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 \set 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 \override Score.RehearsalMark #'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,raggedright]
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,raggedright]
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,raggedright]
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{Voice}, and @code{Staff}
232 context are created. The rest of the sequential music is also
233 interpreted with the same @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 \set @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{Voice} context,
266 but you can force another context with the
267 @code{\property}-command. Hence the expressions
270 \set @var{contextname}.@var{propname} = @var{value}
277 \context @var{contextname}
278 \set 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 \unset @var{contextname}.@var{propname}
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 context @code{Current} is confusing.
304 @node Context evaluation
305 @subsection Context evaluation
307 Contexts can be modified during interpretation with Scheme code. The
310 \applycontext @var{function}
313 @var{function} should be a Scheme function taking a single argument,
314 being the context to apply it to. The following code will print the
315 current bar number on the standard output during the compile:
320 (format #t "\nWe were called in barnumber ~a.\n"
321 (ly:get-context-property x 'currentBarNumber)))
326 @node Defining contexts
327 @subsection Defining contexts
329 @cindex context definition
330 @cindex translator definition
332 The most common way to create a new context definition is by extending
333 an existing one. An existing context from the paper block is copied
334 by referencing a context identifier:
339 @var{context-identifier}
345 Every predefined context has a standard identifier. For example, the
346 @code{Staff} context can be referred to as @code{\StaffContext}.
348 The context can then be modified by setting or changing properties,
353 Stem \set #'thickness = #2.0
354 defaultBarType = #"||"
357 These assignments happen before interpretation starts, so a @code{\property}
358 command will override any predefined settings.
364 It is not possible to collect multiple property assignments in a
365 variable, and apply to one @code{\translator} definition by
366 referencing that variable.
368 @node Changing contexts locally
369 @subsection Changing contexts locally
372 Extending an existing context can also be done locally. A piece of
373 music can be interpreted in a changed context by using the following syntax
377 @var{context modifications}
381 These statements comes between @code{\new} or @code{\context} and the
382 music to be interpreted. The @var{context modifications} property
383 settings and @code{\remove}, @code{\consists} and @code{\consistsend}
384 commands. The syntax is similar to the @code{\translator} block.
386 The following example shows how a staff is created with bigger spaces,
387 and without a @code{Clef_engraver}.
389 @lilypond[relative=1,fragment,verbatim]
391 \new Staff { c4 es4 g2 }
393 StaffSymbol \set #'staff-space = #(magstep 1.5)
395 \remove "Clef_engraver"
403 The command @code{\with} has no effect on contexts that already
404 exist. Neither can it be used for @internalsref{Score} contexts.
407 @node Engravers and performers
408 @subsection Engravers and performers
411 Each context is composed of a number of building blocks, or plug-ins
412 called engravers. An engraver is a specialized C++ class that is
413 compiled into the executable. Typically, an engraver is responsible
414 for one function: the @code{Slur_engraver} creates only @code{Slur}
415 objects, and the @code{Skip_event_swallow_translator} only swallows
416 (silently gobbles) @code{SkipEvent}s.
423 An existing context definition can be changed by adding or removing an
424 engraver. The syntax for these operations is
426 \consists @var{engravername}
427 \remove @var{engravername}
434 Here @var{engravername} is a string, the name of an engraver in the
435 system. In the following example, the @code{Clef_engraver} is removed
436 from the Staff context. The result is a staff without a clef, where
437 the central C is at its default position, the center line:
439 @lilypond[verbatim,raggedright]
447 \remove Clef_engraver
453 A list of all engravers is in the internal documentation,
454 see @internalsref{Engravers}.
456 @node Defining new contexts
457 @subsection Defining new contexts
460 It is also possible to define new contexts from scratch. To do this,
461 you must define give the new context a name. In the following
462 example, a very simple Staff context is created: one that will put
463 note heads on a staff symbol.
467 \type "Engraver_group_engraver"
470 \consists "Staff_symbol_engraver"
471 \consists "Note_head_engraver"
472 \consistsend "Axis_group_engraver"
477 The argument of @code{\type} is the name for a special engraver that
478 handles cooperation between simple engravers such as
479 @code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
480 should always be @code{Engraver_group_engraver} (unless you are
481 defining a Score context from scratch, in which case
482 @code{Score_engraver} must be used).
484 The complete list of context modifiers is the following:
486 @item @code{\alias} @var{alternate-name}:
487 This specifies a different name. In the above example,
488 @code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
490 @item @code{\consistsend} @var{engravername}:
491 Analogous to @code{\consists}, but makes sure that
492 @var{engravername} is always added to the end of the list of
495 Engravers that group context objects into axis groups or alignments
496 need to be at the end of the list. @code{\consistsend} insures that
497 engravers stay at the end even if a user adds or removes engravers.
499 @item @code{\accepts} @var{contextname}:
500 This context can contains @var{contextname} contexts. The first
501 @code{\accepts} is created as a default context when events (e.g. notes
502 or rests) are encountered.
504 @item @code{\denies}:
505 The opposite of @code{\accepts}.
507 @item @code{\name} @var{contextname}:
508 This sets the type name of the context, e.g. @code{Staff},
509 @code{Voice}. If the name is not specified, the translator will not
514 @node Scheme integration
515 @section Scheme integration
519 @cindex Scheme, in-line code
520 @cindex accessing Scheme
521 @cindex evaluating Scheme
524 LilyPond internally uses GUILE, a Scheme-interpreter, to represent
525 data throughout the whole program, and glue together different program
526 modules. For advanced usage, it is sometimes necessary to access and
527 program the Scheme interpreter.
529 Scheme is a full-blown programming language, from the LISP
530 family. and a full discussion is outside the scope of this document.
531 Interested readers are referred to the website
532 @uref{http://www.schemers.org/} for more information on Scheme.
534 The GUILE library for extension is documented at
535 @uref{http://www.gnu.org/software/guile}.
537 When it is installed, the following link should take you to its manual
538 @ref{(guile.info)guile}
543 * Input variables and Scheme::
549 @subsection Inline Scheme
551 Scheme expressions can be entered in the input file by entering a
552 hash-sign (@code{#}). The expression following the hash-sign is
553 evaluated as Scheme. For example, the boolean value @var{true} is
554 @code{#t} in Scheme, so for LilyPond @var{true} looks like @code{##t},
555 and can be used in property assignments:
557 \set Staff.autoBeaming = ##f
561 @node Input variables and Scheme
562 @subsection Input variables and Scheme
565 The input format supports the notion of variable: in the following
566 example, a music expression is assigned to a variable with the name
569 traLaLa = \notes @{ c'4 d'4 @}
574 There is also a form of scoping: in the following example, the
575 @code{\paper} block also contains a @code{traLaLa} variable, which is
576 independent of the outer @code{\traLaLa}.
578 traLaLa = \notes @{ c'4 d'4 @}
579 \paper @{ traLaLa = 1.0 @}
582 In effect, each input file is a scope, and all @code{\header},
583 @code{\midi} and @code{\paper} blocks are scopes nested inside that
586 Both variables and scoping are implemented in the GUILE module system.
587 An anonymous Scheme module is attached to each scope. An assignment of
590 traLaLa = \notes @{ c'4 d'4 @}
594 is internally converted to a Scheme definition
596 (define traLaLa @var{Scheme value of ``@code{\notes ... }''})
599 This means that input variables and Scheme variables may be freely
600 mixed. In the following example, a music fragment is stored in the
601 variable @code{traLaLa}, and duplicated using Scheme. The result is
602 imported in a @code{\score} by means of a second variable
605 traLaLa = \notes @{ c'4 d'4 @}
607 #(define newLa (map ly:music-deep-copy
608 (list traLaLa traLaLa)))
610 (make-sequential-music newLa))
615 In the above example, music expressions can be `exported' from the
616 input to the Scheme interpreter. The opposite is also possible. By
617 wrapping a Scheme value in the function @code{ly:export}, a Scheme
618 value is interpreted as if it were entered in LilyPond syntax: instead
619 of defining @code{\twice}, the example above could also have been
623 \score @{ #(ly:export (make-sequential-music newLa)) @}
630 @node Scheme datatypes
631 @subsection Scheme datatypes
633 Scheme is used to glue together different program modules. To aid this
634 glue function, many LilyPond specific object types can be passed as
637 The following list are all LilyPond specific types, that
638 can exist during parsing:
645 In C++ terms, an @code{Event} is a subtype of @code{Music}. However,
646 both have different functions in the syntax.
647 @item Music_output_def
654 During a run, transient objects are also created and destroyed.
657 @item Grob: short for `Graphical object'.
658 @item Scheme_hash_table
661 @item Stencil: Device-independent page output object,
662 including dimensions.
668 @item Translator: An object that produces audio objects or Grobs.
669 It may be accessed with @code{\applyoutput}.
671 @item Font_metric: An object representing a font.
674 Many functions are defined to manipulate these data structures. They
675 are all listed and documented in the internals manual, see
676 @internalsref{All scheme functions}.
680 @subsection Assignments
683 Variables allow objects to be assigned to names during the parse
684 stage. To assign a variable, use
686 @var{name}@code{=}@var{value}
688 To refer to a variable, precede its name with a backslash:
689 `@code{\}@var{name}'. @var{value} is any valid Scheme value or any of
690 the input-types listed above. Variable assignments can appear at top
691 level in the LilyPond file, but also in @code{\paper} blocks.
693 A variable can be created with any string for its name, but for
694 accessing it in the LilyPond syntax, its name must consist of
695 alphabetic characters only, and may not be a keyword of the syntax.
696 There are no restrictions for naming and accessing variables in the
699 The right hand side of a variable assignment is parsed completely
700 before the assignment is done, so variables may be redefined in terms
701 of its old value, e.g.
707 When a variable is referenced in LilyPond syntax, the information it
708 points to is copied. For this reason, an variable reference must
709 always be the first item in a block.
714 \paperIdent % wrong and invalid
720 \paperIdent % correct
727 @node Music storage format
728 @section Music storage format
730 Music in LilyPond is entered as music expressions. This section
731 discusses different types of music expressions, and explains how
732 information is stored internally. This internal storage is accessible
733 through the Scheme interpreter, so music expressions may be
734 manipulated using Scheme functions.
737 * Music expressions::
738 * Internal music representation::
739 * Manipulating music expressions::
742 @node Music expressions
743 @subsection Music expressions
744 @cindex music expressions
746 Notes, rests, lyric syllables are music expressions. Small music
747 expressions may be combined to form larger ones, for example, by
748 enclosing a list of expressions in @code{\sequential @{ @}} or @code{<<
749 >>}. In the following example, a compound expression is formed out of
750 the quarter note @code{c} and a quarter note @code{d}:
753 \sequential @{ c4 d4 @}
756 @cindex Sequential music
757 @cindex @code{\sequential}
758 @cindex sequential music
761 @cindex Simultaneous music
762 @cindex @code{\simultaneous}
764 The two basic compound music expressions are simultaneous and
768 \sequential @code{@{} @var{musicexprlist} @code{@}}
769 \simultaneous @code{@{} @var{musicexprlist} @code{@}}
772 For both, there is a shorthand:
775 @code{@{} @var{musicexprlist} @code{@}}
782 @code{<<} @var{musicexprlist} @code{>>}
786 for simultaneous music.
787 In principle, the way in which you nest sequential and simultaneous to
788 produce music is not relevant. In the following example, three chords
789 are expressed in two different ways:
791 @lilypond[fragment,verbatim,center,quote]
792 \notes \context Voice {
793 <<a c'>> <<b d'>> <<c' e'>>
794 << { a b c' } { c' d' e' } >>
797 However, using @code{<<} and @code{>>} for entering chords leads to
798 various peculiarities. For this reason, a special syntax
799 for chords was introduced in version 1.7: @code{< >}.
805 Other compound music expressions include:
808 \transpose @var{from} @var{to} @var{expr}
809 \apply @var{func} @var{expr}
810 \context @var{type} = @var{id} @var{expr}
811 \times @var{fraction} @var{expr}
814 @node Internal music representation
815 @subsection Internal music representation
822 When a music expression is parsed, it is converted into a set of
823 Scheme music objects. The defining property of a music object is that
824 it takes up time. Time is a rational number that measures the length
825 of a piece of music, in whole notes.
827 A music object has three kinds of types:
830 music name: Each music expression has a name, for example, a note
831 leads to a @internalsref{NoteEvent}, and @code{\simultaneous} leads to
832 a @internalsref{SimultaneousMusic}. A list of all expressions
833 available is in the internals manual, under @internalsref{Music
837 `type' or interface: Each music name has several `types' or interface,
838 for example, a note is an @code{event}, but it is also a @code{note-event},
839 a @code{rhythmic-event} and a @code{melodic-event}.
841 All classes of music are listed in the internals manual, under
842 @internalsref{Music classes}.
844 C++ object: Each music object is represented by a C++ object. For technical
845 reasons, different music objects may be represented by different C++
846 object types. For example, a note is @code{Event} object, while
847 @code{\grace} creates a @code{Grace_music} object.
849 We expect that distinctions between different C++ types will disappear
853 The actual information of a music expression is stored in properties.
854 For example, a @internalsref{NoteEvent} has @code{pitch} and
855 @code{duration} properties that store the pitch and duration of that
856 note. A list of all properties available is in the internals manual,
857 under @internalsref{Music properties}.
859 A compound music expression is a music object that contains other
860 music objects in its properties. A list of objects can be stored in
861 the @code{elements} property of a music object, or a single `child'
862 music object in the @code{element} object. For example,
863 @internalsref{SequentialMusic} has its children in @code{elements},
864 and @internalsref{GraceMusic} has its single argument in
865 @code{element}. The body of a repeat is in @code{element} property of
866 @internalsref{RepeatedMusic}, and the alternatives in @code{elements}.
868 @node Manipulating music expressions
869 @subsection Manipulating music expressions
871 Music objects and their properties can be accessed and manipulated
872 directly, through the @code{\apply} mechanism.
873 The syntax for @code{\apply} is
875 \apply #@var{func} @var{music}
879 This means that the scheme function @var{func} is called with
880 @var{music} as its argument. The return value of @var{func} is the
881 result of the entire expression. @var{func} may read and write music
882 properties using the functions @code{ly:get-mus-property} and
883 @code{ly:set-mus-property!}.
885 An example is a function that reverses the order of elements in
887 @lilypond[verbatim,raggedright]
888 #(define (rev-music-1 m)
889 (ly:set-mus-property! m 'elements (reverse
890 (ly:get-mus-property m 'elements)))
892 \score { \notes \apply #rev-music-1 { c4 d4 } }
895 The use of such a function is very limited. The effect of this
896 function is void when applied to an argument which is does not have
897 multiple children. The following function application has no effect:
900 \apply #rev-music-1 \grace @{ c4 d4 @}
904 In this case, @code{\grace} is stored as @internalsref{GraceMusic}, which has no
905 @code{elements}, only a single @code{element}. Every generally
906 applicable function for @code{\apply} must -- like music expressions
907 themselves -- be recursive.
909 The following example is such a recursive function: It first extracts
910 the @code{elements} of an expression, reverses them and puts them
911 back. Then it recurses, both on @code{elements} and @code{element}
914 #(define (reverse-music music)
915 (let* ((elements (ly:get-mus-property music 'elements))
916 (child (ly:get-mus-property music 'element))
917 (reversed (reverse elements)))
920 (ly:set-mus-property! music 'elements reversed)
923 (if (ly:music? child) (reverse-music child))
924 (map reverse-music reversed)
929 A slightly more elaborate example is in
930 @inputfileref{input/test,reverse-music.ly}.
932 Some of the input syntax is also implemented as recursive music
933 functions. For example, the syntax for polyphony
939 is actually implemented as a recursive function that replaces the
940 above by the internal equivalent of
942 << \context Voice = "1" @{ \voiceOne a @}
943 \context Voice = "2" @{ \voiceTwo b @} >>
946 Other applications of @code{\apply} are writing out repeats
947 automatically (@inputfileref{input/test,unfold-all-repeats.ly}),
948 saving keystrokes (@inputfileref{input/test,music-box.ly}) and
950 LilyPond input to other formats (@inputfileref{input/test,to-xml.ly})
954 @file{scm/music-functions.scm}, @file{scm/music-types.scm},
955 @inputfileref{input/test,add-staccato.ly},
956 @inputfileref{input/test,unfold-all-repeats.ly}, and
957 @inputfileref{input/test,music-box.ly}.
959 @node Lexical details
960 @section Lexical details
966 By enclosing text in quotes (@code{"}), strings are formed. To
967 include a @code{"} character in a string write @code{\"}. Various
968 other backslash sequences have special interpretations as in the C
969 language. A string that does not contain spaces or special characters
970 can be written without the quotes. The exact form of such unquoted
971 strings depends on the input mode; there are different rules for
972 lyrics, notes and markups. Strings can be concatenated with the
977 @section Output details
979 LilyPond's default output format is @TeX{}. Using the option @option{-f}
980 (or @option{--format}) other output formats can be selected also, but
981 currently none of them work reliably.
983 At the beginning of the output file, various global parameters are defined.
984 It also contains a large @code{\special} call to define PostScript routines
985 to draw items not representable with @TeX{}, mainly slurs and ties. A DVI
986 driver must be able to understand such embedded PostScript, or the output
987 will be rendered incompletely.
989 Then the file @file{lilyponddefs.tex} is loaded to define the macros used
990 in the code which follows. @file{lilyponddefs.tex} includes various other
991 files, partially depending on the global parameters.
993 Now the music is output system by system (a `system' consists of all
994 staves belonging together). From @TeX{}'s point of view, a system is an
995 @code{\hbox} which contains a lowered @code{\vbox} so that it is centered
996 vertically on the baseline of the text. Between systems,
997 @code{\interscoreline} is inserted vertically to have stretchable space.
998 The horizontal dimension of the @code{\hbox} is given by the
999 @code{linewidth} parameter from LilyPond's @code{\paper} block.
1002 After the last system LilyPond emits a stronger variant of
1003 @code{\interscoreline} only if the macro
1004 @code{\lilypondpaperlastpagefill} is not defined (flushing the systems
1005 to the top of the page). You can avoid that by setting the variable
1006 @code{lastpagefill} in LilyPond's @code{\paper} block.
1008 It is possible to fine-tune the vertical offset further by defining the
1009 macro @code{\lilypondscoreshift}:
1012 \def\lilypondscoreshift@{0.25\baselineskip@}
1016 where @code{\baselineskip} is the distance from one text line to the next.
1018 The code produced by LilyPond should be run through La@TeX{}, not
1021 Here an example how to embed a small LilyPond file @code{foo.ly} into
1022 running La@TeX{} text without using the @code{lilypond-book} script
1023 (@pxref{lilypond-book manual}):
1026 \documentclass@{article@}
1028 \def\lilypondpaperlastpagefill@{@}
1030 \def\lilypondscoreshift@{0.25\baselineskip@}
1033 This is running text which includes an example music file
1039 The file @file{foo.tex} has been simply produced with
1045 It is important to set the @code{indent} parameter to zero in the
1046 @code{\paper} block of @file{foo.ly}.
1048 The call to @code{\lineskip} assures that there is enough vertical space
1049 between the LilyPond box and the surrounding text lines.