number of proverbial ``knobs and switches.'' This chapter does not
list each and every knob. Rather, it outlines what groups of controls
are available and explains how to lookup which knob to use for a
-certain effect.
+particular effect.
@cindex Program reference
@itemize @bullet
@item
Output: changing the appearance of individual
-objects. For example, changing stem directions, or the location of
+objects. For example, changing stem directions or the location of
subscripts.
@item
@item
Global layout: changing the appearance of the spacing, line
-breaks and page dimensions.
+breaks, and page dimensions.
@end itemize
-Then, there are separate systems for typesetting text (like
+Then there are separate systems for typesetting text (like
@emph{ritardando}) and selecting different fonts. This chapter also
discusses these.
infrastructure. Overriding layout decisions in effect accesses the
program internals, which requires Scheme input. Scheme elements are
introduced in a @code{.ly} file with the hash mark
-@code{#}.@footnote{@ref{Scheme tutorial} contains a a short tutorial
-on entering numbers, lists, strings and symbols in Scheme.}
+@code{#}.@footnote{@ref{Scheme tutorial} contains a short tutorial
+on entering numbers, lists, strings, and symbols in Scheme.}
@menu
@node Interpretation contexts
@section Interpretation contexts
-When music is printed, a lot of notation elements must be added to the
+When music is printed, a lot of notational elements must be added to the
input, which is often bare bones. For example, compare the input and
output of the following example:
clef, and time signature are added. LilyPond @emph{interprets} the
input. During this step, the musical information is inspected in time
order, similar to reading a score from left to right. While reading,
-the program remembers where measure boundaries are, and what pitches
-need explicit accidentals. This information can be presented on
+the input, the program remembers where measure boundaries are, and what
+pitches need explicit accidentals. This information can be presented on
several levels. For example, the effect of an accidental is limited
-to a single stave, while a bar line must be synchronized across the
+to a single staff, while a bar line must be synchronized across the
entire score.
Within LilyPond, these rules and bits of information are grouped in
creating some notation objects and maintaining the associated
properties. So, the synchronization of bar lines is handled at
@context{Score} context. The @context{Voice} may introduce an
-accidentals and then the @context{Staff} context maintains the rule to
+accidental and then the @context{Staff} context maintains the rule to
show or suppress the accidental for the remainder of the measure.
For simple scores, contexts are created implicitly, and you need not
created explicitly to make sure that you get as many staves as you
need, and that they are in the correct order. For typesetting pieces
with specialized notation, it can be useful to modify existing or
-define new contexts.
+to define new contexts.
-Full description of all available contexts is in the program
+A complete description of all available contexts is in the program
reference, see
@ifhtml
@internalsref{Contexts}.
For scores with only one voice and one staff, correct contexts are
created automatically. For more complex scores, it is necessary to
-create them by hand. There are three commands which do this.
+create them by hand. There are three commands that do this.
The easiest command is @code{\new}, and it also the quickest to type.
It is prepended to a music expression, for example
@noindent
where @var{type} is a context name (like @code{Staff} or
@code{Voice}). This command creates a new context, and starts
-interpreting @var{music expression} with that.
+interpreting the @var{music expression} with that.
A practical application of @code{\new} is a score with many
staves. Each part that should be on its own staff, is preceded with
@end lilypond
With this mechanism, it is possible to define an Urtext (original
-edition), with the option put several distinct articulations on the
+edition), with the option to put several distinct articulations on the
same notes.
@cindex @code{\context}
This variant is used with music expressions that can be interpreted at
several levels. For example, the @code{\applyoutput} command (see
@ref{Running a function on all layout objects}). Without an explicit
-@code{\context}, it is usually is applied to @context{Voice}
+@code{\context}, it is usually applied to @context{Voice}
@example
\applyoutput #@var{function} % apply to Voice
@end lilypond
This command skips measures that have no notes. The result is that
-multi rests are condensed. The value assigned is a Scheme object. In
+multi-rests are condensed. The value assigned is a Scheme object. In
this case, it is @code{#t}, the boolean True value.
If the @var{context} argument is left out, then the current bottom-most
>>
@end lilypond
-In the second stave there are no time signature or clef symbols. This
+In the second staff there are no time signature or clef symbols. This
is a rather crude method of making objects disappear since it will affect
the entire staff. The spacing is adversely influenced too. A more
-sophisticated methods of blanking objects is shown in @ref{Common
-tweaks}.
+sophisticated method of blanking objects is shown in @ref{Common tweaks}.
The next example shows a practical application. Bar lines and time
signatures are normally synchronized across the score. This is done
formatting system (`grob property' or `layout property'). The latter is a
symbol, so it must be quoted. The subsection @ref{Constructing a
tweak} explains what to fill in for @var{name}, @var{property}, and
-@var{value}. Here we only discuss functionality of this command.
+@var{value}. Here we only discuss the functionality of this command.
The command
@code{Beam} comes after the Beam is started. Therefore it has no effect.
Analogous to @code{\unset}, the @code{\revert} command for a context
-undoes a @code{\override} command; like with @code{\unset}, it only
+undoes an @code{\override} command; like with @code{\unset}, it only
affects settings that were made in the same context. In other words, the
@code{\revert} in the next example does not do anything.
@subsection Changing context default settings
The adjustments of the previous subsections (@ref{Changing context
-properties on the fly}, @ref{Modifying context plug-ins} and
-@ref{Layout tunings within contexts}) can also be entered separate
+properties on the fly}, @ref{Modifying context plug-ins}, and
+@ref{Layout tunings within contexts}) can also be entered separately
from the music, in the @code{\layout} block,
@example
The next example shows how to build a different type of
@context{Voice} context from scratch. It will be similar to
-@code{Voice}, but print centered slash noteheads only. It can be used
+@code{Voice}, but prints centered slash noteheads only. It can be used
to indicate improvisation in Jazz pieces,
@lilypond[quote,raggedright]
In the following discussion, the example input shown should go on the
@dots{} in the previous fragment.
-First, name the context gets a name. Instead of @context{Voice} it
+First, the context gets a name. Instead of @context{Voice} it
will be called @context{ImproVoice},
@example
\type "Engraver_group_engraver"
@end example
-Putting together, we get
+Put together, we get
@example
\context @{
In the previous section, we have already touched on a command that
changes layout details, the @code{\override} command. In this section,
-we will look at in more detail how to use the command in practice.
-First, we will give a a few versatile commands, which are sufficient
-for many situations. The next section will discuss general use of
+we will look in more detail at how to use the command in practice.
+First, we will give a few versatile commands that are sufficient
+for many situations. The next section will discuss the general use of
@code{\override}.
@subsection Common tweaks
Some overrides are so common that predefined commands are provided as
-a short-cut, for example, @code{\slurUp} and @code{\stemDown}. These
+short-cuts, for example, @code{\slurUp} and @code{\stemDown}. These
commands are described in
@ifhtml
the
@itemize @bullet
@item The @code{extra-offset} property, which
@cindex @code{extra-offset}
-has a pair of numbers as value, moves around objects in the printout.
+has a pair of numbers as value, moves objects around in the printout.
The first number controls left-right movement; a positive number will
move the object to the right. The second number controls up-down
movement; a positive number will move it higher. The units of these
Setting the @code{transparent} property will cause an object to be printed
in `invisible ink': the object is not printed, but all its other
behavior is retained. The object still takes up space, it takes part in
-collisions, and slurs, and ties and beams can be attached to it.
+collisions, and slurs, ties, and beams can be attached to it.
@cindex transparent objects
@cindex removing objects
@item
The @code{padding} property for objects with
@cindex @code{padding}
-@code{side-position-interface} can be set to increase distance between
+@code{side-position-interface} can be set to increase the distance between
symbols that are printed above or below notes. We only give an
example; a more elaborate explanation is in @ref{Constructing a
tweak}:
This fragment points to two parts of the program reference: a page
-on @code{FingerEvent} and on @code{Fingering}.
+on @code{FingerEvent} and one on @code{Fingering}.
The page on @code{FingerEvent} describes the properties of the music
expression for the input @code{-2}. The page contains many links
@cindex interface, layout
@cindex layout interface
-The HTML page which we found in the previous section, describes the
+The HTML page that we found in the previous section, describes the
layout object called @internalsref{Fingering}. Such an object is a
-symbol within the score. It has properties, which store numbers (like
+symbol within the score. It has properties that store numbers (like
thicknesses and directions), but also pointers to related objects. A
layout object is also called @emph{grob},
@cindex grob
Vertically, the symbol is placed next to the note and the staff.
@item
-The vertical position is also coordinated with other super and subscript
+The vertical position is also coordinated with other super- and subscript
symbols.
@end itemize
-Each of these aspects is captured in a so-called @emph{interface},
+Each of these aspects is captured in so-called @emph{interface}s,
which are listed on the @internalsref{Fingering} page at the bottom
@quotation
them are not user-serviceable (``Internal properties''), but others
are.
-We have been talking of `the' @code{Fingering} object, but actually it
+We have been talking of @emph{the} @code{Fingering} object, but actually it
does not amount to much. The initialization file
@file{scm/@/define@/-grobs@/.scm} shows the soul of the `object',
Another difficult adjustment is the appearance of spanner objects,
such as slur and tie. Initially, only one of these objects is created,
-and they can be adjust with the normal mechanism. However, in some
+and they can be adjusted with the normal mechanism. However, in some
cases the spanners cross line breaks. If this happens, these objects
are cloned. A separate object is created for every system that it is
in. These are clones of the original object and inherit all
broken spanner. To change only one part of a spanner at a line break,
it is necessary to hook into the formatting process. The
@code{after-line-breaking-callback} property contains the Scheme procedure
-that is called after line breaks have been determined, and layout
+that is called after the line breaks have been determined, and layout
objects have been split over different systems.
In the following example, we define a procedure
@end itemize
This procedure is installed into @internalsref{Tie}, so the last part
-of broken tie is translated up.
+of the broken tie is translated up.
@lilypond[quote,verbatim,raggedright]
It does not change the size of variable symbols, such as beams or
slurs.
-Internally, the @code{fontSize} context property will cause
+Internally, the @code{fontSize} context property will cause the
@code{font-size} property to be set in all layout objects. The value
of @code{font-size} is a number indicating the size relative to the
standard size for the current staff height. Each step up is an
Font size changes are achieved by scaling the design size that is
closest to the desired size. The standard font size (for
@code{font-size} equals 0), depends on the standard staff height. For
-a 20 pt staff, a 10pt font is selected.
+a 20pt staff, a 10pt font is selected.
The @code{font-size} mechanism does not work for fonts selected
through @code{font-name}. These may be scaled with
@code{font-magnification}. The @code{font-size} property can only be
set on layout objects that use fonts; these are the ones supporting
-@internalsref{font-interface} layout interface.
+the @internalsref{font-interface} layout interface.
@refcommands
@itemize @bullet
@item @code{font-encoding}
is a symbol that sets layout of the glyphs. Choices include @code{ec}
-for @TeX{} EC font encoding, @code{fetaBraces} (for piano staff
-braces), @code{fetaMusic} (the standard music font, including ancient
-glyphs), @code{fetaDynamic} (for dynamic signs) and @code{fetaNumber}
+for @TeX{} EC font encoding, @code{fetaBraces} for piano staff
+braces, @code{fetaMusic} the standard music font, including ancient
+glyphs, @code{fetaDynamic} for dynamic signs and @code{fetaNumber}
for the number font.
@item @code{font-family}
@code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
@item @code{font-shape}
-is a symbol indicating the shape of the font, there are typically
+is a symbol indicating the shape of the font. There are typically
several font shapes available for each font family. Choices are
@code{italic}, @code{caps}, and @code{upright}.
@item @code{font-series}
-is a symbol indicating the series of the font. There are typically several
-font series for each font family and shape. Choices are @code{medium}
-and @code{bold}.
+is a symbol indicating the series of the font. There are typically
+several font series for each font family and shape. Choices are
+@code{medium} and @code{bold}.
@end itemize
Fonts selected in the way sketched above come from a predefined style
sheet.
- The font used for printing a object can be selected by setting
-@code{font-name}, e.g.
+The font used for printing a object can be selected by setting
+@code{font-name}, e.g.,
@example
\override Staff.TimeSignature
#'font-name = #"cmr17"
@end example
@noindent
-For clarity, you can also do this for single arguments, e.g.
+For clarity, you can also do this for single arguments, e.g.,
@example
\markup @{ is \italic @{ anyone @} home @}
@end lilypond
-Markups can be stored in variables, and these variables
+Markups can be stored in variables and these variables
may be attached to notes, like
@example
allegro = \markup @{ \bold \large @{ Allegro @} @}
@refbugs
-No kerning or generation of ligatures is only done when the by @TeX{}
+Kerning or generation of ligatures is only done when the @TeX{}
backend is used. In this case, LilyPond does not account for them so
texts will be spaced slightly too wide.
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.
+set to a string or symbol specifying the encoding, e.g.,
@example
\layout @{
@}
@end example
-Normal strings, are unaffected by @code{\encoding}. This means that
+Normal strings are unaffected by @code{\encoding}. This means that
the following will usually not produce `Baßtuba' in the title.
@example
@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 to a markup expression. Such a score must contain a @code{\layout}
block.
@lilypond[quote,verbatim,raggedright]
@node Global layout
@section Global layout
-The global layout determined by three factors: the page layout, the
+The global layout is 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
+choice of spacing determines how densely each system of music is set.
+This 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.
+possible line breaking combinations 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
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,
+@internalsref{StaffSymbol}) can be used to tune the size for individual
+staves. The sizes of individual staves are relative to the global size,
which can be set in the following manner:
@example
@end example
@noindent
-This sets the global default size to 14pt staff height, and scales all
+This sets the global default size to 14pt staff height and scales all
fonts accordingly.
@seealso
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
+if you want to make it smaller than its default, then you could set
@example
\set Staff.minimumVerticalExtent = #'(-4 . 4)
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)}.
+staff can be made larger at the bottom by setting it to @code{(-6 . 4)}.
@seealso
@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).
+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[quote,fragment,verbatim,relative=1]
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
+32nd 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 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
+measure, the shortest duration is determined. The most common shortest
+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
+an 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}.
+base (normally an 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
+Notes that are even shorter than the common 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:
@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
+(generated in @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:
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
+the lines are justified at their natural length. This is useful for
short fragments, and for checking how tight the natural spacing is.
@cindex page layout
@cindex line breaks
@cindex breaking lines
-Line breaks are normally computed automatically. They are chosen such
+Line breaks are normally computed automatically. They are chosen so
that lines look neither cramped nor loose, and that consecutive lines
have similar density.
@cindex composer
@cindex Engraved by LilyPond
-A document may contains multiple pieces of music. Examples of these
+A document may contain 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,
@}
@end example
-The movements are combined together to
-@code{\book} block is used to group the individual movements.
+The movements are combined together in a @code{\book} block, like
@example
\book @{
@code{\book}.
The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
+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.
Subsubtitle, centered below the subtitle.
@item poet
-Name of the poet, left flushed below the subtitle.
+Name of the poet, flush-left below the subtitle.
@item composer
-Name of the composer, right flushed below the subtitle.
+Name of the composer, flush-right below the subtitle.
@item meter
-Meter string, left flushed below the poet.
+Meter string, flush-left below the poet.
@item opus
-Name of the opus, right flushed below the composer.
+Name of the opus, flush-right below the composer.
@item arranger
-Name of the arranger, right flushed below the opus.
+Name of the arranger, flush-right below the opus.
@item instrument
Name of the instrument, centered below the arranger.
To whom the piece is dedicated.
@item piece
-Name of the piece, left flushed below the instrument.
+Name of the piece, flush-left below the instrument.
+
+
+@cindex page breaks, forcing
+@item breakbefore
+ This forces the title to start on a new page.
@end table
-This is a demonstration of the fields available,
+Here is a demonstration of the fields available,
@lilypond[quote,verbatim,linewidth=11.0\cm]
\paper {
- linewidth = 11.0\cm
+ linewidth = 9.0\cm
vsize = 10.0\cm
}
}
@end lilypond
-Different fonts may be selected for each element, by using a
-@code{\markup}, e.g.
+Different fonts may be selected for each element by using
+@code{\markup}, e.g.,
@example
\header @{
@}
@end example
-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.
+A more advanced option is to change the definitions of the following
+variables in the @code{\paper} block. The init file
+@file{ly/titling-init.ly} lists the default layout.
+
+@table @code
+@item bookTitleMarkup
+ This is the title put over an entire @code{\book} block. Typically,
+ it has the composer and the title of the piece
+
+@item scoreTitleMarkup
+ This is the title put over a @code{\score} block within a
+@code{\book}. Typically, it has the name of the movement (@code{piece}
+field).
+
+@item oddHeaderMarkup
+ This is the page header for odd-numbered pages.
+
+ @item evenHeaderMarkup
+ This is the page header for even-numbered pages. If unspecified,
+ the odd header is used instead.
+
+ By default, headers are defined such that the page number is on the
+ outside edge, and the instrument is centered.
+
+@item oddFooterMarkup
+ This is the page footer for odd-numbered pages.
+
+@item evenFooterMarkup
+ This is the page footer for even-numbered pages. If unspecified,
+ the odd header is used instead.
+
+ By default, the footer has the copyright notice on the first, and
+ the tagline on the last page.
+@end table
+
-
@cindex \paper
@cindex header
@cindex footer
@cindex page layout
@cindex titles
+The following definition will put the title flush left, and the
+composer flush right on a single line.
+
+@verbatim
+\paper {
+ bookTitleMarkup = \markup {
+ \fill-line <
+ \fromproperty #'header:title
+ \fromproperty #'header:composer
+ >
+ }
+}
+@end verbatim
+
@}
@end example
-The first command sets the size of all pages. The second command sets the size of the pages that the @code{\paper} block applies to -- if the @code{\paper} block is at the top of the file, then it will apply to all pages. If the @code{\paper} block is inside a @code{\score}, then the paper size will only apply to that score.
+The first command sets the size of all pages. The second command sets the size
+of the pages that the @code{\paper} block applies to -- if the @code{\paper}
+block is at the top of the file, then it will apply to all pages. If the
+@code{\paper} block is inside a @code{\score}, then the paper size will only
+apply to that score.
The following paper sizes are supported: @code{a6}, @code{a5}, @code{a4},
@code{a3}, @code{legal}, @code{letter}, @code{tabloid}.
@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.
+If the symbol @code{landscape} is supplied as an argument to
+@code{set-default-paper-size}, the pages will be rotated by 90 degrees,
+and wider line widths will be set correspondingly.
@example
#(set-default-paper-size "a6" 'landscape)
@cindex header, page
@cindex footer, page
-LilyPond will do page layout, setting margins and adding headers and
+LilyPond will do page layout, set margins, and add headers and
footers to each page.
The default layout responds to the following settings in the
The value of the page number of the first page. Default is@tie{}1.
@item printfirstpagenumber
-If set to true will print the page number in the first page. Default is
+If set to true, will print the page number in the first page. Default is
false.
@item hsize
The length of the systems.
@item headsep
-Distance between top-most music system and the page header.
+Distance between the top-most music system and the page header.
@item footsep
-Distance between bottom-most music system and the page footer.
+Distance between the bottom-most music system and the page footer.
@item raggedbottom
If set to true, systems will not be spread across the page.
@item betweensystemspace
This dimensions determines the distance between systems. It is the
-ideal distance between the center of the bottom staff of one system,
+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
@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.
+be present between the bottom-most symbol of one system, and the
+top-most 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.
+Amount of space between the title and the first system.
@item beforetitlespace
-Amount of space between last system of the previous piece and the
+Amount of space between the last system of the previous piece and the
title of the next.
@item betweentitlespace
Amount of space between consecutive titles (e.g., the title of the
-book and the title of piece).
+book and the title of a piece).
@end table
@end quotation
@}
@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
+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.
+value has to be multiplied in the example
@example
\paper @{
@cindex copyright
@cindex tagline
-The default footer is empty, except for the first page, where it the
+The default footer is empty, except for the first page, where 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
@end quotation
The page layout itself is done by two functions in the
-@code{\paper}, @code{page-music-height} and
+@code{\paper} block, @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.
@node File structure
@section File structure
-The bigger part of this manual is concerned with entering various
+The major 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
them all.
A @code{.ly} file contains any number of toplevel expressions, where a
-toplevel expressions is one of the following
+toplevel expression 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
+An output definition, such as @code{\paper}, @code{\midi}, and
+@code{\layout}. Such a definition at the toplevel changes the default
settings for the block entered.
@item
@item
A @code{\book} block logically combines multiple movements
-(i.e., multiple @code{\score} blocks) into one document. A number of
+(i.e., multiple @code{\score} blocks) in one document. A number of
@code{\scores} creates a single output file, where all movement are
-concatenated..
+concatenated.
This behavior can be changed by setting the variable
@code{toplevel-book-handler} at toplevel. The default handler is
@{ c'4 d' e'2 @}
@end example
-This will add the piece in a @code{\score}, and formats it into a
+This will add the piece in a @code{\score} and format it in a
single book together with all other toplevel @code{\score}s and music
expressions.
@end itemize
-The following example shows three things which may be entered at
+The following example shows three things that may be entered at
toplevel
@example
@item @code{\encoding}
@item @code{\renameinput}
@end itemize
-
projects / lilypond.git / blobdiff