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
318 @item aftertitlespace
319 Amount of space between the title and the first system.
321 @item beforetitlespace
322 Amount of space between the last system of the previous piece and the
325 @item betweentitlespace
326 Amount of space between consecutive titles (e.g., the title of the
327 book and the title of a piece).
329 @item printallheaders
330 Setting this to #t will print all headers for each \score in a
331 \book. Normally only the piece and opus \headers are printed.
333 @item systemSeparatorMarkup
334 This contains a markup object, which will be inserted between
335 systems. This is often used for orchestral scores.
337 The markup command @code{\slashSeparator} is provided as a sensible
340 @lilypond[raggedright]
342 systemSeparatorMarkup = \slashSeparator
345 \relative { c1 \break c1 }
359 raggedlastbottom = ##t
363 You can also define these values in Scheme. In that case @code{mm},
364 @code{in}, @code{pt}, and @code{cm} are variables defined in
365 @file{paper-defaults.ly} with values in millimeters. That's why the
366 value has to be multiplied in the example
370 #(define bottommargin (* 2 cm))
377 The default footer is empty, except for the first page, where the
378 @code{copyright} field from @code{\header} is inserted, and the last
379 page, where @code{tagline} from @code{\header} is added. The default
380 tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
381 printed parts are good PR for us, so please leave the tagline if you
384 The header and footer are created by the functions @code{make-footer}
385 and @code{make-header}, defined in @code{\paper}. The default
386 implementations are in @file{scm/@/page@/-layout@/.scm}.
388 The page layout itself is done by two functions in the
389 @code{\paper} block, @code{page-music-height} and
390 @code{page-make-stencil}. The former tells the line-breaking algorithm
391 how much space can be spent on a page, the latter creates the actual
392 page given the system to put on it.
397 The option rightmargin is defined but doesn't set the right margin
398 yet. The value for the right margin has to be defined adjusting the
399 values of the leftmargin and linewidth.
401 The default page header puts the page number and the @code{instrument}
402 field from the @code{\header} block on a line.
406 @subsection Score layout
408 @cindex @code{\layout}
410 While @code{\paper} contains settings that relate to the page formatting
411 of the whole document, @code{\layout} contains settings for score-specific
418 minimumVerticalExtent = #'(-6 . 6
421 \override TextScript #'padding = #1.0
422 \override Glissando #'thickness = #3
430 This manual: @ref{Changing context default settings}
433 @node Vertical spacing
434 @subsection Vertical spacing
436 @cindex vertical spacing
437 @cindex distance between staves
438 @cindex staff distance
439 @cindex between staves, distance
440 @cindex staves per page
441 @cindex space between staves
443 The height of each system is determined automatically. To prevent
444 systems from bumping into each other, some minimum distances are set.
445 By changing these, you can put staves closer together, and thus put
446 more systems onto one page.
448 Normally staves are stacked vertically. To make staves maintain a
449 distance, their vertical size is padded. This is done with the
450 property @code{minimumVerticalExtent}. It takes a pair of numbers, so
451 if you want to make it smaller than its default @code{#'(-4 . 4)},
455 \set Staff.minimumVerticalExtent = #'(-3 . 3)
459 This sets the vertical size of the current staff to 3 staff spaces on
460 either side of the center staff line. The argument of
461 @code{minimumVerticalExtent} is interpreted as an interval, where the
462 center line is the 0, so the first number is generally negative. The
463 staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
465 To change the amount of space between systems, use
466 @code{betweensystemspace}. A score with only one staff is still
467 considered to have systems, so setting @code{betweensystemspace}
468 will be much more useful than changing @code{minimumVerticalExtent}.
472 betweensystemspace = 10\mm
479 Internals: Vertical alignment of staves is handled by the
480 @internalsref{VerticalAlignment} object.
484 @code{minimumVerticalExtent} is syntactic sugar for setting
485 @code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
486 current context. It can only be changed score wide.
491 @node Vertical spacing of piano staves
492 @subsection Vertical spacing of piano staves
494 The distance between staves of a @internalsref{PianoStaff} cannot be
495 computed during formatting. Rather, to make cross-staff beaming work
496 correctly, that distance has to be fixed beforehand.
498 The distance of staves in a @code{PianoStaff} is set with the
499 @code{forced-distance} property of the
500 @internalsref{VerticalAlignment} object, created in
501 @internalsref{PianoStaff}.
503 It can be adjusted as follows
505 \new PianoStaff \with @{
506 \override VerticalAlignment #'forced-distance = #7
513 This would bring the staves together at a distance of 7 staff spaces,
514 measured from the center line of each staff.
516 The difference is demonstrated in the following example,
517 @lilypond[quote,verbatim]
519 \new PianoStaff \with {
520 \override VerticalAlignment #'forced-distance = #7
536 @code{forced-distance} cannot be changed per system.
539 @node Horizontal spacing
540 @subsection Horizontal Spacing
542 The spacing engine translates differences in durations into
543 stretchable distances (``springs'') of differring lengths. Longer
544 durations get more space, shorter durations get less. The shortest
545 durations get a fixed amount of space (which is controlled by
546 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
547 The longer the duration, the more space it gets: doubling a
548 duration adds a fixed amount (this amount is controlled by
549 @code{spacing-increment}) of space to the note.
551 For example, the following piece contains lots of half, quarter, and
552 8th notes; the eighth note is followed by 1 note head width (NHW).
553 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
555 @lilypond[quote,fragment,verbatim,relative=1]
556 c2 c4. c8 c4. c8 c4. c8 c8
560 Normally, @code{spacing-increment} is set to 1.2 staff space, which is
561 approximately the width of a note head, and
562 @code{shortest-duration-space} is set to 2.0, meaning that the
563 shortest note gets 2.4 staff space (2.0 times the
564 @code{spacing-increment}) of horizontal space. This space is counted
565 from the left edge of the symbol, so the shortest notes are generally
566 followed by one NHW of space.
568 If one would follow the above procedure exactly, then adding a single
569 32nd note to a score that uses 8th and 16th notes, would widen up the
570 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
571 thus adding 1 NHW to every note. To prevent this, the shortest
572 duration for spacing is not the shortest note in the score, but rather
573 the one which occurs most frequently.
576 The most common shortest duration is determined as follows: in every
577 measure, the shortest duration is determined. The most common shortest
578 duration is taken as the basis for the spacing, with the stipulation
579 that this shortest duration should always be equal to or shorter than
580 an 8th note. The shortest duration is printed when you run
581 @code{lilypond} with the @code{--verbose} option.
583 These durations may also be customized. If you set the
584 @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
585 this sets the base duration for spacing. The maximum duration for this
586 base (normally an 8th), is set through @code{base-shortest-duration}.
588 @cindex @code{common-shortest-duration}
589 @cindex @code{base-shortest-duration}
590 @cindex @code{stem-spacing-correction}
591 @cindex @code{spacing}
593 Notes that are even shorter than the common shortest note are
594 followed by a space that is proportional to their duration relative to
595 the common shortest note. So if we were to add only a few 16th notes
596 to the example above, they would be followed by half a NHW:
598 @lilypond[quote,fragment,verbatim,relative=2]
599 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
603 In the introduction (see @ref{Engraving}), it was explained that stem
604 directions influence spacing. This is controlled with the
605 @code{stem-spacing-correction} property in the
606 @internalsref{NoteSpacing}, object. These are generated for every
607 @internalsref{Voice} context. The @code{StaffSpacing} object
608 (generated in @internalsref{Staff} context) contains the same property
609 for controlling the stem/bar line spacing. The following example shows
610 these corrections, once with default settings, and once with
611 exaggerated corrections:
613 @lilypond[quote,raggedright]
617 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
618 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
627 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
628 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
629 @internalsref{SeparatingGroupSpanner}.
633 Spacing is determined on a score wide basis. If you have a score that
634 changes its character (measured in durations) halfway during the
635 score, the part containing the longer durations will be spaced too
638 There is no convenient mechanism to manually override spacing. The
639 following work-around may be used to insert extra space into a score.
641 \once \override Score.SeparationItem #'padding = #1
644 No work-around exists for decreasing the amount of space.
647 @subsection Line length
650 @cindex breaking pages
652 @cindex @code{indent}
653 @cindex @code{linewidth}
655 @c Although linewidth can be set in \layout, it should be set in paper
656 @c block, to get page layout right.
657 @c Setting indent in \paper block makes not much sense, but it works.
659 @c Bit verbose and vague, use examples?
660 The most basic settings influencing the spacing are @code{indent} and
661 @code{linewidth}. They are set in the @code{\layout} block. They
662 control the indentation of the first line of music, and the lengths of
665 If @code{raggedright} is set to true in the @code{\layout} block, then
666 the lines are justified at their natural length. This is useful for
667 short fragments, and for checking how tight the natural spacing is.
670 @cindex vertical spacing
672 The option @code{raggedlast} is similar to @code{raggedright}, but
673 only affects the last line of the piece. No restrictions are put on
674 that line. The result is similar to formatting text paragraphs. In a
675 paragraph, the last line simply takes its natural length.
676 @c Note that for text there are several options for the last line.
677 @c While Knuth TeX uses natural length, lead typesetters use the same
678 @c stretch as the previous line. eTeX uses \lastlinefit to
679 @c interpolate between both these solutions.
682 @subsection Line breaking
685 @cindex breaking lines
687 Line breaks are normally computed automatically. They are chosen so
688 that lines look neither cramped nor loose, and that consecutive lines
689 have similar density.
691 Occasionally you might want to override the automatic breaks; you can
692 do this by specifying @code{\break}. This will force a line break at
693 this point. Line breaks can only occur at places where there are bar
694 lines. If you want to have a line break where there is no bar line,
695 you can force an invisible bar line by entering @code{\bar
696 ""}. Similarly, @code{\noBreak} forbids a line break at a
700 @cindex regular line breaks
701 @cindex four bar music.
703 For line breaks at regular intervals use @code{\break} separated by
704 skips and repeated with @code{\repeat}:
706 << \repeat unfold 7 @{
707 s1 \noBreak s1 \noBreak
708 s1 \noBreak s1 \break @}
709 @emph{the real music}
714 This makes the following 28 measures (assuming 4/4 time) be broken every
715 4 measures, and only there.
719 @code{\break}, and @code{\noBreak}.
720 @cindex @code{\break}
721 @cindex @code{\noBreak}
725 Internals: @internalsref{BreakEvent}.
729 @subsection Page breaking
731 The default page breaking may be overriden by inserting
732 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
733 analogous to @code{\break} and @code{\noBreak}. They should be
734 inserted at a bar line. These commands force and forbid a page-break
735 from happening. Of course, the @code{\pageBreak} command also forces
738 Page breaks are computed by the @code{page-breaking} function in the
741 To force a new page for a new piece (in a collection of pieces or a
742 piece in several movements), use @code{breakbefore} in the header.
752 @cindex @code{\pageBreak}
754 @cindex @code{\noPageBreak}
758 @node Multiple movements
759 @subsection Multiple movements
761 @cindex bibliographic information
764 @cindex Music engraiving by LilyPond
766 A document may contain multiple pieces of music and texts. Examples
767 of these are an etude book, or an orchestral part with multiple
768 movements. Each movement is entered with a @code{\score} block,
776 and texts are entered with a @code{\markup} block,
786 The movements and texts are combined together in a @code{\book} block,
804 The header for each piece of music can be put inside the @code{\score}
805 block. The @code{piece} name from the header will be printed before
806 each movement. The title for the entire book can be put inside the
807 @code{\book}, but if it is not present, the @code{\header} which is at
808 the top of the file is inserted.
810 @cindex Engraved by LilyPond
811 @cindex signature line
816 title = "Eight miniatures"
817 composer = "Igor Stravinsky"
821 \header @{ piece = "Romanze" @}
824 ..text of second verse..
827 ..text of third verse..
831 \header @{ piece = "Menuetto" @}
837 @node Creating titles
838 @subsection Creating titles
840 Titles are created for each @code{\score} block, and over a
843 The contents of the titles are taken from the @code{\header} blocks.
844 The header block for a book supports the following
847 The dedicatee of the music, centered at the top of the first page.
850 The title of the music, centered just below the dedication.
853 Subtitle, centered below the title.
856 Subsubtitle, centered below the subtitle.
859 Name of the poet, flush-left below the subtitle.
862 Name of the composer, flush-right below the subtitle.
865 Meter string, flush-left below the poet.
868 Name of the opus, flush-right below the composer.
871 Name of the arranger, flush-right below the opus.
874 Name of the instrument, centered below the arranger. Also
875 centered at the top of pages (other than the first page).
878 Name of the piece, flush-left below the instrument.
880 @cindex page breaks, forcing
882 This forces the title to start on a new page (set to ##t or ##f).
885 Copyright notice, centered at the bottom of the first page. To
886 insert the copyright symbol, see @ref{Text encoding}.
889 Centered at the bottom of the last page.
893 Here is a demonstration of the fields available. Note that you
894 may use any @ref{Text markup} commands in the header.
896 @lilypond[quote,verbatim,linewidth=11.0\cm]
904 dedication = "dedicated to me"
905 title = \markup \center-align { "Title first line" "Title second line, longer" }
906 subtitle = "the subtitle,"
907 subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
909 composer = \markup \center-align { "composer" \small "(1847-1973)" }
910 texttranslator = "Text Translator"
911 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
912 arranger = "Arranger"
913 opus = \markup { \fontsize #8.5 "o" \fontsize #2.5 "p" \fontsize #-2.5 "u" \fontsize #-5.3 "s" \fontsize #7.5 " " }
914 instrument = \markup \bold \italic "instrument"
938 A more advanced option is to change the definitions of the following
939 variables in the @code{\paper} block. The init file
940 @file{ly/titling-init.ly} lists the default layout.
943 @item bookTitleMarkup
944 This is the title put over an entire @code{\book} block. Typically,
945 it has the composer and the title of the piece
947 @item scoreTitleMarkup
948 This is the title put over a @code{\score} block within a
949 @code{\book}. Typically, it has the name of the movement (@code{piece}
952 @item oddHeaderMarkup
953 This is the page header for odd-numbered pages.
955 @item evenHeaderMarkup
956 This is the page header for even-numbered pages. If unspecified,
957 the odd header is used instead.
959 By default, headers are defined such that the page number is on the
960 outside edge, and the instrument is centered.
962 @item oddFooterMarkup
963 This is the page footer for odd-numbered pages.
965 @item evenFooterMarkup
966 This is the page footer for even-numbered pages. If unspecified,
967 the odd header is used instead.
969 By default, the footer has the copyright notice on the first, and
970 the tagline on the last page.
980 The following definition will put the title flush left, and the
981 composer flush right on a single line.
985 bookTitleMarkup = \markup {
987 \fromproperty #'header:title
988 \fromproperty #'header:composer
997 @section Sound output
1002 MIDI (Musical Instrument Digital Interface) is a standard for
1003 connecting and controlling digital instruments. A MIDI file is a
1004 series of notes in a number of tracks. It is not an actual
1005 sound file; you need special software to translate between the
1006 series of notes and actual sounds.
1008 Pieces of music can be converted to MIDI files, so you can listen to
1009 what was entered. This is convenient for checking the music; octaves
1010 that are off or accidentals that were mistyped stand out very much
1011 when listening to the MIDI output.
1015 Many musically interesting effects, such as swing, articulation,
1016 slurring, etc., are not translated to midi.
1018 The midi output allocates a channel for each staff, and one for global
1019 settings. Therefore the midi file should not have more than 15 staves
1020 (or 14 if you do not use drums). Other staves will remain silent.
1022 Not all midi players correctly handle tempo changes in the midi
1023 output. Players that are known to work include
1024 @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1027 * Creating MIDI files::
1029 * MIDI instrument names::
1032 @node Creating MIDI files
1033 @subsection Creating MIDI files
1035 To create a MIDI from a music piece of music, add a @code{\midi} block
1036 to a score, for example,
1041 \midi @{ \tempo 4=72 @}
1045 The tempo is specified using the @code{\tempo} command. In this
1046 example the tempo of quarter notes is set to 72 beats per minute.
1049 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1050 be produced. When notation is needed too, a @code{\layout} block must
1056 \midi @{ \tempo 4=72 @}
1060 @cindex layout block
1064 Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
1065 crescendi and decrescendi translate into MIDI volume levels. Dynamic
1066 marks translate to a fixed fraction of the available MIDI volume
1067 range, crescendi and decrescendi make the volume vary linearly between
1068 their two extremes. The fractions can be adjusted by
1069 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
1070 For each type of MIDI instrument, a volume range can be defined. This
1071 gives a basic equalizer control, which can enhance the quality of
1072 the MIDI output remarkably. The equalizer can be controlled by
1073 setting @code{instrumentEqualizer}.
1077 @subsection MIDI block
1081 The MIDI block is analogous to the layout block, but it is somewhat
1082 simpler. The @code{\midi} block can contain
1086 @item a @code{\tempo} definition, and
1087 @item context definitions.
1090 A number followed by a period is interpreted as a real number, so
1091 for setting the tempo for dotted notes, an extra space should be
1092 inserted, for example
1095 \midi @{ \tempo 4 . = 120 @}
1099 @cindex context definition
1101 Context definitions follow precisely the same syntax as within the
1102 \layout block. Translation modules for sound are called performers.
1103 The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
1106 @node MIDI instrument names
1107 @subsection MIDI instrument names
1109 @cindex instrument names
1110 @cindex @code{Staff.midiInstrument}
1112 The MIDI instrument name is set by the @code{Staff.midiInstrument}
1113 property. The instrument name should be chosen from the list in
1114 @ref{MIDI instruments}.
1117 \set Staff.midiInstrument = "glockenspiel"
1121 If the selected instrument does not exactly match an instrument from
1122 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})