-@noindent
-For clarity, you can also do this for single arguments, e.g.
-
-@verbatim
- \markup { is \italic { anyone } home }
-@end verbatim
-
-@cindex font size, texts
-
-
-In markup mode you can compose expressions, similar to mathematical
-expressions, XML documents, and music expressions. The braces group
-notes into horizontal lines. Other types of lists also exist: you can
-stack expressions grouped with @code{<} and @code{>} vertically with
-the command @code{\column}. Similarly, @code{\center-align} aligns
-texts by their center lines:
-
-@lilypond[verbatim,fragment,relative=1]
- c1^\markup { \column < a bbbb c > }
- c1^\markup { \center-align < a bbbb c > }
- c1^\markup { \line < a b c > }
-@end lilypond
-
-
-Markups can be stored in variables, and these variables
-may be attached to notes, like
-@verbatim
-allegro = \markup { \bold \large { Allegro } }
- { a^\allegro b c d }
-@end verbatim
-
-
-Some objects have alignment procedures of their own, which cancel out
-any effects of alignments applied to their markup arguments as a
-whole. For example, the @internalsref{RehearsalMark} is horizontally
-centered, so using @code{\mark \markup @{ \left-align .. @}} has no
-effect.
-
-Similarly, for moving whole texts over notes with
-@code{\raise}, use the following trick:
-@lilypond[verbatim]
-{
- c'^\markup { \raise #0.5 not-raised }
- c'^\markup { "" \raise #0.5 raised }
-}
-@end lilypond
-
-On the second note, the text @code{raised} is moved relative to the
-empty string @code{""} which is not visible. Alternatively, complete
-objects can be moved with layout properties such as @code{padding} and
-@code{extra-offset}.
-
-
-
-
-@seealso
-
-Init files: @file{scm/new-markup.scm}.
-
-
-@refbugs
-
-No kerning or generation of ligatures is only done when the by @TeX{}
-backend is used. In this case, LilyPond does not account for them so
-texts will be spaced slightly too wide.
-
-Syntax errors for markup mode are confusing.
-
-
-@menu
-* Text encoding::
-* Nested scores::
-* Overview of text markup commands::
-@end menu
-
-@node Text encoding
-@subsection Text encoding
-
-Texts can be entered in different encodings. The encoding of the
-file can be set with @code{\encoding}.
-
-@example
- \encoding "latin1"
-@end example
-
-This command may be placed anywhere in the input file. The current
-encoding is passed as an extra argument to @code{\markup} commands,
-and is passed similarly to lyric syllables.
-
-If no @code{\encoding} has been specified, then the encoding is taken
-from the @code{\layout} block (or @code{\paper}, if @code{\layout}
-does not specify encoding). The variable @code{inputencoding} may be
-set to a string or symbol specifying the encoding, e.g.
-
-@verbatim
- \layout {
- inputencoding = "latin1"
- }
-@end verbatim
-
-Normal strings, are unaffected by @code{\encoding}. This means that
-the following will usually not produce ba@ss{}tuba in the title.
-
-@verbatim
- \header {
- title = "Grazing cow"
- instrument = "Baßtuba"
- }
-@end verbatim
-
-Rather, you should say
-@verbatim
- instrument = \markup { Baßtuba }
-@end verbatim
-
-@noindent
-or set @code{inputencoding} in the @code{\paper} block.
-
-There is a special encoding, called @code{TeX}. This encoding does not
-reencode text for the font used. Rather, it tries to guess the width
-of @TeX{} commands, such as @code{\"}. Strings encoded with @code{TeX}
-are passed to the output back-end verbatim.
-
-@cindex encoding
-@cindex @code{\encoding}
-@cindex inputencoding
-@cindex @TeX{} commands in strings
-
-
-@node Nested scores
-@subsection Nested scores
-
-It is possible to nest music inside markups, by adding a @code{\score}
-block to markup expression. Such a score must contain a @code{\layout}
-block.
-
-@lilypond[verbatim,raggedright]
-\relative {
- c4 d^\markup {
- \score {
- \relative { c4 d e f }
- \layout { }
- }
- }
- e f
-}
-@end lilypond
-
-
-
-@node Overview of text markup commands
-@subsection Overview of text markup commands
-
-The following commands can all be used inside @code{\markup @{ @}}.
-
-@include markup-commands.tely
-
-
-@node Global layout
-@section Global layout
-
-The global layout determined by three factors: the page layout, the
-line breaks, and the spacing. These all influence each other. The
-choice of spacing determines how densely each system of music is set,
-which influences where line breaks are chosen, and thus ultimately how
-many pages a piece of music takes.
-
-Globally spoken, this procedure happens in three steps: first,
-flexible distances (``springs'') are chosen, based on durations. All
-possible line breaking combination are tried, and the one with the
-best results --- a layout that has uniform density and requires as
-little stretching or cramping as possible --- is chosen.
-
-After spacing and linebreaking, the systems are distributed across
-pages, taking into account the size of the page, and the size of the
-titles.
-
-
-
-@menu
-* Setting global staff size::
-* Vertical spacing of piano staves::
-* Vertical spacing::
-* Horizontal spacing::
-* Line length::
-* Line breaking::
-* Multiple movements::
-* Creating titles::
-* Page breaking::
-* Paper size::
-* Page layout::
-@end menu
-
-
-@node Setting global staff size
-@subsection Setting global staff size
-
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{layout} file
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at a smaller size
-the font becomes heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@multitable @columnfractions .25 .25 .25 .25
-
-@item @b{font name}
-@tab @b{staff height (pt)}
-@tab @b{staff height (mm)}
-@tab @b{use}
-
-@item feta11
-@tab 11.22
-@tab 3.9
-@tab pocket scores
-
-@item feta13
-@tab 12.60
-@tab 4.4
-@tab
-
-@item feta14
-@tab 14.14
-@tab 5.0
-@tab
-
-@item feta16
-@tab 15.87
-@tab 5.6
-@tab
-
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
-
-@item feta20
-@tab 20
-@tab 7.0
-@tab standard parts
-
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
-
-@item feta26
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material ?
-
-@end multitable
-
-These fonts are available in any sizes. The context property
-@code{fontSize} and the layout property @code{staff-space} (in
-@internalsref{StaffSymbol}) can be used to tune size for individual
-staves. The size of individual staves are relative to the global size,
-which can be set in the following manner:
-
-@example
- #(set-global-staff-size 14)
-@end example
-
-This sets the global default size to 14pt staff height, and scales all
-fonts accordingly.
-
-@seealso
-
-This manual: @ref{Selecting font sizes}.
-
-
-
-
-@node Vertical spacing of piano staves
-@subsection Vertical spacing of piano staves
-
-The distance between staves of a @internalsref{PianoStaff} cannot be
-computed during formatting. Rather, to make cross-staff beaming work
-correctly, that distance has to be fixed beforehand.
-
-The distance of staves in a @code{PianoStaff} is set with the
-@code{forced-distance} property of the
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}.
-
-It can be adjusted as follows
-@verbatim
-\new PianoStaff \with {
- \override VerticalAlignment #'forced-distance = #7
-} {
- ...
-}
-@end verbatim
-This would bring the staves together at a distance of 7 staff spaces,
-measured from the center line of each staff.
-
-The difference is demonstrated in the following example,
-@lilypond[verbatim]
-\relative <<
- \new PianoStaff \with {
- \override VerticalAlignment #'forced-distance = #7
- } <<
- \new Staff { c1 }
- \new Staff { c }
- >>
- \new PianoStaff <<
- \new Staff { c }
- \new Staff { c }
- >>
->>
-@end lilypond
-
-
-
-@refbugs
-
-@code{forced-distance} cannot be changed per system.
-
-@node Vertical spacing
-@subsection Vertical spacing
-
-@cindex vertical spacing
-@cindex distance between staves
-@cindex staff distance
-@cindex between staves, distance
-@cindex staves per page
-@cindex space between staves
-
-The height of each system is determined automatically. To prevent
-systems from bumping into each other, some minimum distances are set.
-By changing these, you can put staves closer together, and thus put
-more systems onto one page.
-
-Normally staves are stacked vertically. To make staves maintain a
-distance, their vertical size is padded. This is done with the
-property @code{minimumVerticalExtent}. It takes a pair of numbers, so
-if you want to make it smaller from its default, then you could set
-@example
- \set Staff.minimumVerticalExtent = #'(-4 . 4)
-@end example
-This sets the vertical size of the current staff to 4 staff spaces on
-either side of the center staff line. The argument of
-@code{minimumVerticalExtent} is interpreted as an interval, where the
-center line is the 0, so the first number is generally negative. The
-staff can be made larger at the bottom by setting it to @code{(-6
-. 4)}.
-
-
-@seealso
-
-Internals: Vertical alignment of staves is handled by the
-@internalsref{VerticalAlignment} object.
-
-@refbugs
-
-@code{minimumVerticalExtent} is syntactic sugar for setting
-@code{minimum-Y-extent} of the @internalsref{VerticalAxisGroup} of the
-current context. It can only be changed score wide.
-
-
-
-@node Horizontal spacing
-@subsection Horizontal Spacing
-
-The spacing engine translates differences in durations into
-stretchable distances (``springs'') of differring lengths. Longer
-durations get more space, shorter durations get less. The shortest
-durations get a fixed amount of space (which is controlled by
-@code{shortest-duration-space} in the @internalsref{SpacingSpanner} object).
-The longer the duration, the more space it gets: doubling a
-duration adds a fixed amount (this amount is controlled by
-@code{spacing-increment}) of space to the note.
-
-For example, the following piece contains lots of half, quarter, and
-8th notes, the eighth note is followed by 1 note head width (NHW).
-The quarter note is followed by 2 NHW, the half by 3 NHW, etc.
-@lilypond[fragment,verbatim,relative=1]
-c2 c4. c8 c4. c8 c4. c8 c8
-c8 c4 c4 c4
-@end lilypond
-
-Normally, @code{spacing-increment} is set to 1.2 staff space, which is
-approximately the width of a note head, and
-@code{shortest-duration-space} is set to 2.0, meaning that the
-shortest note gets 2.4 staff space (2.0 times the
-@code{spacing-increment}) of horizontal space. This space is counted
-from the left edge of the symbol, so the shortest notes are generally
-followed by one NHW of space.
-
-If one would follow the above procedure exactly, then adding a single
-32th note to a score that uses 8th and 16th notes, would widen up the
-entire score a lot. The shortest note is no longer a 16th, but a 32nd,
-thus adding 1 NHW to every note. To prevent this, the shortest
-duration for spacing is not the shortest note in the score, but rather
-the one which occurs most frequently.
-
-
-The most common shortest duration is determined as follows: in every
-measure, the shortest duration is determined. The most common short
-duration, is taken as the basis for the spacing, with the stipulation
-that this shortest duration should always be equal to or shorter than
-1/8th note. The shortest duration is printed when you run
-@code{lilypond} with the @code{--verbose} option.
-
-These durations may also be customized. If you set the
-@code{common-shortest-duration} in @internalsref{SpacingSpanner}, then
-this sets the base duration for spacing. The maximum duration for this
-base (normally 1/8th), is set through @code{base-shortest-duration}.
-
-@cindex @code{common-shortest-duration}
-@cindex @code{base-shortest-duration}
-@cindex @code{stem-spacing-correction}
-@cindex @code{spacing}
-
-Notes that are even shorter than the commoon shortest note are
-followed by a space that is proportional to their duration relative to
-the common shortest note. So if we were to add only a few 16th notes
-to the example above, they would be followed by half a NHW:
-
-@lilypond[fragment,verbatim,relative=2]
- c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
-
-
-In the introduction (see @ref{Engraving}), it was explained that stem
-directions influence spacing. This is controlled with the
-@code{stem-spacing-correction} property in the
-@internalsref{NoteSpacing}, object. These are generated for every
-@internalsref{Voice} context. The @code{StaffSpacing} object
-(generated at @internalsref{Staff} context) contains the same property
-for controlling the stem/bar line spacing. The following example shows
-these corrections, once with default settings, and once with
-exaggerated corrections:
-
-@lilypond[raggedright]
-{
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
- \override Staff.NoteSpacing #'stem-spacing-correction = #1.5
- \override Staff.StaffSpacing #'stem-spacing-correction = #1.5
- c'4 e''4 e'4 b'4 |
- b'4 e''4 b'4 e''4|
-}
-@end lilypond
-
-
-@seealso
-
-Internals: @internalsref{SpacingSpanner}, @internalsref{NoteSpacing},
-@internalsref{StaffSpacing}, @internalsref{SeparationItem}, and
-@internalsref{SeparatingGroupSpanner}.
-
-@refbugs
-
-Spacing is determined on a score wide basis. If you have a score that
-changes its character (measured in durations) halfway during the
-score, the part containing the longer durations will be spaced too
-widely.
-
-There is no convenient mechanism to manually override spacing. The
-following work-around may be used to insert extra space into a score.
-@example
- \once \override Score.SeparationItem #'padding = #1
-@end example
-
-No work-around exists for decreasing the amount of space.
-
-@node Line length
-@subsection Line length
-
-@cindex page breaks
-@cindex breaking pages
-
-@cindex @code{indent}
-@cindex @code{linewidth}
-
-@c Although linewidth can be set in \layout, it should be set in paper
-@c block, to get page layout right.
-@c Setting indent in \paper block makes not much sense, but it works.
-
-@c Bit verbose and vague, use examples?
-The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\layout} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
-
-If @code{raggedright} is set to true in the @code{\layout} block, then
-the lines are justified at their natural length. This useful for
-short fragments, and for checking how tight the natural spacing is.
-
-@cindex page layout
-@cindex vertical spacing
-
-The option @code{raggedlast} is similar to @code{raggedright}, but
-only affects the last line of the piece. No restrictions are put on
-that line. The result is similar to formatting text paragraphs. In a
-paragraph, the last line simply takes its natural length.
-@c Note that for text there are several options for the last line.
-@c While Knuth TeX uses natural length, lead typesetters use the same
-@c stretch as the previous line. eTeX uses \lastlinefit to
-@c interpolate between both these solutions.
-
-@node Line breaking
-@subsection Line breaking
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that lines look neither cramped nor loose, and that consecutive lines
-have similar density.
-
-Occasionally you might want to override the automatic breaks; you can
-do this by specifying @code{\break}. This will force a line break at
-this point. Line breaks can only occur at places where there are bar
-lines. If you want to have a line break where there is no bar line,
-you can force an invisible bar line by entering @code{\bar
-""}. Similarly, @code{\noBreak} forbids a line break at a
-point.
-
-
-@cindex regular line breaks
-@cindex four bar music.
-
-For line breaks at regular intervals use @code{\break} separated by
-skips and repeated with @code{\repeat}:
-@example
-<< \repeat unfold 7 @{
- s1 \noBreak s1 \noBreak
- s1 \noBreak s1 \break @}
- @emph{the real music}
->>
-@end example
-
-@noindent
-This makes the following 28 measures (assuming 4/4 time) be broken every
-4 measures, and only there.
-
-@refcommands
-
-@code{\break}, and @code{\noBreak}.
-@cindex @code{\break}
-@cindex @code{\noBreak}
-
-@seealso
-
-Internals: @internalsref{BreakEvent}.
-
-
-
-@node Multiple movements
-@subsection Multiple movements
-
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Engraved by LilyPond
-
-A document may contains multiple pieces of music. Examples of these
-are an etude book, or an orchestral part with multiple movements.
-Each movement is entered with a @code{\score} block,
-
-@example
- \score @{
- @var{..music..}
- @}
-@end example
-
-The movements are combined together to
-@code{\book} block is used to group the individual movements.
-
-@example
-\book @{
- \score @{
- @var{..}
- @}
- \score @{
- @var{..}
- @}
-@}
-@end example
-
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement. The title for the entire book can be put inside the
-@code{\book}, but if it is not present, the @code{\header} which is at
-the top of the file is inserted.
-
-@cindex Engraved by LilyPond
-@cindex signature line
-
-@example
-\book @{
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- @}
- \score @{
- @dots{}
- \header @{ piece = "Romanze" @}
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
-@end example
-
-@node Creating titles
-@subsection Creating titles
-
-Titles are created for each @code{\score} block, and over a
-@code{\book}.
-
-The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
-@table @code
-@item title
- The title of the music. Centered on top of the first page.
-@item subtitle
- Subtitle, centered below the title.
-@item subsubtitle
- Subsubtitle, centered below the subtitle.
-@item poet
- Name of the poet, left flushed below the subtitle.
-@item composer
- Name of the composer, right flushed below the subtitle.
-@item meter
- Meter string, left flushed below the poet.
-@item opus
- Name of the opus, right flushed below the composer.
-@item arranger
- Name of the arranger, right flushed below the opus.
-@item instrument
- Name of the instrument, centered below the arranger.
-@item dedication
- To whom the piece is dedicated.
-@item piece
- Name of the piece, left flushed below the instrument.
-@end table
-
-This is a demonstration of the fields available,
-
-@lilypond[verbatim]
-\book {
- \header {
- title = "Title,"
- subtitle = "the subtitle,"
- subsubtitle = "and the sub sub title"
- poet = "Poet"
- composer = "Composer"
- texttranslator = "Text Translator"
- meter = "Meter"
- arranger = "Arranger"
- instrument = "Instrument"
- piece = "Piece"
- }
-
- \score {
- \header {
- piece = "piece1"
- opus = "opus1"
- }
- { c'1 }
- }
- \score {
- \header {
- piece = "piece2"
- opus = "opus2"
- }
- { c'1 }
- }
- \paper {
- linewidth = 8.0 \cm
- }
-}
-@end lilypond
-
-Different fonts may be selected for each element, by using a
-@code{\markup}, e.g.
-
-@verbatim
- \header {
- title = \markup { \italic { The italic title } }
- }
-@end verbatim
-
-A more advanced option is to change the Scheme functions
-@code{make-book-title} and @code{make-score-title} functions, defined
-in the @code{\paper} of the @code{\book} block. These functions
-create a block of titling, given the information in the
-@code{\header}. The init file @file{ly/titling.scm} shows how the
-default format is created, and it may be used as a template for
-different styles.
-
-
-@cindex \paper
-@cindex header
-@cindex footer
-@cindex page layout
-@cindex titles
-
-
-
-
-@node Page breaking
-@subsection Page breaking
-
-The default page breaking may be overriden by inserting
-@code{\pageBreak} or @code{\noPageBreak} commands. These commands are
-analogous to @code{\break} and @code{\noBreak}. They should be
-inserted with a bar line. These commands force and forbid a page-break
-from happening. Of course, the @code{\pageBreak} command also forces
-a line break.
-
-Page breaks are computed by the @code{page-breaking} function in the
-@code{\paper} block.
-
-@refcommands
-
-@cindex @code{\pageBreak}
-@code{\pageBreak}
-@cindex @code{\noPageBreak}
-@code{\noPageBreak}
-
-@node Paper size
-@subsection Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, there are two equal commands,
-@example
- #(set-default-paper-size "a4")
- \layout@{
- #(set-paper-size "a4")
- @}
-@end example
-
-The first command sets the size of all pages. The second command sets the size of the pages that the @code{\layout} block applies to -- if the @code{\layout} block is at the top of the file, then it will apply to all pages. If the @code{\layout} block is inside a @code{\score}, then the paper size will only apply to that score.
-
-The following paper sizes are supported.
-
-@table @code
-@item a6
-@item a5
-@item a4
-@item a3
-@item legal
-@item letter
-@item tabloid
-@end table
-
-@cindex orientation
-@cindex landscape
-
-If the symbol @code{landscape} is supplied as argument to
-@code{set-default-paper-size}, the pages will be rotated 90 degrees,
-and line widths will be set longer correspondingly.
-
-@example
-#(set-default-paper-size "a6" 'landscape)
-@end example
-
-@node Page layout
-@subsection Page layout
-
-@cindex page layout
-@cindex margins
-@cindex header, page
-@cindex footer, page
-
-LilyPond will do page layout, setting margins and adding headers and
-footers to each page.
-
-The default layout responds to the following settings in the
-@code{\paper} block
-
-@cindex \paper
-
-@table @code
-@item firstpagenumber
- The value of the page number of the first page. Default is 1.
-@item printfirstpagenumber
- If set to true will print the page number in the first page. Default is
- false.
-@item hsize
- The width of the page
-@item vsize
- The height of the page
-@item topmargin
- Margin between header and top of the page
-@item bottommargin
- Margin between footer and bottom of the page
-@item leftmargin
- Margin between the left side of the page and the beginning of the music
-@item linewidth
- The length of the systems
-@item headsep
- Distance between top-most music system and the page header
-@item footsep
- Distance between bottom-most music system and the page footer
-@item raggedbottom
- If set to true, systems will not be spread across the page.
-
- This should be set false for pieces that have only two or three
-systems per page, for example orchestral scores.
-
-@item raggedlastbottom
- If set to false, systems will be spread to fill the last page.
-
- Pieces that amply fill two pages or more should have this set to
-true.
-
-@item betweensystemspace
- This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system,
-and the center of the top staff of the next system.
-
-Increasing this will provide a more even appearance of the page at the
-cost of using more vertical space.
-
-@item betweensystempadding
-This dimension is the minimum amount of white space that will always
-be present between the bottom most symbol of one system, and the
-topmost of the next system.
-
-Increasing this will put systems whose bounding boxes almost touch
-farther apart.
-
-@item aftertitlespace
-Amount of space between title and the first system
-@item beforetitlespace
-Amount of space between last system of the previous piece and the
-title of the next
-@item betweentitlespace
-Amount of space between consecutive titles (eg. the title of the
-book and the title of piece).
-
-@end table
-
-@example
- \paper@{
- hsize = 2\cm
- topmargin = 3\cm
- bottommargin = 3\cm
- raggedlastbottom = ##t
- @}
-@end example
-
-You can also define these values in scheme. In that case @code{mm},
-@code{in}, @code{pt} and @code{cm} are variables defined in
-@file{paper-defaults.ly} with values in millimeters. That's why the
-value has to be multiplied in the example above.
-
-@example
- \paper@{
- #(define bottommargin (* 2 cm))
- @}
-@end example
-
-@cindex copyright
-@cindex tagline
-
-The default footer is empty, except for the first page, where it the
-@code{copyright} field from @code{\header} is inserted, and the last
-page, where @code{tagline} from @code{\header} is added. The default
-tagline is ``Engraved by LilyPond (@var{version})''.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
-
-The header and footer are created by the functions @code{make-footer}
-and @code{make-header}, defined in @code{\paper}. The default
-implementations are in @file{scm/page-layout.scm}.
-
-The following settings influence the header and footer layout.
-
-@table @code
-@item printpagenumber
- this boolean controls whether a pagenumber is printed.
-@end table
-
-The page layout itself is done by two functions in the
-@code{\paper}, @code{page-music-height} and
-@code{page-make-stencil}. The former tells the line-breaking algorithm
-how much space can be spent on a page, the latter creates the actual
-page given the system to put on it.
-
-
-@seealso
-
-Examples: @inputfileref{input/test,page-breaks.ly}
-
-@refbugs
-
-The option rightmargin is defined but doesn't set the right margin
-yet. The value for the right margin has to be defined adjusting the
-values of the leftmargin and linewidth.
-
-The default page header puts the page number and the @code{instrument}
-field from the @code{\header} block on a line.
-
-
-
-@node File structure
-@section File structure
-
-The bigger part of this manual is concerned with entering various
-forms of music in LilyPond. However, many music expressions are not
-valid input on their own, for example, a @code{.ly} file containing
-only a note
-@example
- c'4
-@end example
-
-@noindent
-will result in a parsing error. Instead, music should be inside other
-expressions, which may be put in a file by themselves. Such
-expressions are called toplevel expressions. This section enumerates
-them all.
-
-A @code{.ly} file contains any number of toplevel expressions, where a
-toplevel expressions is one of the following
-
-@itemize @bullet
-@item An output definition, such as @code{\paper}, @code{\midi}
-and @code{\layout}. Such a definition at toplevel changes the default
-settings for the block entered.
-
-@item An @code{\header} block. This sets the global header block. This
-is the block containing the definitions for book-wide settings, like
-composer, title, etc.
-
-@item An @code{\addquote} statement. See @ref{Quoting other voices}
-for more information.
-
-@item A @code{\score} block. This score will be collected with other
-toplevel scores, and combined as a single @code{\book}.
-
-This behavior can be changed by setting the variable
-@code{toplevel-score-handler} at toplevel. The default handler is
-defined in the init file @file{scm/lily.scm}.
-
-@item
-A @code{\book} block logically combines multiple movements
-(ie. multiple @code{\score} blocks) into one document. A number of
-@code{\scores} creates a single output file, where all movement are
-concatenated..
-
-This behavior can be changed by setting the variable
-@code{toplevel-book-handler} at toplevel. The default handler is
-defined in the init file @file{scm/lily.scm}.
-
-
-@item A compound music expression, such as
-@example
- @{ c'4 d' e'2 @}
-@end example
-
-This will add the piece in a @code{\score}, and formats it into a
-single book together with all other toplevel @code{\score}s and music
-expressions.
-
-This behavior can be changed by setting the variable
-@code{toplevel-music-handler} at toplevel. The default handler is
-defined in the init file @file{scm/lily.scm}.
-