
1044 to a score, for example,
1049 \midi @{ \tempo 4=72 @}
1053 The tempo is specified using the @code{\tempo} command. In this
1054 example the tempo of quarter notes is set to 72 beats per minute.
1057 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1058 be produced. When notation is needed too, a @code{\layout} block must
1064 \midi @{ \tempo 4=72 @}
1068 @cindex layout block
1072 Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
1073 crescendi and decrescendi translate into MIDI volume levels. Dynamic
1074 marks translate to a fixed fraction of the available MIDI volume
1075 range, crescendi and decrescendi make the volume vary linearly between
1076 their two extremes. The fractions can be adjusted by
1077 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
1078 For each type of MIDI instrument, a volume range can be defined. This
1079 gives a basic equalizer control, which can enhance the quality of
1080 the MIDI output remarkably. The equalizer can be controlled by
1081 setting @code{instrumentEqualizer}.
1085 @subsection MIDI block
1089 The MIDI block is analogous to the layout block, but it is somewhat
1090 simpler. The @code{\midi} block can contain
1094 @item a @code{\tempo} definition, and
1095 @item context definitions.
1098 A number followed by a period is interpreted as a real number, so
1099 for setting the tempo for dotted notes, an extra space should be
1100 inserted, for example
1103 \midi @{ \tempo 4 . = 120 @}
1107 @cindex context definition
1109 Context definitions follow precisely the same syntax as within the
1110 \layout block. Translation modules for sound are called performers.
1111 The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
1114 @node MIDI instrument names
1115 @subsection MIDI instrument names
1117 @cindex instrument names
1118 @cindex @code{Staff.midiInstrument}
1120 The MIDI instrument name is set by the @code{Staff.midiInstrument}
1121 property. The instrument name should be chosen from the list in
1122 @ref{MIDI instruments}.
1125 \set Staff.midiInstrument = "glockenspiel"
1129 If the selected instrument does not exactly match an instrument from
1130 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})