4 @c A menu is needed before every deeper *section nesting of @nodes
5 @c Run M-x texinfo-all-menus-update
6 @c to automagically fill in these menus
7 @c before saving changes
10 @node Technical manual
11 @chapter Technical manual
14 When LilyPond is run, it reads music from a file, translates that into
15 notation, and outputs the result to a file. The most important steps
16 are the first three. Consequently, there are three important basic
17 concepts within LilyPond: music, translation and layout. The
18 following diagram illustrates the concepts, and list the terminology
19 associated with each step.
24 +-------------+ Translation +----------+
26 | Music | ------------------> | Layout |
28 +-------------+ +----------+
31 Syntax: c4 \context \set #'padding =
34 Objects: Music expressions Contexts Layout object
37 Example objects: NoteEvent Voice NoteHead
40 Example properties: #'pitch keySignature #'line-count
42 User applications: none various tuning layout
46 The objects passed around in LilyPond have @emph{properties},
47 variables that can contain many different types of information. Users
48 can set these variables, to modify the default behavior. Since there
49 are three different main concepts, there are also three types of
53 @cindex concepts, main
55 @cindex music expressions
61 @item Music properties
62 These are used internally, and most users will not see or use them.
64 They use Scheme-style naming, i.e. lowercase words separated with
65 dashes: @code{pitch}, @code{tremolo-type}.
67 @item Translation properties
68 These influence the translation process, and most users will encounter them
69 regularly. For example, beaming behavior is tuned with
70 @code{autoBeamSettings}.
72 These use mixed-caps naming: @code{autoBeamSettings},
73 @code{ignoreMelismata}. They are assigned as follows:
75 \property LyricsVoice.ignoreMelismata = ...
78 @item Layout properties
79 These are internally used in the formatting process. Consequently, to
80 tune formatting details, it is necessary to adjust these
81 properties. For example, some objects may be moved around vertically
82 by setting their @code{padding} property.
84 These properties use Scheme-style naming: @code{c0-position},
85 @code{break-align-symbol}. They most often assigned as follows:
88 \property Score.RehearsalMark \set #'break-align-symbol = ...
92 Here, @code{RehearsalMark} is the type of the layout object.
96 This chapter discusses details of the three concepts in more detail,
97 and explains how they are glued together in LilyPond with the embedded
101 * Interpretation context::
102 * Scheme integration::
103 * Music storage format::
109 @node Interpretation context
110 @section Interpretation context
113 * Creating contexts::
115 * Context properties::
116 * Context evaluation::
117 * Defining contexts::
118 * Changing contexts locally::
119 * Engravers and performers::
120 * Defining new contexts::
124 Interpretation contexts are objects that only exist during program
125 run. During the interpretation phase (when @code{interpreting music}
126 is printed on the standard output), the music expression in a
127 @code{\score} block is interpreted in time order, the same order in
128 which we hear and play the music. During this phase, the interpretation
129 context holds the state for the current point within the music, for
132 @item What notes are playing at this point?
134 @item What symbols will be printed at this point?
136 @item What is the current key signature, time signature, point within
140 Contexts are grouped hierarchically: A @internalsref{Voice} context is
141 contained in a @internalsref{Staff} context (because a staff can contain
142 multiple voices at any point), a @internalsref{Staff} context is contained in
143 @internalsref{Score}, @internalsref{StaffGroup}, or
144 @internalsref{ChoirStaff} context.
146 Contexts associated with sheet music output are called @emph{notation
147 contexts}, those for sound output are called @emph{performance
148 contexts}. The default definitions of the standard notation and
149 performance contexts can be found in @file{ly/engraver-init.ly} and
150 @file{ly/performer-init.ly}, respectively.
153 @node Creating contexts
154 @subsection Creating contexts
155 @cindex @code{\context}
156 @cindex context selection
158 Contexts for a music expression can be selected manually, using one of
159 the following music expressions:
162 \new @var{contexttype} @var{musicexpr}
163 \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
167 This means that @var{musicexpr} should be interpreted within a context
168 of type @var{contexttype} (with name @var{contextname} if specified).
169 If no such context exists, it will be created:
171 @lilypond[verbatim,singleline]
173 \notes \relative c'' {
174 c4 <<d4 \context Staff = "another" e4>> f
180 In this example, the @code{c} and @code{d} are printed on the default
181 staff. For the @code{e}, a context @code{Staff} called @code{another}
182 is specified; since that does not exist, a new context is created.
183 Within @code{another}, a (default) Voice context is created for the
184 @code{e4}. A context is ended when when all music referring it has
185 finished, so after the third quarter, @code{another} is removed.
187 The @code{\new} construction creates a context with a
188 generated, unique @var{contextname}. An expression with
189 @code{\new} always leads to a new context. This is convenient
190 for creating multiple staffs, multiple lyric lines, etc.
192 When using automatic staff changes, automatic phrasing, etc., the
193 context names have special meanings, so @code{\new} cannot be
197 @node Default contexts
198 @subsection Default contexts
200 Every top level music is interpreted by the @code{Score} context; in
201 other words, you may think of @code{\score} working like
205 \context Score @var{music}
209 Music expressions inherit their context from the enclosing music
210 expression. Hence, it is not necessary to explicitly specify
211 @code{\context} for most expressions. In
212 the following example, only the sequential expression has an explicit
213 context. The notes contained therein inherit the @code{goUp} context
214 from the enclosing music expression.
216 @lilypond[verbatim,singleline]
217 \notes \context Voice = goUp { c'4 d' e' }
221 Second, contexts are created automatically to be able to interpret the
222 music expressions. Consider the following example:
224 @lilypond[verbatim, singleline]
225 \score { \notes { c'4-( d' e'-) } }
229 The sequential music is interpreted by the Score context initially,
230 but when a note is encountered, contexts are setup to accept that
231 note. In this case, a @code{Thread}, @code{Voice}, and @code{Staff}
232 context are created. The rest of the sequential music is also
233 interpreted with the same @code{Thread}, @code{Voice}, and
234 @code{Staff} context, putting the notes on the same staff, in the same
237 @node Context properties
238 @subsection Context properties
240 Contexts have properties. These properties are set from the @file{.ly}
241 file using the following expression:
242 @cindex @code{\property}
243 @cindex context properties
244 @cindex properties, context
247 \property @var{contextname}.@var{propname} = @var{value}
251 Sets the @var{propname} property of the context @var{contextname} to
252 the specified Scheme expression @var{value}. Both @var{propname} and
253 @var{contextname} are strings, which can often be written unquoted.
256 Properties that are set in one context are inherited by all of the
257 contained contexts. This means that a property valid for the
258 @internalsref{Voice} context can be set in the @internalsref{Score} context
259 (for example) and thus take effect in all @internalsref{Voice} contexts.
261 @cindex @code{Current}
262 If you do not wish to specify the name of the context in the
263 @code{\property}-expression itself, you can refer to the abstract context
264 name, @code{Current}. The @code{Current} context is the latest
265 used context. This will typically mean the @internalsref{Thread} context,
266 but you can force another context with the
267 @code{\property}-command. Hence the expressions
270 \property @var{contextname}.@var{propname} = @var{value}
277 \context @var{contextname}
278 \property Current.@var{propname} = @var{value}
282 do the same thing. The main use for this is in predefined variables.
283 This construction allows the specification of a property-setting
284 without restriction to a specific context.
286 Properties can be unset using the following statement.
288 \property @var{contextname}.@var{propname} \unset
291 @cindex properties, unsetting
292 @cindex @code{\unset}
295 This removes the definition of @var{propname} in @var{contextname}. If
296 @var{propname} was not defined in @var{contextname} (but was inherited
297 from a higher context), then this has no effect.
301 The syntax of @code{\unset} is asymmetric: @code{\property \unset} is not
302 the inverse of @code{\property \set}.
305 @node Context evaluation
306 @subsection Context evaluation
308 Contexts can be modified during interpretation with Scheme code. The
311 \applycontext @var{function}
314 @var{function} should be a Scheme function taking a single argument,
315 being the context to apply it to. The following code will print the
316 current bar number on the standard output during the compile:
321 (format #t "\nWe were called in barnumber ~a.\n"
322 (ly:get-context-property x 'currentBarNumber)))
327 @node Defining contexts
328 @subsection Defining contexts
330 @cindex context definition
331 @cindex translator definition
333 The most common way to create a new context definition is by extending
334 an existing one. An existing context from the paper block is copied
335 by referencing a context identifier:
340 @var{context-identifier}
346 Every predefined context has a standard identifier. For example, the
347 @code{Staff} context can be referred to as @code{\StaffContext}.
349 The context can then be modified by setting or changing properties,
354 Stem \set #'thickness = #2.0
355 defaultBarType = #"||"
358 These assignments happen before interpretation starts, so a @code{\property}
359 command will override any predefined settings.
365 It is not possible to collect multiple property assignments in a
366 variable, and apply to one @code{\translator} definition by
367 referencing that variable.
369 @node Changing contexts locally
370 @subsection Changing contexts locally
373 Extending an existing context can also be done locally. A piece of
374 music can be interpreted in a changed context by using the following syntax
378 @var{context modifications}
382 These statements comes between @code{\new} or @code{\context} and the
383 music to be interpreted. The @var{context modifications} property
384 settings and @code{\remove}, @code{\consists} and @code{\consistsend}
385 commands. The syntax is similar to the @code{\translator} block.
387 The following example shows how a staff is created with bigger spaces,
388 and without a @code{Clef_engraver}.
390 @lilypond[relative=1,fragment,verbatim]
392 \new Staff { c4 es4 g2 }
394 StaffSymbol \set #'staff-space = #(magstep 1.5)
396 \remove "Clef_engraver"
404 The command @code{\with} has no effect on contexts that already
405 exist. Neither can it be used for @internalsref{Score} contexts.
408 @node Engravers and performers
409 @subsection Engravers and performers
412 Each context is composed of a number of building blocks, or plug-ins
413 called engravers. An engraver is a specialized C++ class that is
414 compiled into the executable. Typically, an engraver is responsible
415 for one function: the @code{Slur_engraver} creates only @code{Slur}
416 objects, and the @code{Skip_event_swallow_translator} only swallows
417 (silently gobbles) @code{SkipEvent}s.
424 An existing context definition can be changed by adding or removing an
425 engraver. The syntax for these operations is
427 \consists @var{engravername}
428 \remove @var{engravername}
435 Here @var{engravername} is a string, the name of an engraver in the
436 system. In the following example, the @code{Clef_engraver} is removed
437 from the Staff context. The result is a staff without a clef, where
438 the central C is at its default position, the center line:
440 @lilypond[verbatim,singleline]
448 \remove Clef_engraver
454 A list of all engravers is in the internal documentation,
455 see @internalsref{All engravers}.
457 @node Defining new contexts
458 @subsection Defining new contexts
461 It is also possible to define new contexts from scratch. To do this,
462 you must define give the new context a name. In the following
463 example, a very simple Staff context is created: one that will put
464 note heads on a staff symbol.
468 \type "Engraver_group_engraver"
471 \consists "Staff_symbol_engraver"
472 \consists "Note_head_engraver"
473 \consistsend "Axis_group_engraver"
478 The argument of @code{\type} is the name for a special engraver that
479 handles cooperation between simple engravers such as
480 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
481 should always be @code{Engraver_group_engraver} (unless you are
482 defining a Score context from scratch, in which case
483 @code{Score_engraver} must be used).
485 The complete list of context modifiers is the following:
487 @item @code{\alias} @var{alternate-name}:
488 This specifies a different name. In the above example,
489 @code{\property Staff.X = Y} will also work on @code{SimpleStaff}s.
491 @item @code{\consistsend} @var{engravername}:
492 Analogous to @code{\consists}, but makes sure that
493 @var{engravername} is always added to the end of the list of
496 Engravers that group context objects into axis groups or alignments
497 need to be at the end of the list. @code{\consistsend} insures that
498 engravers stay at the end even if a user adds or removes engravers.
500 @item @code{\accepts} @var{contextname}:
501 This context can contains @var{contextname} contexts. The first
502 @code{\accepts} is created as a default context when events (e.g. notes
503 or rests) are encountered.
505 @item @code{\denies}:
506 The opposite of @code{\accepts}.
508 @item @code{\name} @var{contextname}:
509 This sets the type name of the context, e.g. @code{Staff},
510 @code{Voice}. If the name is not specified, the translator will not
515 @node Scheme integration
516 @section Scheme integration
520 @cindex Scheme, in-line code
521 @cindex accessing Scheme
522 @cindex evaluating Scheme
525 LilyPond internally uses GUILE, a Scheme-interpreter, to represent
526 data throughout the whole program, and glue together different program
527 modules. For advanced usage, it is sometimes necessary to access and
528 program the Scheme interpreter.
530 Scheme is a full-blown programming language, from the LISP
531 family. and a full discussion is outside the scope of this document.
532 Interested readers are referred to the website
533 @uref{http://www.schemers.org/} for more information on Scheme.
535 The GUILE library for extension is documented at
536 @uref{http://www.gnu.org/software/guile}.
538 When it is installed, the following link should take you to its manual
539 @ref{(guile.info)guile}
544 * Input variables and Scheme::
550 @subsection Inline Scheme
552 Scheme expressions can be entered in the input file by entering a
553 hash-sign (@code{#}). The expression following the hash-sign is
554 evaluated as Scheme. For example, the boolean value @var{true} is
555 @code{#t} in Scheme, so for LilyPond @var{true} looks like @code{##t},
556 and can be used in property assignments:
558 \property Staff.autoBeaming = ##f
562 @node Input variables and Scheme
563 @subsection Input variables and Scheme
566 The input format supports the notion of variable: in the following
567 example, a music expression is assigned to a variable with the name
570 traLaLa = \notes @{ c'4 d'4 @}
575 There is also a form of scoping: in the following example, the
576 @code{\paper} block also contains a @code{traLaLa} variable, which is
577 independent of the outer @code{\traLaLa}.
579 traLaLa = \notes @{ c'4 d'4 @}
580 \paper @{ traLaLa = 1.0 @}
583 In effect, each input file is a scope, and all @code{\header},
584 @code{\midi} and @code{\paper} blocks are scopes nested inside that
587 Both variables and scoping are implemented in the GUILE module system.
588 An anonymous Scheme module is attached to each scope. An assignment of
591 traLaLa = \notes @{ c'4 d'4 @}
595 is internally converted to a Scheme definition
597 (define traLaLa @var{Scheme value of ``@code{\notes ... }''})
600 This means that input variables and Scheme variables may be freely
601 mixed. In the following example, a music fragment is stored in the
602 variable @code{traLaLa}, and duplicated using Scheme. The result is
603 imported in a @code{\score} by means of a second variable
606 traLaLa = \notes @{ c'4 d'4 @}
608 #(define newLa (map ly:music-deep-copy
609 (list traLaLa traLaLa)))
611 (make-sequential-music newLa))
616 In the above example, music expressions can be `exported' from the
617 input to the Scheme interpreter. The opposite is also possible. By
618 wrapping a Scheme value in the function @code{ly:export}, a Scheme
619 value is interpreted as if it were entered in LilyPond syntax: instead
620 of defining @code{\twice}, the example above could also have been
624 \score @{ #(ly:export (make-sequential-music newLa)) @}
631 @node Scheme datatypes
632 @subsection Scheme datatypes
634 Scheme is used to glue together different program modules. To aid this
635 glue function, many LilyPond specific object types can be passed as
638 The following list are all LilyPond specific types, that
639 can exist during parsing:
646 In C++ terms, an @code{Event} is a subtype of @code{Music}. However,
647 both have different functions in the syntax.
648 @item Music_output_def
655 During a run, transient objects are also created and destroyed.
658 @item Grob: short for `Graphical object'.
659 @item Scheme_hash_table
662 @item Molecule: Device-independent page output object,
663 including dimensions.
669 @item Translator: An object that produces audio objects or Grobs.
670 It may be accessed with @code{\applyoutput}.
672 @item Font_metric: An object representing a font.
675 Many functions are defined to manipulate these data structures. They
676 are all listed and documented in the internals manual, see
677 @internalsref{All scheme functions}.
681 @subsection Assignments
684 Variables allow objects to be assigned to names during the parse
685 stage. To assign a variable, use
687 @var{name}@code{=}@var{value}
689 To refer to a variable, precede its name with a backslash:
690 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
691 the input-types listed above. Variable assignments can appear at top
692 level in the LilyPond file, but also in @code{\paper} blocks.
694 A variable can be created with any string for its name, but for
695 accessing it in the LilyPond syntax, its name must consist of
696 alphabetic characters only, and may not be a keyword of the syntax.
697 There are no restrictions for naming and accessing variables in the
700 The right hand side of a variable assignment is parsed completely
701 before the assignment is done, so variables may be redefined in terms
702 of its old value, e.g.
708 When a variable is referenced in LilyPond syntax, the information it
709 points to is copied. For this reason, an variable reference must
710 always be the first item in a block.
715 \paperIdent % wrong and invalid
721 \paperIdent % correct
728 @node Music storage format
729 @section Music storage format
731 Music in LilyPond is entered as music expressions. This section
732 discusses different types of music expressions, and explains how
733 information is stored internally. This internal storage is accessible
734 through the Scheme interpreter, so music expressions may be
735 manipulated using Scheme functions.
738 * Music expressions::
739 * Internal music representation::
740 * Manipulating music expressions::
743 @node Music expressions
744 @subsection Music expressions
745 @cindex music expressions
747 Notes, rests, lyric syllables are music expressions. Small music
748 expressions may be combined to form larger ones, for example, by
749 enclosing a list of expressions in @code{\sequential @{ @}} or @code{<<
750 >>}. In the following example, a compound expression is formed out of
751 the quarter note @code{c} and a quarter note @code{d}:
754 \sequential @{ c4 d4 @}
757 @cindex Sequential music
758 @cindex @code{\sequential}
759 @cindex sequential music
762 @cindex Simultaneous music
763 @cindex @code{\simultaneous}
765 The two basic compound music expressions are simultaneous and
769 \sequential @code{@{} @var{musicexprlist} @code{@}}
770 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
773 For both, there is a shorthand:
776 @code{@{} @var{musicexprlist} @code{@}}
783 @code{<<} @var{musicexprlist} @code{>>}
787 for simultaneous music.
788 In principle, the way in which you nest sequential and simultaneous to
789 produce music is not relevant. In the following example, three chords
790 are expressed in two different ways:
792 @lilypond[fragment,verbatim,center,quote]
793 \notes \context Voice {
794 <<a c'>> <<b d'>> <<c' e'>>
795 << { a b c' } { c' d' e' } >>
798 However, using @code{<<} and @code{>>} for entering chords leads to
799 various peculiarities. For this reason, a special syntax
800 for chords was introduced in version 1.7: @code{< >}.
806 Other compound music expressions include:
809 \transpose @var{from} @var{to} @var{expr}
810 \apply @var{func} @var{expr}
811 \context @var{type} = @var{id} @var{expr}
812 \times @var{fraction} @var{expr}
815 @node Internal music representation
816 @subsection Internal music representation
823 When a music expression is parsed, it is converted into a set of
824 Scheme music objects. The defining property of a music object is that
825 it takes up time. Time is a rational number that measures the length
826 of a piece of music, in whole notes.
828 A music object has three kinds of types:
831 music name: Each music expression has a name, for example, a note
832 leads to a @internalsref{NoteEvent}, and @code{\simultaneous} leads to
833 a @internalsref{SimultaneousMusic}. A list of all expressions
834 available is in the internals manual, under @internalsref{Music
838 `type' or interface: Each music name has several `types' or interface,
839 for example, a note is an @code{event}, but it is also a @code{note-event},
840 a @code{rhythmic-event} and a @code{melodic-event}.
842 All classes of music are listed in the internals manual, under
843 @internalsref{Music classes}.
845 C++ object: Each music object is represented by a C++ object. For technical
846 reasons, different music objects may be represented by different C++
847 object types. For example, a note is @code{Event} object, while
848 @code{\grace} creates a @code{Grace_music} object.
850 We expect that distinctions between different C++ types will disappear
854 The actual information of a music expression is stored in properties.
855 For example, a @internalsref{NoteEvent} has @code{pitch} and
856 @code{duration} properties that store the pitch and duration of that
857 note. A list of all properties available is in the internals manual,
858 under @internalsref{Music properties}.
860 A compound music expression is a music object that contains other
861 music objects in its properties. A list of objects can be stored in
862 the @code{elements} property of a music object, or a single `child'
863 music object in the @code{element} object. For example,
864 @internalsref{SequentialMusic} has its children in @code{elements},
865 and @internalsref{GraceMusic} has its single argument in
866 @code{element}. The body of a repeat is in @code{element} property of
867 @internalsref{RepeatedMusic}, and the alternatives in @code{elements}.
869 @node Manipulating music expressions
870 @subsection Manipulating music expressions
872 Music objects and their properties can be accessed and manipulated
873 directly, through the @code{\apply} mechanism.
874 The syntax for @code{\apply} is
876 \apply #@var{func} @var{music}
880 This means that the scheme function @var{func} is called with
881 @var{music} as its argument. The return value of @var{func} is the
882 result of the entire expression. @var{func} may read and write music
883 properties using the functions @code{ly:get-mus-property} and
884 @code{ly:set-mus-property!}.
886 An example is a function that reverses the order of elements in
888 @lilypond[verbatim,singleline]
889 #(define (rev-music-1 m)
890 (ly:set-mus-property! m 'elements (reverse
891 (ly:get-mus-property m 'elements)))
893 \score { \notes \apply #rev-music-1 { c4 d4 } }
896 The use of such a function is very limited. The effect of this
897 function is void when applied to an argument which is does not have
898 multiple children. The following function application has no effect:
901 \apply #rev-music-1 \grace @{ c4 d4 @}
905 In this case, @code{\grace} is stored as @internalsref{GraceMusic}, which has no
906 @code{elements}, only a single @code{element}. Every generally
907 applicable function for @code{\apply} must -- like music expressions
908 themselves -- be recursive.
910 The following example is such a recursive function: It first extracts
911 the @code{elements} of an expression, reverses them and puts them
912 back. Then it recurses, both on @code{elements} and @code{element}
915 #(define (reverse-music music)
916 (let* ((elements (ly:get-mus-property music 'elements))
917 (child (ly:get-mus-property music 'element))
918 (reversed (reverse elements)))
921 (ly:set-mus-property! music 'elements reversed)
924 (if (ly:music? child) (reverse-music child))
925 (map reverse-music reversed)
930 A slightly more elaborate example is in
931 @inputfileref{input/test,reverse-music.ly}.
933 Some of the input syntax is also implemented as recursive music
934 functions. For example, the syntax for polyphony
940 is actually implemented as a recursive function that replaces the
941 above by the internal equivalent of
943 << \context Voice = "1" @{ \voiceOne a @}
944 \context Voice = "2" @{ \voiceTwo b @} >>
947 Other applications of @code{\apply} are writing out repeats
948 automatically (@inputfileref{input/test,unfold-all-repeats.ly}),
949 saving keystrokes (@inputfileref{input/test,music-box.ly}) and
951 LilyPond input to other formats (@inputfileref{input/test,to-xml.ly})
955 @file{scm/music-functions.scm}, @file{scm/music-types.scm},
956 @inputfileref{input/test,add-staccato.ly},
957 @inputfileref{input/test,unfold-all-repeats.ly}, and
958 @inputfileref{input/test,music-box.ly}.
960 @node Lexical details
961 @section Lexical details
967 By enclosing text in quotes (@code{"}), strings are formed. To
968 include a @code{"} character in a string write @code{\"}. Various
969 other backslash sequences have special interpretations as in the C
970 language. A string that does not contain spaces or special characters
971 can be written without the quotes. The exact form of such unquoted
972 strings depends on the input mode; there are different rules for
973 lyrics, notes and markups. Strings can be concatenated with the
978 @section Output details
980 LilyPond's default output format is @TeX{}. Using the option @option{-f}
981 (or @option{--format}) other output formats can be selected also, but
982 currently none of them work reliably.
984 At the beginning of the output file, various global parameters are defined.
985 It also contains a large @code{\special} call to define PostScript routines
986 to draw items not representable with @TeX{}, mainly slurs and ties. A DVI
987 driver must be able to understand such embedded PostScript, or the output
988 will be rendered incompletely.
990 Then the file @file{lilyponddefs.tex} is loaded to define the macros used
991 in the code which follows. @file{lilyponddefs.tex} includes various other
992 files, partially depending on the global parameters.
994 Now the music is output system by system (a `system' consists of all
995 staves belonging together). From @TeX{}'s point of view, a system is an
996 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
997 vertically on the baseline of the text. Between systems,
998 @code{\interscoreline} is inserted vertically to have stretchable space.
999 The horizontal dimension of the @code{\hbox} is given by the
1000 @code{linewidth} parameter from LilyPond's @code{\paper} block.
1003 After the last system LilyPond emits a stronger variant of
1004 @code{\interscoreline} only if the macro
1005 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
1006 to the top of the page). You can avoid that by setting the variable
1007 @code{lastpagefill} in LilyPond's @code{\paper} block.
1009 It is possible to fine-tune the vertical offset further by defining the
1010 macro @code{\lilypondscoreshift}:
1013 \def\lilypondscoreshift@{0.25\baselineskip@}
1017 where @code{\baselineskip} is the distance from one text line to the next.
1019 The code produced by LilyPond should be run through La@TeX{}, not
1022 Here an example how to embed a small LilyPond file @code{foo.ly} into
1023 running La@TeX{} text without using the @code{lilypond-book} script
1024 (@pxref{lilypond-book manual}):
1027 \documentclass@{article@}
1029 \def\lilypondpaperlastpagefill@{@}
1031 \def\lilypondscoreshift@{0.25\baselineskip@}
1034 This is running text which includes an example music file
1040 The file @file{foo.tex} has been simply produced with
1046 It is important to set the @code{indent} parameter to zero in the
1047 @code{\paper} block of @file{foo.ly}.
1049 The call to @code{\lineskip} assures that there is enough vertical space
1050 between the LilyPond box and the surrounding text lines.