1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @chapter Output formats
11 This is a placeholder until I can write a nice intro for this chapter.
22 The global paper layout is determined by three factors: the page layout, the
23 line breaks, and the spacing. These all influence each other. The
24 choice of spacing determines how densely each system of music is set.
25 This influences where line breaks are chosen, and thus ultimately, how
26 many pages a piece of music takes.
28 Globally spoken, this procedure happens in three steps: first,
29 flexible distances (``springs'') are chosen, based on durations. All
30 possible line breaking combinations are tried, and the one with the
31 best results -- a layout that has uniform density and requires as
32 little stretching or cramping as possible -- is chosen.
34 After spacing and linebreaking, the systems are distributed across
35 pages, taking into account the size of the page, and the size of the
41 * Setting global staff size::
42 * Selecting notation font size::
47 * Vertical spacing of piano staves::
48 * Horizontal spacing::
52 * Multiple movements::
57 @node Setting global staff size
58 @subsection Setting global staff size
60 @cindex font size, setting
61 @cindex staff size, setting
62 @cindex @code{layout} file
64 To set the global staff size, use @code{set-global-staff-size}.
67 #(set-global-staff-size 14)
71 This sets the global default size to 14pt staff height and scales all
74 The Feta font provides musical symbols at eight different
75 sizes. Each font is tuned for a different staff size: at a smaller size
76 the font becomes heavier, to match the relatively heavier staff lines.
77 The recommended font sizes are listed in the following table:
80 @multitable @columnfractions .15 .2 .22 .2
83 @tab @b{staff height (pt)}
84 @tab @b{staff height (mm)}
126 @c modern rental material?
131 These fonts are available in any sizes. The context property
132 @code{fontSize} and the layout property @code{staff-space} (in
133 @internalsref{StaffSymbol}) can be used to tune the size for individual
134 staves. The sizes of individual staves are relative to the global size.
142 This manual: @ref{Selecting notation font size}.
145 @node Selecting notation font size
146 @subsection Selecting notation font size
148 The easiest method of setting the font size of any context, is by
149 setting the @code{fontSize} property.
151 @lilypond[quote,fragment,relative=1,verbatim]
160 It does not change the size of variable symbols, such as beams or
163 Internally, the @code{fontSize} context property will cause the
164 @code{font-size} property to be set in all layout objects. The value
165 of @code{font-size} is a number indicating the size relative to the
166 standard size for the current staff height. Each step up is an
167 increase of approximately 12% of the font size. Six steps is exactly a
168 factor two. The Scheme function @code{magstep} converts a
169 @code{font-size} number to a scaling factor.
171 @lilypond[quote,fragment,relative=1,verbatim]
173 \override NoteHead #'font-size = #-4
175 \override NoteHead #'font-size = #3
179 LilyPond has fonts in different design sizes. The music fonts for
180 smaller sizes are chubbier, while the text fonts are relatively wider.
181 Font size changes are achieved by scaling the design size that is
182 closest to the desired size. The standard font size (for
183 @code{font-size} equals 0), depends on the standard staff height. For
184 a 20pt staff, a 10pt font is selected.
186 The @code{font-size} property can only be set on layout objects that
187 use fonts. These are the ones supporting the
188 @internalsref{font-interface} layout interface.
192 The following commands set @code{fontSize} for the current voice:
196 @cindex @code{\small}
198 @cindex @code{\normalsize}
203 @subsection Paper size
207 @cindex @code{papersize}
209 To change the paper size, there are two commands,
211 #(set-default-paper-size "a4")
213 #(set-paper-size "a4")
217 The first command sets the size of all pages. The second command sets the size
218 of the pages that the @code{\paper} block applies to -- if the @code{\paper}
219 block is at the top of the file, then it will apply to all pages. If the
220 @code{\paper} block is inside a @code{\book}, then the paper size will only
223 The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
224 @code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
229 If the symbol @code{landscape} is supplied as an argument to
230 @code{set-default-paper-size}, the pages will be rotated by 90 degrees,
231 and wider line widths will be set correspondingly.
234 #(set-default-paper-size "a6" 'landscape)
238 @node Page formatting
239 @subsection Page formatting
241 @cindex page formatting
246 LilyPond will do page layout, set margins, and add headers and
247 footers to each page.
249 The default layout responds to the following settings in the
252 @cindex @code{\paper}
256 @item firstpagenumber
257 The value of the page number of the first page. Default is@tie{}1.
259 @item printfirstpagenumber
260 If set to true, will print the page number in the first page. Default is
263 @item printpagenumber
264 If set to false, page numbers will not be printed.
267 The width of the page.
270 The height of the page.
273 Margin between header and top of the page.
276 Margin between footer and bottom of the page.
279 Margin between the left side of the page and the beginning of the music.
282 The length of the systems.
285 Distance between the top-most music system and the page header.
288 Distance between the bottom-most music system and the page footer.
291 If set to true, systems will not be spread across the page.
293 This should be set false for pieces that have only two or three
294 systems per page, for example orchestral scores.
296 @item raggedlastbottom
297 If set to false, systems will be spread to fill the last page.
299 Pieces that amply fill two pages or more should have this set to
302 @item betweensystemspace
303 This dimensions determines the distance between systems. It is the
304 ideal distance between the center of the bottom staff of one system
305 and the center of the top staff of the next system.
307 Increasing this will provide a more even appearance of the page at the
308 cost of using more vertical space.
310 @item betweensystempadding
311 This dimension is the minimum amount of white space that will always
312 be present between the bottom-most symbol of one system, and the
313 top-most of the next system.
315 Increasing this will put systems whose bounding boxes almost touch
319 @item horizontalshift
320 All systems (including titles and system separators) are shifted by
321 this amount to the right. Page markup, such as headers and footers are
322 not affected by this. The purpose of this variable is to make space
323 for instrument names at the left.
326 @item aftertitlespace
327 Amount of space between the title and the first system.
329 @item beforetitlespace
330 Amount of space between the last system of the previous piece and the
333 @item betweentitlespace
334 Amount of space between consecutive titles (e.g., the title of the
335 book and the title of a piece).
337 @item printallheaders
338 Setting this to #t will print all headers for each \score in a
339 \book. Normally only the piece and opus \headers are printed.
341 @item systemSeparatorMarkup
342 This contains a markup object, which will be inserted between
343 systems. This is often used for orchestral scores.
345 The markup command @code{\slashSeparator} is provided as a sensible
348 @lilypond[raggedright]
350 systemSeparatorMarkup = \slashSeparator
353 \relative { c1 \break c1 }
367 raggedlastbottom = ##t
371 You can also define these values in Scheme. In that case @code{mm},
372 @code{in}, @code{pt}, and @code{cm} are variables defined in
373 @file{paper-defaults.ly} with values in millimeters. That's why the
374 value has to be multiplied in the example
378 #(define bottommargin (* 2 cm))
385 The default footer is empty, except for the first page, where the
386 @code{copyright} field from @code{\header} is inserted, and the last
387 page, where @code{tagline} from @code{\header} is added. The default
388 tagline is ``Music engraving by LilyPond (@var{version})''.@footnote{Nicely
389 printed parts are good PR for us, so please leave the tagline if you
392 The header and footer are created by the functions @code{make-footer}
393 and @code{make-header}, defined in @code{\paper}. The default
394 implementations are in @file{scm/@/page@/-layout@/.scm}.
396 The page layout itself is done by two functions in the
397 @code{\paper} block, @code{page-music-height} and
398 @code{page-make-stencil}. The former tells the line-breaking algorithm
399 how much space can be spent on a page, the latter creates the actual
400 page given the system to put on it.
405 The option rightmargin is defined but doesn't set the right margin
406 yet. The value for the right margin has to be defined adjusting the
407 values of the leftmargin and linewidth.
409 The default page header puts the page number and the @code{instrument}
410 field from the @code{\header} block on a line.
414 @subsection Score layout
416 @cindex @code{\layout}
418 While @code{\paper} contains settings that relate to the page formatting
419 of the whole document, @code{\layout} contains settings for score-specific
426 minimumVerticalExtent = #'(-6 . 6
429 \override TextScript #'padding = #1.0
430 \override Glissando #'thickness = #3
438 This manual: @ref{Changing context default settings}
441 @node Vertical spacing
442 @subsection Vertical spacing
444 @cindex vertical spacing
445 @cindex distance between staves
446 @cindex staff distance
447 @cindex between staves, distance
448 @cindex staves per page
449 @cindex space between staves
451 The height of each system is determined automatically. To prevent
452 systems from bumping into each other, some minimum distances are set.
453 By changing these, you can put staves closer together, and thus put
454 more systems onto one page.
456 Normally staves are stacked vertically. To make staves maintain a
457 distance, their vertical size is padded. This is done with the
458 property @code{minimumVerticalExtent}. It takes a pair of numbers, so
459 if you want to make it smaller than its default @code{#'(-4 . 4)},
463 \set Staff.minimumVerticalExtent = #'(-3 . 3)
467 This sets the vertical size of the current staff to 3 staff spaces on
468 either side of the center staff line. The argument of
469 @code{minimumVerticalExtent} is interpreted as an interval, where the
470 center line is the 0, so the first number is generally negative. The
471 staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
473 To change the amount of space between systems, use
474 @code{betweensystemspace}. A score with only one staff is still
475 considered to have systems, so setting @code{betweensystemspace}
476 will be much more useful than changing @code{minimumVerticalExtent}.
480 betweensystemspace = 10\mm
487 Internals: Vertical alignment of staves is handled by the
488 @internalsref{VerticalAlignment} object. The context parameters
489 specifying the vertical extent are described in connection with
490 the @internalsref{Axis_group_engraver}.
494 @code{minimumVerticalExtent} is syntactic sugar for setting
495 @code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
496 current context. It can only be changed score wide.
501 @node Vertical spacing of piano staves
502 @subsection Vertical spacing of piano staves
504 The distance between staves of a @internalsref{PianoStaff} cannot be
505 computed during formatting. Rather, to make cross-staff beaming work
506 correctly, that distance has to be fixed beforehand.
508 The distance of staves in a @code{PianoStaff} is set with the
509 @code{forced-distance} property of the
510 @internalsref{VerticalAlignment} object, created in
511 @internalsref{PianoStaff}.
513 It can be adjusted as follows
515 \new PianoStaff \with @{
516 \override VerticalAlignment #'forced-distance = #7
523 This would bring the staves together at a distance of 7 staff spaces,
524 measured from the center line of each staff.
526 The difference is demonstrated in the following example,
527 @lilypond[quote,verbatim]
529 \new PianoStaff \with {
530 \override VerticalAlignment #'forced-distance = #7
546 @code{forced-distance} cannot be changed per system.
549 @node Horizontal spacing
550 @subsection Horizontal Spacing
552 The spacing engine translates differences in durations into
553 stretchable distances (``springs'') of differring lengths. Longer
554 durations get more space, shorter durations get less. The shortest
555 durations get a fixed amount of space (which is controlled by
556 @code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
557 The longer the duration, the more space it gets: doubling a
558 duration adds a fixed amount (this amount is controlled by
559 @code{spacing-increment}) of space to the note.
561 For example, the following piece contains lots of half, quarter, and
562 8th notes; the eighth note is followed by 1 note head width (NHW).
563 The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
565 @lilypond[quote,fragment,verbatim,relative=1]
566 c2 c4. c8 c4. c8 c4. c8 c8
570 Normally, @code{spacing-increment} is set to 1.2 staff space, which is
571 approximately the width of a note head, and
572 @code{shortest-duration-space} is set to 2.0, meaning that the
573 shortest note gets 2.4 staff space (2.0 times the
574 @code{spacing-increment}) of horizontal space. This space is counted
575 from the left edge of the symbol, so the shortest notes are generally
576 followed by one NHW of space.
578 If one would follow the above procedure exactly, then adding a single
579 32nd note to a score that uses 8th and 16th notes, would widen up the
580 entire score a lot. The shortest note is no longer a 16th, but a 32nd,
581 thus adding 1 NHW to every note. To prevent this, the shortest
582 duration for spacing is not the shortest note in the score, but rather
583 the one which occurs most frequently.
586 The most common shortest duration is determined as follows: in every
587 measure, the shortest duration is determined. The most common shortest
588 duration is taken as the basis for the spacing, with the stipulation
589 that this shortest duration should always be equal to or shorter than
590 an 8th note. The shortest duration is printed when you run
591 @code{lilypond} with the @code{--verbose} option.
593 These durations may also be customized. If you set the
594 @code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
595 this sets the base duration for spacing. The maximum duration for this
596 base (normally an 8th), is set through @code{base-shortest-duration}.
598 @cindex @code{common-shortest-duration}
599 @cindex @code{base-shortest-duration}
600 @cindex @code{stem-spacing-correction}
601 @cindex @code{spacing}
603 Notes that are even shorter than the common shortest note are
604 followed by a space that is proportional to their duration relative to
605 the common shortest note. So if we were to add only a few 16th notes
606 to the example above, they would be followed by half a NHW:
608 @lilypond[quote,fragment,verbatim,relative=2]
609 c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
613 In the introduction (see @ref{Engraving}), it was explained that stem
614 directions influence spacing. This is controlled with the
615 @code{stem-spacing-correction} property in the
616 @internalsref{NoteSpacing}, object. These are generated for every
617 @internalsref{Voice} context. The @code{StaffSpacing} object
618 (generated in @internalsref{Staff} context) contains the same property
619 for controlling the stem/bar line spacing. The following example shows
620 these corrections, once with default settings, and once with
621 exaggerated corrections:
623 @lilypond[quote,raggedright]
627 \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
628 \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
637 Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
638 @internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
639 @internalsref{SeparatingGroupSpanner}.
643 Spacing is determined on a score wide basis. If you have a score that
644 changes its character (measured in durations) halfway during the
645 score, the part containing the longer durations will be spaced too
648 There is no convenient mechanism to manually override spacing. The
649 following work-around may be used to insert extra space into a score.
651 \once \override Score.SeparationItem #'padding = #1
654 No work-around exists for decreasing the amount of space.
657 @subsection Line length
660 @cindex breaking pages
662 @cindex @code{indent}
663 @cindex @code{linewidth}
665 @c Although linewidth can be set in \layout, it should be set in paper
666 @c block, to get page layout right.
667 @c Setting indent in \paper block makes not much sense, but it works.
669 @c Bit verbose and vague, use examples?
670 The most basic settings influencing the spacing are @code{indent} and
671 @code{linewidth}. They are set in the @code{\layout} block. They
672 control the indentation of the first line of music, and the lengths of
675 If @code{raggedright} is set to true in the @code{\layout} block, then
676 the lines are justified at their natural length. This is useful for
677 short fragments, and for checking how tight the natural spacing is.
680 @cindex vertical spacing
682 The option @code{raggedlast} is similar to @code{raggedright}, but
683 only affects the last line of the piece. No restrictions are put on
684 that line. The result is similar to formatting text paragraphs. In a
685 paragraph, the last line simply takes its natural length.
686 @c Note that for text there are several options for the last line.
687 @c While Knuth TeX uses natural length, lead typesetters use the same
688 @c stretch as the previous line. eTeX uses \lastlinefit to
689 @c interpolate between both these solutions.
692 @subsection Line breaking
695 @cindex breaking lines
697 Line breaks are normally computed automatically. They are chosen so
698 that lines look neither cramped nor loose, and that consecutive lines
699 have similar density.
701 Occasionally you might want to override the automatic breaks; you can
702 do this by specifying @code{\break}. This will force a line break at
703 this point. Line breaks can only occur at places where there are bar
704 lines. If you want to have a line break where there is no bar line,
705 you can force an invisible bar line by entering @code{\bar
706 ""}. Similarly, @code{\noBreak} forbids a line break at a
710 @cindex regular line breaks
711 @cindex four bar music.
713 For line breaks at regular intervals use @code{\break} separated by
714 skips and repeated with @code{\repeat}:
716 << \repeat unfold 7 @{
717 s1 \noBreak s1 \noBreak
718 s1 \noBreak s1 \break @}
719 @emph{the real music}
724 This makes the following 28 measures (assuming 4/4 time) be broken every
725 4 measures, and only there.
729 @code{\break}, and @code{\noBreak}.
730 @cindex @code{\break}
731 @cindex @code{\noBreak}
735 Internals: @internalsref{BreakEvent}.
739 @subsection Page breaking
741 The default page breaking may be overriden by inserting
742 @code{\pageBreak} or @code{\noPageBreak} commands. These commands are
743 analogous to @code{\break} and @code{\noBreak}. They should be
744 inserted at a bar line. These commands force and forbid a page-break
745 from happening. Of course, the @code{\pageBreak} command also forces
748 Page breaks are computed by the @code{page-breaking} function in the
751 To force a new page for a new piece (in a collection of pieces or a
752 piece in several movements), use @code{breakbefore} in the header.
762 @cindex @code{\pageBreak}
764 @cindex @code{\noPageBreak}
768 @node Multiple movements
769 @subsection Multiple movements
771 @cindex bibliographic information
774 @cindex Music engraving by LilyPond
776 A document may contain multiple pieces of music and texts. Examples
777 of these are an etude book, or an orchestral part with multiple
778 movements. Each movement is entered with a @code{\score} block,
786 and texts are entered with a @code{\markup} block,
796 The movements and texts are combined together in a @code{\book} block,
814 The header for each piece of music can be put inside the @code{\score}
815 block. The @code{piece} name from the header will be printed before
816 each movement. The title for the entire book can be put inside the
817 @code{\book}, but if it is not present, the @code{\header} which is at
818 the top of the file is inserted.
820 @cindex Engraved by LilyPond
821 @cindex signature line
826 title = "Eight miniatures"
827 composer = "Igor Stravinsky"
831 \header @{ piece = "Romanze" @}
834 ..text of second verse..
837 ..text of third verse..
841 \header @{ piece = "Menuetto" @}
847 @node Creating titles
848 @subsection Creating titles
850 Titles are created for each @code{\score} block, and over a
853 The contents of the titles are taken from the @code{\header} blocks.
854 The header block for a book supports the following
857 The dedicatee of the music, centered at the top of the first page.
860 The title of the music, centered just below the dedication.
863 Subtitle, centered below the title.
866 Subsubtitle, centered below the subtitle.
869 Name of the poet, flush-left below the subtitle.
872 Name of the composer, flush-right below the subtitle.
875 Meter string, flush-left below the poet.
878 Name of the opus, flush-right below the composer.
881 Name of the arranger, flush-right below the opus.
884 Name of the instrument, centered below the arranger. Also
885 centered at the top of pages (other than the first page).
888 Name of the piece, flush-left below the instrument.
890 @cindex page breaks, forcing
892 This forces the title to start on a new page (set to ##t or ##f).
895 Copyright notice, centered at the bottom of the first page. To
896 insert the copyright symbol, see @ref{Text encoding}.
899 Centered at the bottom of the last page.
903 Here is a demonstration of the fields available. Note that you
904 may use any @ref{Text markup} commands in the header.
906 @lilypond[quote,verbatim,linewidth=11.0\cm]
914 dedication = "dedicated to me"
915 title = \markup \center-align { "Title first line" "Title second line, longer" }
916 subtitle = "the subtitle,"
917 subsubtitle = #(string-append "subsubtitle LilyPond version " (lilypond-version))
919 composer = \markup \center-align { "composer" \small "(1847-1973)" }
920 texttranslator = "Text Translator"
921 meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge "r" }
922 arranger = "Arranger"
923 opus = \markup { \fontsize #8.5 "o" \fontsize #2.5 "p" \fontsize #-2.5 "u" \fontsize #-5.3 "s" \fontsize #7.5 " " }
924 instrument = \markup \bold \italic "instrument"
948 As demonstrated before, you can use multiple @code{\header} blocks.
949 When same fields appear in different blocks, the latter is used.
950 Here is a short example.
954 composer = "Composer"
962 title = "New title" %overwrite previous one
967 A more advanced option is to change the definitions of the following
968 variables in the @code{\paper} block. The init file
969 @file{ly/titling-init.ly} lists the default layout.
972 @item bookTitleMarkup
973 This is the title put over an entire @code{\book} block. Typically,
974 it has the composer and the title of the piece
976 @item scoreTitleMarkup
977 This is the title put over a @code{\score} block within a
978 @code{\book}. Typically, it has the name of the movement (@code{piece}
981 @item oddHeaderMarkup
982 This is the page header for odd-numbered pages.
984 @item evenHeaderMarkup
985 This is the page header for even-numbered pages. If unspecified,
986 the odd header is used instead.
988 By default, headers are defined such that the page number is on the
989 outside edge, and the instrument is centered.
991 @item oddFooterMarkup
992 This is the page footer for odd-numbered pages.
994 @item evenFooterMarkup
995 This is the page footer for even-numbered pages. If unspecified,
996 the odd header is used instead.
998 By default, the footer has the copyright notice on the first, and
999 the tagline on the last page.
1009 The following definition will put the title flush left, and the
1010 composer flush right on a single line.
1014 bookTitleMarkup = \markup {
1016 \fromproperty #'header:title
1017 \fromproperty #'header:composer
1026 @section Sound output
1031 MIDI (Musical Instrument Digital Interface) is a standard for
1032 connecting and controlling digital instruments. A MIDI file is a
1033 series of notes in a number of tracks. It is not an actual
1034 sound file; you need special software to translate between the
1035 series of notes and actual sounds.
1037 Pieces of music can be converted to MIDI files, so you can listen to
1038 what was entered. This is convenient for checking the music; octaves
1039 that are off or accidentals that were mistyped stand out very much
1040 when listening to the MIDI output.
1044 Many musically interesting effects, such as swing, articulation,
1045 slurring, etc., are not translated to midi.
1047 The midi output allocates a channel for each staff, and one for global
1048 settings. Therefore the midi file should not have more than 15 staves
1049 (or 14 if you do not use drums). Other staves will remain silent.
1051 Not all midi players correctly handle tempo changes in the midi
1052 output. Players that are known to work include
1053 @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
1056 * Creating MIDI files::
1058 * MIDI instrument names::
1061 @node Creating MIDI files
1062 @subsection Creating MIDI files
1064 To create a MIDI from a music piece of music, add a @code{\midi} block
1065 to a score, for example,
1070 \midi @{ \tempo 4=72 @}
1074 The tempo is specified using the @code{\tempo} command. In this
1075 example the tempo of quarter notes is set to 72 beats per minute.
1078 If there is a @code{\midi} command in a @code{\score}, only MIDI will
1079 be produced. When notation is needed too, a @code{\layout} block must
1085 \midi @{ \tempo 4=72 @}
1089 @cindex layout block
1093 Ties, dynamics, and tempo changes are interpreted. Dynamic marks,
1094 crescendi and decrescendi translate into MIDI volume levels. Dynamic
1095 marks translate to a fixed fraction of the available MIDI volume
1096 range, crescendi and decrescendi make the volume vary linearly between
1097 their two extremes. The fractions can be adjusted by
1098 @code{dynamicAbsoluteVolumeFunction} in @internalsref{Voice} context.
1099 For each type of MIDI instrument, a volume range can be defined. This
1100 gives a basic equalizer control, which can enhance the quality of
1101 the MIDI output remarkably. The equalizer can be controlled by
1102 setting @code{instrumentEqualizer}.
1106 @subsection MIDI block
1110 The MIDI block is analogous to the layout block, but it is somewhat
1111 simpler. The @code{\midi} block can contain
1115 @item a @code{\tempo} definition, and
1116 @item context definitions.
1119 A number followed by a period is interpreted as a real number, so
1120 for setting the tempo for dotted notes, an extra space should be
1121 inserted, for example
1124 \midi @{ \tempo 4 . = 120 @}
1128 @cindex context definition
1130 Context definitions follow precisely the same syntax as within the
1131 \layout block. Translation modules for sound are called performers.
1132 The contexts for MIDI output are defined in @file{ly/@/performer@/-init@/.ly}.
1135 @node MIDI instrument names
1136 @subsection MIDI instrument names
1138 @cindex instrument names
1139 @cindex @code{Staff.midiInstrument}
1141 The MIDI instrument name is set by the @code{Staff.midiInstrument}
1142 property. The instrument name should be chosen from the list in
1143 @ref{MIDI instruments}.
1146 \set Staff.midiInstrument = "glockenspiel"
1150 If the selected instrument does not exactly match an instrument from
1151 the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})