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
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 Support for the following paper sizes are included by default,
224 @code{a6}, @code{a5}, @code{a4}, @code{a3}, @code{legal}, @code{letter},
225 @code{11x17} (also known as tabloid).
227 Extra sizes may be added by editing the definition for
228 @code{paper-alist} in the initialization file @file{scm/paper.scm}.
233 If the symbol @code{landscape} is supplied as an argument to
234 @code{set-default-paper-size}, the pages will be rotated by 90 degrees,
235 and wider line widths will be set correspondingly.
238 #(set-default-paper-size "a6" 'landscape)
242 @node Page formatting
243 @subsection Page formatting
245 @cindex page formatting
250 LilyPond will do page layout, set margins, and add headers and
251 footers to each page.
253 The default layout responds to the following settings in the
256 @cindex @code{\paper}
260 @cindex @code{first-page-number}
261 @item first-page-number
262 The value of the page number of the first page. Default is@tie{}1.
264 @cindex @code{printfirst-page-number}
265 @item printfirst-page-number
266 If set to true, will print the page number in the first page. Default is
269 @cindex @code{print-page-number}
270 @item print-page-number
271 If set to false, page numbers will not be printed.
273 @cindex @code{paper-width}
275 The width of the page.
277 @cindex @code{paper-height}
279 The height of the page.
281 @cindex @code{top-margin}
283 Margin between header and top of the page.
285 @cindex @code{bottom-margin}
287 Margin between footer and bottom of the page.
289 @cindex @code{left-margin}
291 Margin between the left side of the page and the beginning of the music.
293 @cindex @code{line-width}
295 The length of the systems.
297 @cindex @code{heap-separation}
298 @item heap-separation
299 Distance between the top-most music system and the page header.
301 @cindex @code{foot-separation}
302 @item foot-separation
303 Distance between the bottom-most music system and the page footer.
305 @cindex @code{page-top-space}
306 Distance from the top of the printable area to the center of the first
307 staff. This only works for staves which are vertically small. Big staves
308 are set with the top of their bounding box aligned to the top of the
311 @cindex @code{ragged-bottom}
313 If set to true, systems will not be spread across the page.
315 This should be set false for pieces that have only two or three
316 systems per page, for example orchestral scores.
318 @cindex @code{ragged-last-bottom}
319 @item ragged-last-bottom
320 If set to false, systems will be spread to fill the last page.
322 Pieces that amply fill two pages or more should have this set to
325 @cindex @code{between-system-space}
326 @item between-system-space
327 This dimensions determines the distance between systems. It is the
328 ideal distance between the center of the bottom staff of one system
329 and the center of the top staff of the next system.
331 Increasing this will provide a more even appearance of the page at the
332 cost of using more vertical space.
334 @cindex @code{between-system-padding}
335 @item between-system-padding
336 This dimension is the minimum amount of white space that will always
337 be present between the bottom-most symbol of one system, and the
338 top-most of the next system.
340 Increasing this will put systems whose bounding boxes almost touch
344 @cindex @code{horizontal-shift}
345 @item horizontal-shift
346 All systems (including titles and system separators) are shifted by
347 this amount to the right. Page markup, such as headers and footers are
348 not affected by this. The purpose of this variable is to make space
349 for instrument names at the left.
351 @cindex @code{after-title-space}
352 @item after-title-space
353 Amount of space between the title and the first system.
355 @cindex @code{after-title-space}
356 @item before-title-space
357 Amount of space between the last system of the previous piece and the
360 @cindex @code{between-title-space}
361 @item between-title-space
362 Amount of space between consecutive titles (e.g., the title of the
363 book and the title of a piece).
365 @cindex @code{printallheaders}
366 @item printallheaders
367 Setting this to #t will print all headers for each \score in a
368 \book. Normally only the piece and opus \headers are printed.
370 @cindex @code{systemSeparatorMarkup}
371 @item systemSeparatorMarkup
372 This contains a markup object, which will be inserted between
373 systems. This is often used for orchestral scores.
375 The markup command @code{\slashSeparator} is provided as a sensible
378 @lilypond[ragged-right]
380 systemSeparatorMarkup = \slashSeparator
383 \relative { c1 \break c1 }
397 ragged-last-bottom = ##t
401 You can also define these values in Scheme. In that case @code{mm},
402 @code{in}, @code{pt}, and @code{cm} are variables defined in
403 @file{paper-defaults.ly} with values in millimeters. That's why the
404 value has to be multiplied in the example
408 #(define bottom-margin (* 2 cm))
415 The default footer is empty, except for the first page, where the
416 @code{copyright} field from @code{\header} is inserted, and the last
417 page, where @code{tagline} from @code{\header} is added. The default
418 tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
419 printed parts are good PR for us, so please leave the tagline if you
422 The header and footer are created by the functions @code{make-footer}
423 and @code{make-header}, defined in @code{\paper}. The default
424 implementations are in @file{scm/@/page@/-layout@/.scm}.
426 The page layout itself is done by two functions in the
427 @code{\paper} block, @code{page-music-height} and
428 @code{page-make-stencil}. The former tells the line-breaking algorithm
429 how much space can be spent on a page, the latter creates the actual
430 page given the system to put on it.
435 The option right-margin is defined but doesn't set the right margin
436 yet. The value for the right margin has to be defined adjusting the
437 values of @code{left-margin} and @code{line-width}.
439 The default page header puts the page number and the @code{instrument}
440 field from the @code{\header} block on a line.
444 @subsection Score layout
446 @cindex @code{\layout}
448 While @code{\paper} contains settings that relate to the page formatting
449 of the whole document, @code{\layout} contains settings for score-specific
456 \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 6)
459 \override TextScript #'padding = #1.0
460 \override Glissando #'thickness = #3
468 This manual: @ref{Changing context default settings}
471 @node Vertical spacing
472 @subsection Vertical spacing
474 @cindex vertical spacing
475 @cindex distance between staves
476 @cindex staff distance
477 @cindex between staves, distance
478 @cindex staves per page
479 @cindex space between staves
481 The height of each system is determined automatically. To prevent
482 systems from bumping into each other, some minimum distances are set.
483 By changing these, you can put staves closer together, and thus put
484 more systems onto one page.
486 Normally staves are stacked vertically. To make staves maintain a
487 distance, their vertical size is padded. This is done with the
488 property @code{minimum-Y-extent}. It takes a pair of numbers, so
489 if you want to make it smaller than its default @code{#'(-4 . 4)},
490 then you could set. When applied to a
491 @internalsref{VerticalAxisGroup}, it controls the size of a horizontal
492 line, such as a staff or a line of lyrics.
495 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
499 This sets the vertical size of the current staff to 3 staff spaces on
500 either side of the center staff line. The value @code{(-3 . 3)} is
501 interpreted as an interval, where the center line is the 0, so the
502 first number is generally negative. The staff can be made larger at
503 the bottom by setting it to @code{(-6 . 4)}.
505 The spacing of staves in a system may also be tuned per system. This is
506 done with the command
510 #"Score.NonMusicalPaperColumn"
511 #'line-break-system-details
512 #'((alignment-extra-space . 15))
516 at the line break before the system to be changed. The distance
517 @code{15} is distributed over all staves that have a fixed distance
518 alignment. For example,
520 @lilypond[ragged-right, fragment, relative=2, staffsize=13]
526 #"Score.NonMusicalPaperColumn"
527 #'line-break-system-details
528 #'((fixed-alignment-extra-space . 15))
536 The distance for @code{alignment-extra-space} may also be negative.
539 To change the amount of space between systems, use
540 @code{between-system-space}. A score with only one staff is still
541 considered to have systems, so setting @code{between-system-space} will
542 be much more useful than changing @code{minimum-Y-extent} of a Staff
547 between-system-space = 10\mm
551 If you simply want to tell LilyPond ``fit as much as possible onto
552 these pages, then expand to fill any available space on the pages,''
553 then use the following
557 between-system-padding = #1
559 ragged-last-bottom=##f
564 @c let's wait for a some comments before writing more.
566 The vertical spacing on a page can also be changed for each system individually.
567 Some examples are found in the example file
568 @inputfileref{input/regression/,page-spacing.ly}.
570 When setting @code{annotatespacing} in the @code{\paper} block LilyPond
571 will graphically indicate the dimensions of properties that may be set
575 #(set-default-paper-size "a7" 'landscape)
576 \paper { annotatespacing = ##t }
581 All units dimensions are measured in staff spaces. The pairs
582 (@var{a},@var{b}) are intervals, where @var{a} is the lower edge and
583 @var{b} the upper edge of the interval.
587 Internals: Vertical alignment of staves is handled by the
588 @internalsref{VerticalAlignment} object. The context parameters
589 specifying the vertical extent are described in connection with
590 the @internalsref{Axis_group_engraver}.
592 Example files: @inputfileref{input/regression/,page-spacing.ly},
593 @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
598 @node Vertical spacing of piano staves
599 @subsection Vertical spacing of piano staves
601 The distance between staves of a @internalsref{PianoStaff} cannot be
602 computed during formatting. Rather, to make cross-staff beaming work
603 correctly, that distance has to be fixed beforehand.
605 The distance of staves in a @code{PianoStaff} is set with the
606 @code{forced-distance} property of the
607 @internalsref{VerticalAlignment} object, created in
608 @internalsref{PianoStaff}.
610 It can be adjusted as follows
612 \new PianoStaff \with @{
613 \override VerticalAlignment #'forced-distance = #7
620 This would bring the staves together at a distance of 7 staff spaces,
621 measured from the center line of each staff.
623 The difference is demonstrated in the following example,
624 @lilypond[quote,verbatim]
626 \new PianoStaff \with {
627 \override VerticalAlignment #'forced-distance = #7
640 It is also possible to change the distance between for each system
641 individually. This is done by including the command
645 #"Score.NonMusicalPaperColumn"
646 #'line-break-system-details
647 #'((fixed-alignment-extra-space . 15))
651 at the line break before the system to be changed. The distance
652 @code{15} is distributed over all staves that have a fixed distance
653 alignment. For example,
655 @lilypond[ragged-right, fragment, relative=2, staffsize=13]
661 #"Score.NonMusicalPaperColumn"
662 #'line-break-system-details
663 #'((fixed-alignment-extra-space . 15))
671 The distance for @code{fixed-alignment-extra-space} may also be
676 Example files: @inputfileref{input/regression/,alignment-vertical-spacing.ly}.
678 @node Horizontal spacing
679 @subsection Horizontal Spacing
681 The spacing engine translates differences in durations into stretchable
682 distances (``springs'') of differring lengths. Longer durations get
683 more space, shorter durations get less. The shortest durations get a
684 fixed amount of space (which is controlled by
685 @code{shortest-duration-space} in the @internalsref{SpacingSpanner}
686 object). The longer the duration, the more space it gets: doubling a
687 duration adds a fixed amount (this amount is controlled by
688 @code{spacing-increment}) of space to the note.
690 For example, the following piece contains lots of half, quarter, and
691 8th notes; the eighth note is followed by 1 note head width (NHW).
692 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
694 @lilypond[quote,fragment,verbatim,relative=1]
695 c2 c4. c8 c4. c8 c4. c8 c8
699 Normally, @code{spacing-increment} is set to 1.2 staff space, which is
700 approximately the width of a note head, and
701 @code{shortest-duration-space} is set to 2.0, meaning that the
702 shortest note gets 2.4 staff space (2.0 times the
703 @code{spacing-increment}) of horizontal space. This space is counted
704 from the left edge of the symbol, so the shortest notes are generally
705 followed by one NHW of space.
707 If one would follow the above procedure exactly, then adding a single
708 32nd note to a score that uses 8th and 16th notes, would widen up the
709 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
710 thus adding 1 NHW to every note. To prevent this, the shortest
711 duration for spacing is not the shortest note in the score, but rather
712 the one which occurs most frequently.
715 The most common shortest duration is determined as follows: in every
716 measure, the shortest duration is determined. The most common shortest
717 duration is taken as the basis for the spacing, with the stipulation
718 that this shortest duration should always be equal to or shorter than
719 an 8th note. The shortest duration is printed when you run
720 @code{lilypond} with the @code{--verbose} option.
722 These durations may also be customized. If you set the
723 @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
724 this sets the base duration for spacing. The maximum duration for this
725 base (normally an 8th), is set through @code{base-shortest-duration}.
727 @cindex @code{common-shortest-duration}
728 @cindex @code{base-shortest-duration}
729 @cindex @code{stem-spacing-correction}
730 @cindex @code{spacing}
732 Notes that are even shorter than the common shortest note are
733 followed by a space that is proportional to their duration relative to
734 the common shortest note. So if we were to add only a few 16th notes
735 to the example above, they would be followed by half a NHW:
737 @lilypond[quote,fragment,verbatim,relative=2]
738 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
742 In the introduction (see @ref{Engraving}), it was explained that stem
743 directions influence spacing. This is controlled with the
744 @code{stem-spacing-correction} property in the
745 @internalsref{NoteSpacing}, object. These are generated for every
746 @internalsref{Voice} context. The @code{StaffSpacing} object
747 (generated in @internalsref{Staff} context) contains the same property
748 for controlling the stem/bar line spacing. The following example shows
749 these corrections, once with default settings, and once with
750 exaggerated corrections:
752 @lilypond[quote,ragged-right]
756 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
757 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
763 Proportional notation is supported; see @ref{Proportional notation}.
765 @c check this before release --gp
766 Symbol sizes (such as accidentals) may be disregarded for determining
769 @lilypond[quote,ragged-right,relative=2,fragment]
772 \new Staff { c16[ c c c c c c c] c[ c c c c c c c] }
774 c16[ cisis ces cis c cisis ces cis]
775 \override Score.SpacingSpanner #'uniform-stretching = ##t
776 c16[ cisis ces cis c cisis ces cis]
782 When @code{strict-note-spacing} is set, notes are spaced without
783 regard for clefs, bar lines, and grace notes,
785 @lilypond[quote,ragged-right,relative=2,fragment]
786 \override Score.SpacingSpanner #'strict-note-spacing = ##t
787 \new Staff { c8[ c \clef alto c \grace { c16[ c] } c8 c c] c32[ c32] }
793 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
794 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
795 @internalsref{SeparatingGroupSpanner}.
799 Spacing is determined on a score wide basis. If you have a score that
800 changes its character (measured in durations) halfway during the
801 score, the part containing the longer durations will be spaced too
804 There is no convenient mechanism to manually override spacing. The
805 following work-around may be used to insert extra space into a score.
807 \once \override Score.SeparationItem #'padding = #1
810 No work-around exists for decreasing the amount of space.
814 @subsection Line length
817 @cindex breaking pages
819 @cindex @code{indent}
820 @cindex @code{line-width}
821 @cindex @code{ragged-right}
823 @c Although line-width can be set in \layout, it should be set in paper
824 @c block, to get page layout right.
825 @c Setting indent in \paper block makes not much sense, but it works.
827 @c Bit verbose and vague, use examples?
828 The most basic settings influencing the spacing are @code{indent} and
829 @code{line-width}. They are set in the @code{\layout} block. They
830 control the indentation of the first line of music, and the lengths of
833 If @code{ragged-right} is set to true in the @code{\layout} block, then
834 the lines are justified at their natural length. This is useful for
835 short fragments, and for checking how tight the natural spacing is.
838 @cindex vertical spacing
840 The option @code{raggedlast} is similar to @code{ragged-right}, but
841 only affects the last line of the piece. No restrictions are put on
842 that line. The result is similar to formatting text paragraphs. In a
843 paragraph, the last line simply takes its natural length.
844 @c Note that for text there are several options for the last line.
845 @c While Knuth TeX uses natural length, lead typesetters use the same
846 @c stretch as the previous line. eTeX uses \lastlinefit to
847 @c interpolate between both these solutions.
851 @subsection Line breaking
854 @cindex breaking lines
856 Line breaks are normally computed automatically. They are chosen so
857 that lines look neither cramped nor loose, and that consecutive lines
858 have similar density.
860 Occasionally you might want to override the automatic breaks; you can
861 do this by specifying @code{\break}. This will force a line break at
862 this point. Line breaks can only occur at places where there are bar
863 lines. If you want to have a line break where there is no bar line,
864 you can force an invisible bar line by entering @code{\bar
865 ""}. Similarly, @code{\noBreak} forbids a line break at a
869 @cindex regular line breaks
870 @cindex four bar music.
872 For line breaks at regular intervals use @code{\break} separated by
873 skips and repeated with @code{\repeat}:
875 << \repeat unfold 7 @{
876 s1 \noBreak s1 \noBreak
877 s1 \noBreak s1 \break @}
878 @emph{the real music}
883 This makes the following 28 measures (assuming 4/4 time) be broken every
884 4 measures, and only there.
888 @code{\break}, and @code{\noBreak}.
889 @cindex @code{\break}
890 @cindex @code{\noBreak}
894 Internals: @internalsref{BreakEvent}.
896 A linebreaking configuration can now be saved as a @code{.ly} file
897 automatically. This allows vertical alignments to be stretched to
898 fit pages in a second formatting run. This is fairly new and
899 complicated; see @inputfileref{input/regression/,page-layout-twopass.ly}
904 @subsection Page breaking
906 The default page breaking may be overriden by inserting
907 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
908 analogous to @code{\break} and @code{\noBreak}. They should be
909 inserted at a bar line. These commands force and forbid a page-break
910 from happening. Of course, the @code{\pageBreak} command also forces
913 Page breaks are computed by the @code{page-breaking} function in the
916 To force a new page for a new piece (in a collection of pieces or a
917 piece in several movements), use @code{breakbefore} in the header.
928 @cindex @code{\pageBreak}
930 @cindex @code{\noPageBreak}
936 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.
940 @node Multiple movements
941 @subsection Multiple movements
943 @cindex bibliographic information
946 @cindex Music engraving by LilyPond
948 A document may contain multiple pieces of music and texts. Examples
949 of these are an etude book, or an orchestral part with multiple
950 movements. Each movement is entered with a @code{\score} block,
958 and texts are entered with a @code{\markup} block,
968 The movements and texts are combined together in a @code{\book} block,
986 The header for each piece of music can be put inside the @code{\score}
987 block. The @code{piece} name from the header will be printed before
988 each movement. The title for the entire book can be put inside the
989 @code{\book}, but if it is not present, the @code{\header} which is at
990 the top of the file is inserted.
992 @cindex Engraved by LilyPond
993 @cindex signature line
998 title = "Eight miniatures"
999 composer = "Igor Stravinsky"
1003 \header @{ piece = "Romanze" @}
1006 ..text of second verse..
1009 ..text of third verse..
1013 \header @{ piece = "Menuetto" @}
1019 @node Creating titles
1020 @subsection Creating titles
1022 Titles are created for each @code{\score} block, and over a
1025 The contents of the titles are taken from the @code{\header} blocks.
1026 The header block for a book supports the following
1029 The dedicatee of the music, centered at the top of the first page.
1032 The title of the music, centered just below the dedication.
1035 Subtitle, centered below the title.
1038 Subsubtitle, centered below the subtitle.
1041 Name of the poet, flush-left below the subtitle.
1044 Name of the composer, flush-right below the subtitle.
1047 Meter string, flush-left below the poet.
1050 Name of the opus, flush-right below the composer.
1053 Name of the arranger, flush-right below the opus.
1056 Name of the instrument, centered below the arranger. Also
1057 centered at the top of pages (other than the first page).
1060 Name of the piece, flush-left below the instrument.
1062 @cindex page breaks, forcing
1064 This forces the title to start on a new page (set to ##t or ##f).
1067 Copyright notice, centered at the bottom of the first page. To
1068 insert the copyright symbol, see @ref{Text encoding}.
1071 Centered at the bottom of the last page.
1075 Here is a demonstration of the fields available. Note that you
1076 may use any @ref{Text markup} commands in the header.
1078 @lilypond[quote,verbatim,line-width=11.0\cm]
1081 paper-height = 10.0\cm
1086 dedication = "dedicated to me"
1087 title = \markup \center-align { "Title first line" "Title second line, longer" }
1088 subtitle = "the subtitle,"
1089 subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
1091 composer = \markup \center-align { "composer" \small "(1847-1973)" }
1092 texttranslator = "Text Translator"
1093 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
1094 arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize #-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
1095 instrument = \markup \bold \italic "instrument"
1119 As demonstrated before, you can use multiple @code{\header} blocks.
1120 When same fields appear in different blocks, the latter is used.
1121 Here is a short example.
1125 composer = "Composer"
1131 \new Staff @{ c'4 @}
1133 title = "New title" % overwrite previous one
1138 If you define the @code{\header} inside the @code{\score} block, then
1139 normally only the @code{piece} and @code{opus} headers will be printed.
1140 Note that the music expression must come before the @code{\header}.
1142 @lilypond[quote,verbatim,line-width=11.0\cm]
1146 title = "title" % not printed
1153 @cindex @code{printallheaders}
1155 You may change this behavior (and print all the headers when defining
1156 @code{\header} inside @code{\score}) by using
1167 A more advanced option is to change the definitions of the following
1168 variables in the @code{\paper} block. The init file
1169 @file{ly/titling-init.ly} lists the default layout.
1172 @cindex @code{bookTitleMarkup}
1173 @item bookTitleMarkup
1174 This is the title put over an entire @code{\book} block. Typically,
1175 it has the composer and the title of the piece
1177 @cindex @code{scoreTitleMarkup}
1178 @item scoreTitleMarkup
1179 This is the title put over a @code{\score} block within a
1180 @code{\book}. Typically, it has the name of the movement (@code{piece}
1183 @cindex @code{oddHeaderMarkup}
1184 @item oddHeaderMarkup
1185 This is the page header for odd-numbered pages.
1187 @cindex @code{evenHeaderMarkup}
1188 @item evenHeaderMarkup
1189 This is the page header for even-numbered pages. If unspecified,
1190 the odd header is used instead.
1192 By default, headers are defined such that the page number is on the
1193 outside edge, and the instrument is centered.
1195 @cindex @code{oddFooterMarkup}
1196 @item oddFooterMarkup
1197 This is the page footer for odd-numbered pages.
1199 @cindex @code{evenFotterMarkup}
1200 @item evenFooterMarkup
1201 This is the page footer for even-numbered pages. If unspecified,
1202 the odd header is used instead.
1204 By default, the footer has the copyright notice on the first, and
1205 the tagline on the last page.
1215 The following definition will put the title flush left, and the
1216 composer flush right on a single line.
1220 bookTitleMarkup = \markup {
1222 \fromproperty #'header:title
1223 \fromproperty #'header:composer
1232 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.
1237 @section Sound output
1242 MIDI (Musical Instrument Digital Interface) is a standard for
1243 connecting and controlling digital instruments. A MIDI file is a
1244 series of notes in a number of tracks. It is not an actual
1245 sound file; you need special software to translate between the
1246 series of notes and actual sounds.
1248 Pieces of music can be converted to MIDI files, so you can listen to
1249 what was entered. This is convenient for checking the music; octaves
1250 that are off or accidentals that were mistyped stand out very much
1251 when listening to the MIDI output.
1255 Many musically interesting effects, such as swing, articulation,
1256 slurring, etc., are not translated to midi.
1258 The midi output allocates a channel for each staff, and one for global
1259 settings. Therefore the midi file should not have more than 15 staves
1260 (or 14 if you do not use drums). Other staves will remain silent.
1262 Not all midi players correctly handle tempo changes in the midi
1263 output. Players that are known to work include
1264 @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1267 * Creating MIDI files::
1269 * MIDI instrument names::
1272 @node Creating MIDI files
1273 @subsection Creating MIDI files
1275 To create a MIDI from a music piece of music, add a @code{\midi} block
1276 to a score, for example,
1281 \midi @{ \tempo 4=72 @}
1285 The tempo is specified using the @code{\tempo} command. In this
1286 example the tempo of quarter notes is set to 72 beats per minute.
1289 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1290 be produced. When notation is needed too, a @code{\layout} block must
1296 \midi @{ \tempo 4=72 @}
1300 @cindex layout block
1304 Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
1305 crescendi and decrescendi translate into MIDI volume levels. Dynamic
1306 marks translate to a fixed fraction of the available MIDI volume
1307 range, crescendi and decrescendi make the volume vary linearly between
1308 their two extremes. The fractions can be adjusted by
1309 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
1310 For each type of MIDI instrument, a volume range can be defined. This
1311 gives a basic equalizer control, which can enhance the quality of
1312 the MIDI output remarkably. The equalizer can be controlled by
1313 setting @code{instrumentEqualizer}.
1315 To remove dynamics from the MIDI output, insert the following lines
1316 in the @code{\midi@{@}} section.
1323 \remove "Dynamic_performer"
1324 \remove "Span_dynamic_performer"
1331 @subsection MIDI block
1335 The MIDI block is analogous to the layout block, but it is somewhat
1336 simpler. The @code{\midi} block can contain
1340 @item a @code{\tempo} definition, and
1341 @item context definitions.
1344 A number followed by a period is interpreted as a real number, so
1345 for setting the tempo for dotted notes, an extra space should be
1346 inserted, for example
1349 \midi @{ \tempo 4 . = 120 @}
1353 @cindex context definition
1355 Context definitions follow precisely the same syntax as within the
1356 \layout block. Translation modules for sound are called performers.
1357 The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
1360 @node MIDI instrument names
1361 @subsection MIDI instrument names
1363 @cindex instrument names
1364 @cindex @code{Staff.midiInstrument}
1366 The MIDI instrument name is set by the @code{Staff.midiInstrument}
1367 property. The instrument name should be chosen from the list in
1368 @ref{MIDI instruments}.
1371 \set Staff.midiInstrument = "glockenspiel"
1375 If the selected instrument does not exactly match an instrument from
1376 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})