1 @c -*- coding: utf-8; 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
11 This section deals with general lilypond issues, rather than
16 * A single music expression::
17 * Titles and headers::
20 * Multiple movements::
28 The main format of input for LilyPond are text files. By convention,
29 these files end with ``@code{.ly}''.
32 * File structure (introduction)::
34 * Including LilyPond files::
39 @node File structure (introduction)
40 @subsection File structure (introduction)
42 A basic example of a lilypond input file is
47 @{ @} % this is a single music expression;
48 % all the music goes in here.
56 There are many variations of this basic pattern, but this
57 example serves as a useful starting place.
59 The major part of this manual is concerned with entering various
60 forms of music in LilyPond. However, many music expressions are not
61 valid input on their own, for example, a @code{.ly} file containing
68 will result in a parsing error. Instead, music should be inside other
69 expressions, which may be put in a file by themselves. Such
70 expressions are called toplevel expressions. The next section enumerates
75 @subsection File structure
77 A @code{.ly} file contains any number of toplevel expressions, where a
78 toplevel expression is one of the following
82 An output definition, such as @code{\paper}, @code{\midi}, and
83 @code{\layout}. Such a definition at the toplevel changes the default
84 settings for the block entered.
87 A direct scheme expression, such as
88 @code{#(set-default-paper-size "a7" 'landscape)} or
89 @code{#(ly:set-option 'point-and-click #f)}.
92 A @code{\header} block. This sets the global header block. This
93 is the block containing the definitions for book-wide settings, like
97 An @code{\addquote} statement. See @ref{Quoting other voices}
101 A @code{\score} block. This score will be collected with other
102 toplevel scores, and combined as a single @code{\book}.
104 This behavior can be changed by setting the variable
105 @code{toplevel-score-handler} at toplevel. The default handler is
106 defined in the init file @file{scm/@/lily@/.scm}.
108 The @code{\score} must begin with a music expression, and may
109 contain only one music expression.
112 A @code{\book} block logically combines multiple movements
113 (i.e., multiple @code{\score} blocks) in one document. If there are
114 a number of @code{\scores}, a single output file will be created
115 in which all movements are concatenated.
117 This behavior can be changed by setting the variable
118 @code{toplevel-book-handler} at toplevel. The default handler is
119 defined in the init file @file{scm/@/lily@/.scm}.
122 A compound music expression, such as
127 This will add the piece in a @code{\score} and format it in a
128 single book together with all other toplevel @code{\score}s and music
129 expressions. In other words, a file containing only the above
130 music expression will be translated into
146 This behavior can be changed by setting the variable
147 @code{toplevel-music-handler} at toplevel. The default handler is
148 defined in the init file @file{scm/@/lily@/.scm}.
151 A markup text, a verse for example
154 2. The first line verse two.
158 Markup texts are rendered above, between or below the scores or music
159 expressions, wherever they appear.
162 An identifier, such as
167 This can be used later on in the file by entering @code{\foo}. The
168 name of an identifier should have alphabetic characters only; no
169 numbers, underscores or dashes.
173 The following example shows three things that may be entered at
178 % movements are non-justified by default
190 At any point in a file, any of the following lexical instructions can
194 @item @code{\version}
195 @item @code{\include}
196 @item @code{\renameinput}
200 @node Including LilyPond files
201 @subsection Including LilyPond files
203 @cindex @code{\include}
204 @cindex including files
206 A large project may be split up into separate files. To refer to another
210 \include "otherfile.ly"
213 The line @code{\include "file.ly"} is equivalent to pasting the contents
214 of file.ly into the current file at the place where you have the
215 \include. For example, for a large project you might write separate files
216 for each instrument part and create a ``full score'' file which brings
217 together the individual instrument files.
219 The initialization of LilyPond is done in a number of files that are
220 included by default when you start the program, normally transparent to the
221 user. Run lilypond --verbose to see a list of paths and files that Lily
224 Files placed in directory @file{PATH/TO/share/lilypond/VERSION/ly/} (where
225 VERSION is in the form ``2.6.1'') are on the path and available to
226 @code{\include}. Files in the
227 current working directory are available to \include, but a file of the same
228 name in LilyPond's installation takes precedence. Files are
229 available to \include from directories in the search path specified as an
230 option when invoking @code{lilypond --include=DIR} which adds DIR to the search
233 The @code{\include} statement can use full path information, but with the Unix
234 convention @code{"/"} rather than the DOS/Windows @code{"\"}. For example,
235 if @file{stuff.ly} is located one directory higher than the current working
239 \include "../stuff.ly"
244 @subsection Text encoding
246 LilyPond uses the Pango library to format multi-lingual texts, and
247 does not perform any input-encoding conversions. This means that any
248 text, be it title, lyric text, or musical instruction containing
249 non-ASCII characters, must be utf-8. The easiest way to enter such text is
250 by using a Unicode-aware editor and saving the file with utf-8 encoding. Most
251 popular modern editors have utf-8 support, for example, vim, Emacs,
254 Depending on the fonts installed, the following fragment shows Hebrew
261 @lilypondfile[fontload]{utf-8.ly}
263 The @TeX{} backend does not handle encoding specially at all. Strings
264 in the input are put in the output as-is. Extents of text items in the
265 @TeX{} backend, are determined by reading a file created via the
266 @file{texstr} backend,
269 lilypond -b texstr input/les-nereides.ly
270 latex les-nereides.texstr
273 The last command produces @file{les-nereides.textmetrics}, which is
274 read when you execute
277 lilypond -b tex input/les-nereides.ly
280 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
281 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
282 interpreting non-ASCII strings.
284 To use a Unicode escape sequence, use
287 #(ly:export (ly:wide-char->utf-8 #x2014))
293 @inputfileref{input/regression,utf-8.ly}
297 @node A single music expression
298 @section A single music expression
300 A @code{\score} must contain a single music expression. However,
301 this music expression may be of any size. Recall that music
302 expressions may be included inside other expressions to form
303 larger expressions. All of these examples are single music
304 expressions; note the curly braces @{ @} or angle brackets <<
305 >> at the beginning and ending of the music.
311 @lilypond[ragged-right,verbatim,quote]
318 @lilypond[ragged-right,verbatim,quote]
320 \new Staff { c'4 c' c' c' }
321 \new Staff { d'4 d' d' d' }
329 \new Staff @{ \flute @}
330 \new Staff @{ \oboe @}
333 \new Staff @{ \violinI @}
334 \new Staff @{ \violinII @}
341 @node Titles and headers
342 @section Titles and headers
344 Almost all printed music includes a title and the composer's name;
345 some pieces include a lot more information.
353 @node Creating titles
354 @subsection Creating titles
356 Titles are created for each @code{\score} block, and over a
359 The contents of the titles are taken from the @code{\header} blocks.
360 The header block for a book supports the following
363 The dedicatee of the music, centered at the top of the first page.
366 The title of the music, centered just below the dedication.
369 Subtitle, centered below the title.
372 Subsubtitle, centered below the subtitle.
375 Name of the poet, flush-left below the subtitle.
378 Name of the composer, flush-right below the subtitle.
381 Meter string, flush-left below the poet.
384 Name of the opus, flush-right below the composer.
387 Name of the arranger, flush-right below the opus.
390 Name of the instrument, centered below the arranger. Also
391 centered at the top of pages (other than the first page).
394 Name of the piece, flush-left below the instrument.
396 @cindex page breaks, forcing
398 This forces the title to start on a new page (set to ##t or ##f).
401 Copyright notice, centered at the bottom of the first page. To
402 insert the copyright symbol, see @ref{Text encoding}.
405 Centered at the bottom of the last page.
409 Here is a demonstration of the fields available. Note that you
410 may use any @ref{Text markup} commands in the header.
412 @lilypond[quote,verbatim,line-width=11.0\cm]
415 paper-height = 10.0\cm
420 dedication = "dedicated to me"
421 title = \markup \center-align { "Title first line" "Title second line, longer" }
422 subtitle = "the subtitle,"
423 subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
425 composer = \markup \center-align { "composer" \small "(1847-1973)" }
426 texttranslator = "Text Translator"
427 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
428 arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
429 instrument = \markup \bold \italic "instrument"
453 As demonstrated before, you can use multiple @code{\header} blocks.
454 When same fields appear in different blocks, the latter is used.
455 Here is a short example.
459 composer = "Composer"
467 piece = "New piece" % overwrite previous one
472 If you define the @code{\header} inside the @code{\score} block, then
473 normally only the @code{piece} and @code{opus} headers will be printed.
474 Note that the music expression must come before the @code{\header}.
476 @lilypond[quote,verbatim,line-width=11.0\cm]
480 title = "title" % not printed
487 @cindex @code{printallheaders}
489 You may change this behavior (and print all the headers when defining
490 @code{\header} inside @code{\score}) by using
500 @subsection Custom titles
502 A more advanced option is to change the definitions of the following
503 variables in the @code{\paper} block. The init file
504 @file{ly/titling-init.ly} lists the default layout.
507 @cindex @code{bookTitleMarkup}
508 @item bookTitleMarkup
509 This is the title put over an entire @code{\book} block. Typically,
510 it has the composer and the title of the piece
512 @cindex @code{scoreTitleMarkup}
513 @item scoreTitleMarkup
514 This is the title put over a @code{\score} block within a
515 @code{\book}. Typically, it has the name of the movement (@code{piece}
518 @cindex @code{oddHeaderMarkup}
519 @item oddHeaderMarkup
520 This is the page header for odd-numbered pages.
522 @cindex @code{evenHeaderMarkup}
523 @item evenHeaderMarkup
524 This is the page header for even-numbered pages. If unspecified,
525 the odd header is used instead.
527 By default, headers are defined such that the page number is on the
528 outside edge, and the instrument is centered.
530 @cindex @code{oddFooterMarkup}
531 @item oddFooterMarkup
532 This is the page footer for odd-numbered pages.
534 @cindex @code{evenFotterMarkup}
535 @item evenFooterMarkup
536 This is the page footer for even-numbered pages. If unspecified,
537 the odd header is used instead.
539 By default, the footer has the copyright notice on the first, and
540 the tagline on the last page.
550 The following definition will put the title flush left, and the
551 composer flush right on a single line.
555 bookTitleMarkup = \markup {
557 \fromproperty #'header:title
558 \fromproperty #'header:composer
567 The @code{breakbefore=##t} header requires that there is a @code{piece} header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present.
571 @node Paper and pages
572 @section Paper and pages
574 This section deals with the display of music on physical paper.
583 @subsection Paper size
587 @cindex @code{papersize}
589 To change the paper size, there are two commands,
591 #(set-default-paper-size "a4")
593 #(set-paper-size "a4")
597 The first command sets the size of all pages. The second command sets the size
598 of the pages that the @code{\paper} block applies to -- if the @code{\paper}
599 block is at the top of the file, then it will apply to all pages. If the
600 @code{\paper} block is inside a @code{\book}, then the paper size will only
603 Support for the following paper sizes are included by default,
604 @code{a6}, @code{a5}, @code{a4}, @code{a3}, @code{legal}, @code{letter},
605 @code{11x17} (also known as tabloid).
607 Extra sizes may be added by editing the definition for
608 @code{paper-alist} in the initialization file @file{scm/paper.scm}.
613 If the symbol @code{landscape} is supplied as an argument to
614 @code{set-default-paper-size}, the pages will be rotated by 90 degrees,
615 and wider line widths will be set correspondingly.
618 #(set-default-paper-size "a6" 'landscape)
621 Setting the paper size will adjust a number of @code{\paper} variables
622 (such as margins). To use a particular paper size with altered
623 @code{\paper} variables, set the paper size before setting the variables.
626 @node Page formatting
627 @subsection Page formatting
629 @cindex page formatting
634 LilyPond will do page layout, set margins, and add headers and
635 footers to each page.
637 The default layout responds to the following settings in the
640 @cindex @code{\paper}
644 @cindex @code{first-page-number}
645 @item first-page-number
646 The value of the page number of the first page. Default is@tie{}1.
648 @cindex @code{printfirst-page-number}
649 @item printfirst-page-number
650 If set to true, will print the page number in the first page. Default is
653 @cindex @code{print-page-number}
654 @item print-page-number
655 If set to false, page numbers will not be printed.
657 @cindex @code{paper-width}
659 The width of the page.
661 @cindex @code{paper-height}
663 The height of the page.
665 @cindex @code{top-margin}
667 Margin between header and top of the page.
669 @cindex @code{bottom-margin}
671 Margin between footer and bottom of the page.
673 @cindex @code{left-margin}
675 Margin between the left side of the page and the beginning of the music.
677 @cindex @code{line-width}
679 The length of the systems.
681 @cindex @code{head-separation}
682 @item head-separation
683 Distance between the top-most music system and the page header.
685 @cindex @code{foot-separation}
686 @item foot-separation
687 Distance between the bottom-most music system and the page footer.
689 @cindex @code{page-top-space}
690 Distance from the top of the printable area to the center of the first
691 staff. This only works for staves which are vertically small. Big staves
692 are set with the top of their bounding box aligned to the top of the
695 @cindex @code{ragged-bottom}
697 If set to true, systems will not be spread vertically across the page. This
698 does not affect the last page.
700 This should be set to true for pieces that have only two or three
701 systems per page, for example orchestral scores.
703 @cindex @code{ragged-last-bottom}
704 @item ragged-last-bottom
705 If set to false, systems will be spread vertically to fill the last page.
707 Pieces that amply fill two pages or more should have this set to
710 @cindex @code{system-count}
712 This variable, if set, specifies into how many lines a score should be
715 @cindex @code{between-system-space}
716 @item between-system-space
717 This dimensions determines the distance between systems. It is the
718 ideal distance between the center of the bottom staff of one system
719 and the center of the top staff of the next system.
721 Increasing this will provide a more even appearance of the page at the
722 cost of using more vertical space.
724 @cindex @code{between-system-padding}
725 @item between-system-padding
726 This dimension is the minimum amount of white space that will always
727 be present between the bottom-most symbol of one system, and the
728 top-most of the next system.
730 Increasing this will put systems whose bounding boxes almost touch
734 @cindex @code{horizontal-shift}
735 @item horizontal-shift
736 All systems (including titles and system separators) are shifted by
737 this amount to the right. Page markup, such as headers and footers are
738 not affected by this. The purpose of this variable is to make space
739 for instrument names at the left.
741 @cindex @code{after-title-space}
742 @item after-title-space
743 Amount of space between the title and the first system.
745 @cindex @code{after-title-space}
746 @item before-title-space
747 Amount of space between the last system of the previous piece and the
750 @cindex @code{between-title-space}
751 @item between-title-space
752 Amount of space between consecutive titles (e.g., the title of the
753 book and the title of a piece).
755 @cindex @code{printallheaders}
756 @item printallheaders
757 Setting this to #t will print all headers for each \score in a
758 \book. Normally only the piece and opus \headers are printed.
760 @cindex @code{systemSeparatorMarkup}
761 @item systemSeparatorMarkup
762 This contains a markup object, which will be inserted between
763 systems. This is often used for orchestral scores.
765 The markup command @code{\slashSeparator} is provided as a sensible
768 @lilypond[ragged-right]
770 systemSeparatorMarkup = \slashSeparator
773 \relative { c1 \break c1 }
787 ragged-last-bottom = ##t
791 You can also define these values in Scheme. In that case @code{mm},
792 @code{in}, @code{pt}, and @code{cm} are variables defined in
793 @file{paper-defaults.ly} with values in millimeters. That's why the
794 value has to be multiplied in the example
798 #(define bottom-margin (* 2 cm))
805 The default footer is empty, except for the first page, where the
806 @code{copyright} field from @code{\header} is inserted, and the last
807 page, where @code{tagline} from @code{\header} is added. The default
808 tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
809 printed parts are good PR for us, so please leave the tagline if you
812 The header and footer are created by the functions @code{make-footer}
813 and @code{make-header}, defined in @code{\paper}. The default
814 implementations are in @file{scm/@/page@/-layout@/.scm}.
816 The page layout itself is done by two functions in the
817 @code{\paper} block, @code{page-music-height} and
818 @code{page-make-stencil}. The former tells the line-breaking algorithm
819 how much space can be spent on a page, the latter creates the actual
820 page given the system to put on it.
825 The option right-margin is defined but doesn't set the right margin
826 yet. The value for the right margin has to be defined adjusting the
827 values of @code{left-margin} and @code{line-width}.
829 The default page header puts the page number and the @code{instrument}
830 field from the @code{\header} block on a line.
835 @section Music layout
837 This section deals with the manner in which the music is printed
838 within the boundaries defined by the @code{\paper} block.
840 The global paper layout is determined by three factors: the page layout, the
841 line breaks, and the spacing. These all influence each other. The
842 choice of spacing determines how densely each system of music is set.
843 This influences where line breaks are chosen, and thus ultimately, how
844 many pages a piece of music takes.
846 Globally spoken, this procedure happens in three steps: first,
847 flexible distances (``springs'') are chosen, based on durations. All
848 possible line breaking combinations are tried, and the one with the
849 best results -- a layout that has uniform density and requires as
850 little stretching or cramping as possible -- is chosen.
852 After spacing and linebreaking, the systems are distributed across
853 pages, taking into account the size of the page, and the size of the
857 * Setting global staff size::
858 * Selecting notation font size::
861 * Vertical spacing of piano staves::
862 * Horizontal spacing::
869 @node Setting global staff size
870 @subsection Setting global staff size
872 @cindex font size, setting
873 @cindex staff size, setting
874 @cindex @code{layout} file
876 To set the global staff size, use @code{set-global-staff-size}.
879 #(set-global-staff-size 14)
883 This sets the global default size to 14pt staff height and scales all
886 The Feta font provides musical symbols at eight different
887 sizes. Each font is tuned for a different staff size: at a smaller size
888 the font becomes heavier, to match the relatively heavier staff lines.
889 The recommended font sizes are listed in the following table:
892 @multitable @columnfractions .15 .2 .22 .2
895 @tab @b{staff height (pt)}
896 @tab @b{staff height (mm)}
938 @c modern rental material?
943 These fonts are available in any sizes. The context property
944 @code{fontSize} and the layout property @code{staff-space} (in
945 @internalsref{StaffSymbol}) can be used to tune the size for individual
946 staves. The sizes of individual staves are relative to the global size.
954 This manual: @ref{Selecting notation font size}.
957 @node Selecting notation font size
958 @subsection Selecting notation font size
960 The easiest method of setting the font size of any context, is by
961 setting the @code{fontSize} property.
963 @lilypond[quote,fragment,relative=1,verbatim]
972 It does not change the size of variable symbols, such as beams or
975 Internally, the @code{fontSize} context property will cause the
976 @code{font-size} property to be set in all layout objects. The value
977 of @code{font-size} is a number indicating the size relative to the
978 standard size for the current staff height. Each step up is an
979 increase of approximately 12% of the font size. Six steps is exactly a
980 factor two. The Scheme function @code{magstep} converts a
981 @code{font-size} number to a scaling factor.
983 @lilypond[quote,fragment,relative=1,verbatim]
985 \override NoteHead #'font-size = #-4
987 \override NoteHead #'font-size = #3
991 LilyPond has fonts in different design sizes. The music fonts for
992 smaller sizes are chubbier, while the text fonts are relatively wider.
993 Font size changes are achieved by scaling the design size that is
994 closest to the desired size. The standard font size (for
995 @code{font-size} equals 0), depends on the standard staff height. For
996 a 20pt staff, a 10pt font is selected.
998 The @code{font-size} property can only be set on layout objects that
999 use fonts. These are the ones supporting the
1000 @internalsref{font-interface} layout interface.
1004 The following commands set @code{fontSize} for the current voice:
1006 @cindex @code{\tiny}
1008 @cindex @code{\small}
1010 @cindex @code{\normalsize}
1015 @subsection Score layout
1017 @cindex @code{\layout}
1019 While @code{\paper} contains settings that relate to the page formatting
1020 of the whole document, @code{\layout} contains settings for score-specific
1027 \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6)
1030 \override TextScript #'padding = #1.0
1031 \override Glissando #'thickness = #3
1039 This manual: @ref{Changing context default settings}
1042 @node Vertical spacing
1043 @subsection Vertical spacing
1045 @cindex vertical spacing
1046 @cindex distance between staves
1047 @cindex staff distance
1048 @cindex between staves, distance
1049 @cindex staves per page
1050 @cindex space between staves
1052 The height of each system is determined automatically. To prevent
1053 systems from bumping into each other, some minimum distances are set.
1054 By changing these, you can put staves closer together, and thus put
1055 more systems onto one page.
1057 Normally staves are stacked vertically. To make staves maintain a
1058 distance, their vertical size is padded. This is done with the
1059 property @code{minimum-Y-extent}. When applied to a
1060 @internalsref{VerticalAxisGroup}, it controls the size of a horizontal
1061 line, such as a staff or a line of lyrics. @code{minimum-Y-extent}
1062 takes a pair of numbers, so
1063 if you want to make it smaller than its default @code{#'(-4 . 4)}
1067 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
1071 This sets the vertical size of the current staff to 3 staff spaces on
1072 either side of the center staff line. The value @code{(-3 . 3)} is
1073 interpreted as an interval, where the center line is the 0, so the
1074 first number is generally negative. The staff can be made larger at
1075 the bottom by setting it to @code{(-6 . 4)}.
1077 The spacing of staves in a system may also be tuned per system. This is
1078 done with the command
1082 #"Score.NonMusicalPaperColumn"
1083 #'line-break-system-details
1084 #'((alignment-extra-space . 15))
1088 at the line break before the system to be changed. The distance
1089 @code{15} is distributed over all staves that have a fixed distance
1090 alignment. For example,
1092 @lilypond[ragged-right, fragment, relative=2, staffsize=13]
1098 #"Score.NonMusicalPaperColumn"
1099 #'line-break-system-details
1100 #'((fixed-alignment-extra-space . 15))
1108 The distance for @code{alignment-extra-space} may also be negative.
1111 To change the amount of space between systems, use
1112 @code{between-system-space}. A score with only one staff is still
1113 considered to have systems, so setting @code{between-system-space} will
1114 be much more useful than changing @code{minimum-Y-extent} of a Staff
1119 between-system-space = 10\mm
1123 If you simply want to tell LilyPond ``fit as much as possible onto
1124 these pages, then expand to fill any available space on the pages,''
1125 then use the following
1129 between-system-padding = #1
1131 ragged-last-bottom=##f
1136 @c let's wait for a some comments before writing more.
1138 The vertical spacing on a page can also be changed for each system individually.
1139 Some examples are found in the example file
1140 @inputfileref{input/regression/,page-spacing.ly}.
1142 When setting @code{annotatespacing} in the @code{\paper} block LilyPond
1143 will graphically indicate the dimensions of properties that may be set
1147 #(set-default-paper-size "a7" 'landscape)
1148 \paper { annotatespacing = ##t }
1153 All units dimensions are measured in staff spaces. The pairs
1154 (@var{a},@var{b}) are intervals, where @var{a} is the lower edge and
1155 @var{b} the upper edge of the interval.
1159 Internals: Vertical alignment of staves is handled by the
1160 @internalsref{VerticalAlignment} object. The context parameters
1161 specifying the vertical extent are described in connection with
1162 the @internalsref{Axis_group_engraver}.
1164 Example files: @inputfileref{input/regression/,page-spacing.ly},
1165 @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
1170 @node Vertical spacing of piano staves
1171 @subsection Vertical spacing of piano staves
1173 The distance between staves of a @internalsref{PianoStaff} cannot be
1174 computed during formatting. Rather, to make cross-staff beaming work
1175 correctly, that distance has to be fixed beforehand.
1177 The distance of staves in a @code{PianoStaff} is set with the
1178 @code{forced-distance} property of the
1179 @internalsref{VerticalAlignment} object, created in
1180 @internalsref{PianoStaff}.
1182 It can be adjusted as follows
1184 \new PianoStaff \with @{
1185 \override VerticalAlignment #'forced-distance = #7
1192 This would bring the staves together at a distance of 7 staff spaces,
1193 measured from the center line of each staff.
1195 The difference is demonstrated in the following example,
1196 @lilypond[quote,verbatim]
1198 \new PianoStaff \with {
1199 \override VerticalAlignment #'forced-distance = #7
1212 It is also possible to change the distance between for each system
1213 individually. This is done by including the command
1217 #"Score.NonMusicalPaperColumn"
1218 #'line-break-system-details
1219 #'((fixed-alignment-extra-space . 15))
1223 at the line break before the system to be changed. The distance
1224 @code{15} is distributed over all staves that have a fixed distance
1225 alignment. For example,
1227 @lilypond[ragged-right, fragment, relative=2, staffsize=13]
1233 #"Score.NonMusicalPaperColumn"
1234 #'line-break-system-details
1235 #'((fixed-alignment-extra-space . 15))
1243 The distance for @code{fixed-alignment-extra-space} may also be
1248 Example files: @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
1250 @node Horizontal spacing
1251 @subsection Horizontal Spacing
1253 The spacing engine translates differences in durations into stretchable
1254 distances (``springs'') of differring lengths. Longer durations get
1255 more space, shorter durations get less. The shortest durations get a
1256 fixed amount of space (which is controlled by
1257 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
1258 object). The longer the duration, the more space it gets: doubling a
1259 duration adds a fixed amount (this amount is controlled by
1260 @code{spacing-increment}) of space to the note.
1262 For example, the following piece contains lots of half, quarter, and
1263 8th notes; the eighth note is followed by 1 note head width (NHW).
1264 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
1266 @lilypond[quote,fragment,verbatim,relative=1]
1267 c2 c4. c8 c4. c8 c4. c8 c8
1271 Normally, @code{spacing-increment} is set to 1.2 staff space, which is
1272 approximately the width of a note head, and
1273 @code{shortest-duration-space} is set to 2.0, meaning that the
1274 shortest note gets 2.4 staff space (2.0 times the
1275 @code{spacing-increment}) of horizontal space. This space is counted
1276 from the left edge of the symbol, so the shortest notes are generally
1277 followed by one NHW of space.
1279 If one would follow the above procedure exactly, then adding a single
1280 32nd note to a score that uses 8th and 16th notes, would widen up the
1281 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
1282 thus adding 1 NHW to every note. To prevent this, the shortest
1283 duration for spacing is not the shortest note in the score, but rather
1284 the one which occurs most frequently.
1287 The most common shortest duration is determined as follows: in every
1288 measure, the shortest duration is determined. The most common shortest
1289 duration is taken as the basis for the spacing, with the stipulation
1290 that this shortest duration should always be equal to or shorter than
1291 an 8th note. The shortest duration is printed when you run
1292 @code{lilypond} with the @code{--verbose} option.
1294 These durations may also be customized. If you set the
1295 @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
1296 this sets the base duration for spacing. The maximum duration for this
1297 base (normally an 8th), is set through @code{base-shortest-duration}.
1299 @cindex @code{common-shortest-duration}
1300 @cindex @code{base-shortest-duration}
1301 @cindex @code{stem-spacing-correction}
1302 @cindex @code{spacing}
1304 Notes that are even shorter than the common shortest note are
1305 followed by a space that is proportional to their duration relative to
1306 the common shortest note. So if we were to add only a few 16th notes
1307 to the example above, they would be followed by half a NHW:
1309 @lilypond[quote,fragment,verbatim,relative=2]
1310 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
1314 In the introduction (see @ref{Engraving}), it was explained that stem
1315 directions influence spacing. This is controlled with the
1316 @code{stem-spacing-correction} property in the
1317 @internalsref{NoteSpacing}, object. These are generated for every
1318 @internalsref{Voice} context. The @code{StaffSpacing} object
1319 (generated in @internalsref{Staff} context) contains the same property
1320 for controlling the stem/bar line spacing. The following example shows
1321 these corrections, once with default settings, and once with
1322 exaggerated corrections:
1324 @lilypond[quote,ragged-right]
1328 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
1329 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
1335 Proportional notation is supported; see @ref{Proportional notation}.
1337 By default, spacing in tuplets depends on various non-duration
1338 factors (such as accidentals, clef changes, etc). To disregard
1339 such symbols and force uniform equal-duration spacing, use
1340 @code{Score.SpacingSpanner #'uniform-stretching}. This
1341 property can only be changed at the beginning of a score,
1343 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1345 \override SpacingSpanner #'uniform-stretching = ##t
1363 When @code{strict-note-spacing} is set, notes are spaced without
1364 regard for clefs, bar lines, and grace notes,
1366 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1367 \override Score.SpacingSpanner #'strict-note-spacing = ##t
1368 \new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] }
1374 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
1375 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
1376 @internalsref{SeparatingGroupSpanner}.
1380 Spacing is determined on a score wide basis. If you have a score that
1381 changes its character (measured in durations) halfway during the
1382 score, the part containing the longer durations will be spaced too
1385 There is no convenient mechanism to manually override spacing. The
1386 following work-around may be used to insert extra space into a score.
1388 \once \override Score.SeparationItem #'padding = #1
1391 No work-around exists for decreasing the amount of space.
1395 @subsection Line length
1398 @cindex breaking pages
1400 @cindex @code{indent}
1401 @cindex @code{line-width}
1402 @cindex @code{ragged-right}
1403 @cindex @code{ragged-last}
1405 @c Although line-width can be set in \layout, it should be set in paper
1406 @c block, to get page layout right.
1407 @c Setting indent in \paper block makes not much sense, but it works.
1409 @c Bit verbose and vague, use examples?
1410 The most basic settings influencing the spacing are @code{indent} and
1411 @code{line-width}. They are set in the @code{\layout} block. They
1412 control the indentation of the first line of music, and the lengths of
1415 If @code{ragged-right} is set to true in the @code{\layout} block, then
1416 systems ends at their natural horizontal length, instead of being spread
1417 horizontally to fill the whole line. This is useful for
1418 short fragments, and for checking how tight the natural spacing is.
1421 @cindex vertical spacing
1423 The option @code{ragged-last} is similar to @code{ragged-right}, but
1424 only affects the last line of the piece. No restrictions are put on
1425 that line. The result is similar to formatting text paragraphs. In a
1426 paragraph, the last line simply takes its natural horizontal length.
1427 @c Note that for text there are several options for the last line.
1428 @c While Knuth TeX uses natural length, lead typesetters use the same
1429 @c stretch as the previous line. eTeX uses \lastlinefit to
1430 @c interpolate between both these solutions.
1442 @subsection Line breaking
1445 @cindex breaking lines
1447 Line breaks are normally computed automatically. They are chosen so
1448 that lines look neither cramped nor loose, and that consecutive lines
1449 have similar density.
1451 Occasionally you might want to override the automatic breaks; you can
1452 do this by specifying @code{\break}. This will force a line break at
1453 this point. Line breaks can only occur at places where there are bar
1454 lines. If you want to have a line break where there is no bar line,
1455 you can force an invisible bar line by entering @code{\bar
1456 ""}. Similarly, @code{\noBreak} forbids a line break at a
1460 @cindex regular line breaks
1461 @cindex four bar music.
1463 For line breaks at regular intervals use @code{\break} separated by
1464 skips and repeated with @code{\repeat}:
1466 << \repeat unfold 7 @{
1467 s1 \noBreak s1 \noBreak
1468 s1 \noBreak s1 \break @}
1469 @emph{the real music}
1474 This makes the following 28 measures (assuming 4/4 time) be broken every
1475 4 measures, and only there.
1479 @code{\break}, and @code{\noBreak}.
1480 @cindex @code{\break}
1481 @cindex @code{\noBreak}
1485 Internals: @internalsref{BreakEvent}.
1487 A linebreaking configuration can now be saved as a @code{.ly} file
1488 automatically. This allows vertical alignments to be stretched to
1489 fit pages in a second formatting run. This is fairly new and
1490 complicated; see @inputfileref{input/regression/,page-layout-twopass.ly}
1495 Line breaks can only occur if there is a ``proper'' bar line. A note
1496 which is hanging over a bar line is not proper, such as
1498 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1499 c4 c2 c2 \break % this does nothing
1500 c2 c4 | % a break here would work
1501 c4 c2 c4 ~ \break % as does this break
1507 @subsection Page breaking
1509 The default page breaking may be overriden by inserting
1510 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
1511 analogous to @code{\break} and @code{\noBreak}. They should be
1512 inserted at a bar line. These commands force and forbid a page-break
1513 from happening. Of course, the @code{\pageBreak} command also forces
1516 Page breaks are computed by the @code{page-breaking} function in the
1517 @code{\paper} block.
1519 To force a new page for a new piece (in a collection of pieces or a
1520 piece in several movements), use @code{breakbefore} in the header.
1531 @cindex @code{\pageBreak}
1533 @cindex @code{\noPageBreak}
1539 The @code{breakbefore=##t} header requires that there is a @code{piece} header as well. It may be used as a normal header, or left blank (@code{=""}) as in the example above, but it must be present.
1543 @node Multiple movements
1544 @section Multiple movements
1546 @cindex bibliographic information
1549 @cindex Music engraving by LilyPond
1551 A document may contain multiple pieces of music and texts. Examples
1552 of these are an etude book, or an orchestral part with multiple
1553 movements. Each movement is entered with a @code{\score} block,
1561 and texts are entered with a @code{\markup} block,
1569 @cindex @code{\book}
1571 The movements and texts are combined together in a @code{\book} block,
1589 The header for each piece of music can be put inside the @code{\score}
1590 block. The @code{piece} name from the header will be printed before
1591 each movement. The title for the entire book can be put inside the
1592 @code{\book}, but if it is not present, the @code{\header} which is at
1593 the top of the file is inserted.
1595 @cindex Engraved by LilyPond
1596 @cindex signature line
1601 title = "Eight miniatures"
1602 composer = "Igor Stravinsky"
1606 \header @{ piece = "Romanze" @}
1609 ..text of second verse..
1612 ..text of third verse..
1616 \header @{ piece = "Menuetto" @}
1624 @section MIDI output
1629 MIDI (Musical Instrument Digital Interface) is a standard for
1630 connecting and controlling digital instruments. A MIDI file is a
1631 series of notes in a number of tracks. It is not an actual
1632 sound file; you need special software to translate between the
1633 series of notes and actual sounds.
1635 Pieces of music can be converted to MIDI files, so you can listen to
1636 what was entered. This is convenient for checking the music; octaves
1637 that are off or accidentals that were mistyped stand out very much
1638 when listening to the MIDI output.
1642 Many musically interesting effects, such as swing, articulation,
1643 slurring, etc., are not translated to midi.
1645 The midi output allocates a channel for each staff, and one for global
1646 settings. Therefore the midi file should not have more than 15 staves
1647 (or 14 if you do not use drums). Other staves will remain silent.
1649 Not all midi players correctly handle tempo changes in the midi
1650 output. Players that are known to work include
1651 @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1654 * Creating MIDI files::
1656 * MIDI instrument names::
1659 @node Creating MIDI files
1660 @subsection Creating MIDI files
1662 To create a MIDI from a music piece of music, add a @code{\midi} block
1663 to a score, for example,
1668 \midi @{ \tempo 4=72 @}
1672 The tempo is specified using the @code{\tempo} command. In this
1673 example the tempo of quarter notes is set to 72 beats per minute.
1676 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1677 be produced. When notation is needed too, a @code{\layout} block must
1683 \midi @{ \tempo 4=72 @}
1687 @cindex layout block
1691 Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
1692 crescendi and decrescendi translate into MIDI volume levels. Dynamic
1693 marks translate to a fixed fraction of the available MIDI volume
1694 range, crescendi and decrescendi make the volume vary linearly between
1695 their two extremes. The fractions can be adjusted by
1696 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
1697 For each type of MIDI instrument, a volume range can be defined. This
1698 gives a basic equalizer control, which can enhance the quality of
1699 the MIDI output remarkably. The equalizer can be controlled by
1700 setting @code{instrumentEqualizer}, or by setting
1703 \set Staff.midiMinimumVolume = #0.2
1704 \set Staff.midiMaximumVolume = #0.8
1707 To remove dynamics from the MIDI output, insert the following lines
1708 in the @code{\midi@{@}} section.
1715 \remove "Dynamic_performer"
1716 \remove "Span_dynamic_performer"
1724 Unterminated (de)crescendos will not render properly in the midi file,
1725 resulting in silent passages of music. The workaround is to explicitly
1726 terminate the (de)crescendo. For example,
1733 will not work properly but
1744 @subsection MIDI block
1748 The MIDI block is analogous to the layout block, but it is somewhat
1749 simpler. The @code{\midi} block can contain
1753 @item a @code{\tempo} definition, and
1754 @item context definitions.
1757 A number followed by a period is interpreted as a real number, so
1758 for setting the tempo for dotted notes, an extra space should be
1759 inserted, for example
1762 \midi @{ \tempo 4 . = 120 @}
1766 @cindex context definition
1768 Context definitions follow precisely the same syntax as within the
1769 \layout block. Translation modules for sound are called performers.
1770 The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
1773 @node MIDI instrument names
1774 @subsection MIDI instrument names
1776 @cindex instrument names
1777 @cindex @code{Staff.midiInstrument}
1779 The MIDI instrument name is set by the @code{Staff.midiInstrument}
1780 property. The instrument name should be chosen from the list in
1781 @ref{MIDI instruments}.
1784 \set Staff.midiInstrument = "glockenspiel"
1788 If the selected instrument does not exactly match an instrument from
1789 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})