-@c -*-texinfo-*-
+@c -*- coding: latin-1; mode: texinfo; -*-
@node Changing defaults
@chapter Changing defaults
are available and explains how to lookup which knob to use for a
certain effect.
+
+@cindex Program reference
+
The controls available for tuning are described in a separate
-document, the @internalsref{Program reference} manual. This manual
+document, the @internalsref{Program reference} manual. That manual
lists all different variables, functions and options available in
LilyPond. It is written as a HTML document, which is available
@uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
Internally, LilyPond uses Scheme (a LISP dialect) to provide
infrastructure. Overriding layout decisions in effect accesses the
-program internals, so it is necessary to learn a (very small) subset
-of Scheme. That is why this chapter starts with a short tutorial on
-entering numbers, lists, strings and symbols in Scheme.
+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.}
@menu
-* Scheme tutorial::
* Interpretation contexts::
-* Tuning output::
+* The \override command::
* Fonts::
* Text markup::
* Global layout::
-* Output details::
+* File structure::
@end menu
-@node Scheme tutorial
-@section Scheme tutorial
-
-@cindex Scheme
-@cindex GUILE
-@cindex Scheme, in-line code
-@cindex accessing Scheme
-@cindex evaluating Scheme
-@cindex LISP
-
-LilyPond uses the Scheme programming language, both as part of the
-input syntax, and as internal mechanism to glue together modules of
-the program. This section is a very brief overview of entering data in
-Scheme.@footnote{If you want to know more about Scheme, see
-@uref{http://www.schemers.org}.}
-
-The most basic thing of a language is data: numbers, character
-strings, lists, etc. Here is a list of data types that are relevant to
-LilyPond input.
-
-@table @asis
-@item Booleans
- Boolean values are True or False. The Scheme for True is @code{#t}
- and False is @code{#f}.
-@item Numbers
- Numbers are entered in the standard fashion,
- @code{1} is the (integer) number one, while @code{-1.5} is a
- floating point number (a non-integer number).
-@item Strings
- Strings are enclosed in double quotes,
- @example
- "this is a string"
- @end example
-
- Strings may span several lines
- @example
- "this
- is
- a string"
- @end example
-
- Quotation marks and newlines can also be added with so-called escape
- sequences. The string @code{a said "b"} is entered as
- @example
- "a said \"b\""
- @end example
-
- Newlines and backslashes are escaped with @code{\n} and @code{\\}
-respectively.
-@end table
-
-
-In a music file, snippets of Scheme code are introduced with the hash
-mark @code{#}. So, the previous examples translated in LilyPond are
-
-@example
- ##t ##f
- #1 #-1.5
- #"this is a string"
- #"this
- is
- a string"
-@end example
-
-For the rest of this section, we will assume that the data is entered
-in a music file, so we add @code{#}s everywhere.
-
-Scheme can be used to do calculations. It uses @emph{prefix}
-syntax. Adding 1 and 2 is written as @code{(+ 1 2)} rather than the
-traditional 1+2.
-
-@lisp
- #(+ 1 2)
- @result{} #3
-@end lisp
-
-The arrow @result{} shows that the result of evaluating @code{(+ 1 2)}
-is @code{3}. Calculations may be nested; the result of a function may
-be used for another calculation.
-
-@lisp
- #(+ 1 (* 3 4))
- @result{} #(+ 1 12)
- @result{} #13
-@end lisp
-
-These calculations are examples of evaluations; an expression like
-@code{(* 3 4)} is replaced by its value @code{12}. A similar thing
-happens with variables. After defining a variable
-
-@example
- twelve = #12
-@end example
-
-variables can also be used in expressions, here
-
-@example
- twentyFour = #(* 2 twelve)
-@end example
-
-the number 24 is stored in the variable @code{twentyFour}.
-
-The @emph{name} of a variable is also an expression, similar to a
-number or a string. It is entered as
-
-@example
- #'twentyFour
-@end example
-
-The quote mark @code{'} prevents Scheme interpreter from substituting
-@code{24} for the @code{twentyFour}. Instead, we get the name
-@code{twentyFour}.
-
-This syntax will be used very frequently, since many of the layout
-tweaks involve assigning (Scheme) values to internal variables, for
-example
-
-@example
- \override Stem #'thickness = #2.6
-@end example
-
-This instruction adjusts the appearance of stems. The value @code{2.6}
-is put into a the @code{thickness} variable of a @code{Stem}
-object. This makes stems almost twice as thick as their normal size.
-To distinguish between variables defined in input files (like
-@code{twentyFour} in the example above), and internal variables, we
-will call the latter ``properties.'' So, the stem object has a
-@code{thickness} property.
-
-Two-dimensional offsets (X and Y coordinates) as well as object sizes
-(intervals with a left and right point) are entered as @code{pairs}. A
-pair@footnote{In Scheme terminology, the pair is called @code{cons},
-and its two elements are called car and cdr respectively.} is entered
-as @code{(first . second)} and, like symbols, they must be quoted,
-
-@example
- \override TextScript #'extra-offset = #'(1 . 2)
-@end example
-
-This assigns the pair (1, 2) to @code{extra-offset} variable of the
-TextScript object. This moves the object 1 staff space to the right,
-and 2 spaces up.
-
-The two elements of a pair may be arbitrary values, for example
-
-@example
- #'(1 . 2)
- #'(#t . #f)
- #'("blah-blah" . 3.14159265)
-@end example
-
-A list is entered by enclosing its elements in parentheses, and adding
-a quote. For example,
-@example
- #'(1 2 3)
- #'(1 2 "string" #f)
-@end example
-
-We have been using lists all along. A calculation, like @code{(+ 1
-2)} is also a list (containing the symbol @code{+} and the numbers 1
-and 2). Normally lists are interpreted as calculations, and the Scheme
-interpreter substitutes the outcome of the calculation. To enter a
-list, we stop evaluation. This is done by quoting the list with a
-quote @code{'} symbol. For calculations, do not use a quote.
-
-Inside a quoted list or pair, there is no need to quote anymore. The
-following is a pair of symbols, a list of symbols and a list of lists
-respectively,
-
-@example
- #'(stem . head)
- #'(staff clef key-signature)
- #'((1) (2))
-@end example
-
-
+
@node Interpretation contexts
@section Interpretation contexts
input, which is often bare bones. For example, compare the input and
output of the following example:
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
cis4 cis2. g4
@end lilypond
@menu
* Creating contexts::
-* Changing context properties on the fly ::
+* Changing context properties on the fly::
* Modifying context plug-ins::
* Layout tunings within contexts::
* Changing context default settings::
-* Defining new contexts::
-* Which properties to change::
+* Defining new contexts::
@end menu
@node Creating contexts
create them by hand. There are three commands which do this.
The easiest command is @code{\new}, and it also the quickest to type.
-It is prepended to a music expression, for example
+It is prepended to a music expression, for example
+
+@cindex @code{\new}
+@cindex new contexts
+@cindex Context, creating
@example
\new @var{type} @var{music expression}
staves. Each part that should be on its own staff, is preceded with
@code{\new Staff}.
-@lilypond[verbatim,relative=2,raggedright]
+@lilypond[verbatim,relative=2,raggedright,fragment]
<< \new Staff { c4 c }
\new Staff { d4 d }
>>
@end lilypond
+@cindex @code{\context}
+
Like @code{\new}, the @code{\context} command also directs a music
expression to a context object, but gives the context an extra name. The
syntax is
entered separately,
@verbatim
-music = \notes { c4 c4 }
-arts = \notes { s4-. s4-> }
+music = { c4 c4 }
+arts = { s4-. s4-> }
@end verbatim
They are combined by sending both to the same @context{Voice} context,
>>
@end verbatim
@lilypond[raggedright]
-music = \notes { c4 c4 }
-arts = \notes { s4-. s4-> }
-\score {
- \notes \relative c'' << \new Staff \context Voice = "A" \music
+music = { c4 c4 }
+arts = { s4-. s4-> }
+ \relative c'' << \new Staff \context Voice = "A" \music
\context Voice = "A" \arts
>>
-}
@end lilypond
+With this mechanism, it is possible to define an Urtext (original
+edition), with the option put several distinct articulations on the
+same notes.
+@cindex @code{\context}
+@cindex creating contexts
The third command for creating contexts is
@example
@node Changing context properties on the fly
@subsection Changing context properties on the fly
+@cindex properties
+@cindex @code{\set}
+@cindex changing properties
+
Each context can have different @emph{properties}, variables contained
in that context. They can be changed during the interpretation step.
This is achieved by inserting the @code{\set} command in the music,
@end quotation
For example,
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
R1*2
\set Score.skipBars = ##t
R1*2
context (typically @context{ChordNames}, @context{Voice}, or
@context{Lyrics}) is used. In this example,
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
c8 c c c
\set autoBeaming = ##f
c8 c c c
@end lilypond
@noindent
-the @var{context} argument to @code{\set} is left out, and the current
-@internalsref{Voice} is used.
+the @var{context} argument to @code{\set} is left out, so automatic
+beaming is switched off in the current @internalsref{Voice}.
Contexts are hierarchical, so if a bigger context was specified, for
example @context{Staff}, then the change would also apply to all
`on-the-fly', during the music, so that the setting only affects the
second group of eighth notes.
+@cindex @code{\unset}
+
There is also an @code{\unset} command,
@quotation
- @code{\set }@var{context}@code{.}@var{prop}
+ @code{\unset }@var{context}@code{.}@var{prop}
@end quotation
@noindent
which removes the definition of @var{prop}. This command removes
-the definition only if it is set in @var{context}. In
+the definition only if it is set in @var{context}, so
@example
- \set Staff.autoBeaming = ##f
- \unset Voice.autoBeaming
+ \set Staff.autoBeaming = ##f
@end example
@noindent
-the current @context{Voice} does not have the property, and the
-definition at @context{Staff} level remains intact. Like @code{\set},
-the @var{context} argument does not have to be specified for a bottom
-context.
+introduces a property setting at @code{Staff} level. The setting also
+applies to the current @code{Voice}. However,
+
+@example
+ \unset Voice.autoBeaming
+@end example
+@noindent
+does not have any effect. To cancel this setting, the @code{\unset}
+must be specified on the same level as the original @code{\set}. In
+other words, undoing the effect of @code{Staff.autoBeaming = ##f}
+requires
+@example
+ \unset Staff.autoBeaming
+@end example
+
+Like @code{\set}, the @var{context} argument does not have to be
+specified for a bottom context, so the two statements
+
+@example
+ \set Voice.autoBeaming = ##t
+ \set autoBeaming = ##t
+@end example
+
+@noindent
+are equivalent.
+
+
+@cindex \once
Settings that should only apply to a single time-step can be entered
-easily with @code{\once}, for example in
+with @code{\once}, for example in
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
c4
\once \set fontSize = #4.7
c4
example which removes @code{Time_signature_engraver} and
@code{Clef_engraver} from a @code{Staff} context,
-@lilypond[relative=1, verbatim]
+@lilypond[relative=1, verbatim,fragment]
<< \new Staff {
f2 g
}
In the second stave 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 will be adversely influenced too. A more
+the entire staff. The spacing is adversely influenced too. A more
sophisticated methods of blanking objects is shown in @ref{Common
tweaks}.
signatures are normally synchronized across the score. This is done
by the @code{Timing_engraver}. This plug-in keeps an administration of
time signature, location within the measure, etc. By moving the
-@code{Timing_engraver} engraver from Score to Staff context, we can
-have a score where each staff has its own time signature.
+@code{Timing_engraver} engraver from @code{Score} to @code{Staff}
+context, we can have a score where each staff has its own time
+signature.
@cindex polymetric scores
-@lilypond[relative=1,raggedright,verbatim]
+@lilypond[relative=1,raggedright,verbatim,fragment]
\new Score \with {
\remove "Timing_engraver"
} <<
applies to the current staff. Other staves will keep their normal
appearance. Here we see the command in action:
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
c4
\override Staff.Stem #'thickness = #4.0
c4
c4
@end lilypond
-The @code{\override} command is executed during the interpreting phase,
-and changes the definition of the @code{Stem} within
-@context{Staff}. After the command all stems are thickened.
+The @code{\override} command changes the definition of the @code{Stem}
+within the current @context{Staff}. After the command is interpreted
+all stems are thickened.
Analogous to @code{\set}, the @var{context} argument may be left out,
causing it to default to @context{Voice}, and adding @code{\once} applies
the change during one timestep only
-@lilypond[verbatim,relative=2]
+@lilypond[fragment,verbatim,relative=2]
c4
\once \override Stem #'thickness = #4.0
c4
the object is created. In this example,
-@lilypond[verbatim,relative=2]
+@lilypond[fragment,verbatim,relative=2]
\override Slur #'thickness = #3.0
c8[( c
\override Beam #'thickness = #0.6
@end lilypond
@noindent
-the slur is fatter and the beam is not. This is because the command for
+the slur is fatter but the beam is not. This is because the command for
@code{Beam} comes after the Beam is started. Therefore it has no effect.
Analogous to @code{\unset}, the @code{\revert} command for a context
@node Changing context default settings
@subsection Changing context default settings
-The adjustments of the previous chapters can also be entered separate
-from the music, in the @code{\paper} block,
+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
+from the music, in the @code{\layout} block,
@example
- \paper @{
- @dots{}
- \context @{
- \StaffContext
-
- \set fontSize = #-2
- \override Stem #'thickness
- \remove "Time_signature_engraver"
- @}
- @}
+\layout @{
+ @dots{}
+ \context @{
+ \Staff
+
+ \set fontSize = #-2
+ \override Stem #'thickness = #4.0
+ \remove "Time_signature_engraver"
+ @}
+@}
@end example
Here
@example
- \StaffContext
+ \Staff
@end example
@noindent
-takes the existing definition @context{Staff} from the identifier
-@code{StaffContext}. This works analogously to other contexts, so that
-the existing definition of @code{Voice} is in @code{\VoiceContext}.
+takes the existing definition for context @context{Staff} from the
+identifier @code{\Staff}.
The statements
@example
- \set fontSize = #-2
- \override Stem #'thickness
- \remove "Time_signature_engraver"
+ \set fontSize = #-2
+ \override Stem #'thickness = #4.0
+ \remove "Time_signature_engraver"
@end example
@noindent
affect all staves in the score.
-The @code{\set} keyword is optional within the @code{\paper} block, so
+Other contexts can be modified analogously.
+
+The @code{\set} keyword is optional within the @code{\layout} block, so
@example
+\context @{
+ @dots{}
fontSize = #-2
+@}
@end example
@noindent
@refbugs
-It is not possible to collect changes in a variable, and apply them to
-one @code{\context} definition by referring to that variable.
+It is not possible to collect context changes in a variable, and apply
+them to one @code{\context} definition by referring to that variable.
-@node Defining new contexts
-@subsection Defining new contexts
+@node Defining new contexts
+@subsection Defining new contexts
Specific contexts, like @context{Staff} and @code{Voice}, are made of
simple building blocks, and it is possible to compose engraver
to indicate improvisation in Jazz pieces,
@lilypond[raggedright]
- \paper { \context {
+ \layout { \context {
\name ImproVoice
\type "Engraver_group_engraver"
\consists "Note_heads_engraver"
\override Stem #'transparent = ##t
\alias Voice
}
- \context { \StaffContext
+ \context { \Staff
\accepts "ImproVoice"
}}
- \score { \notes \relative c'' {
+
+
+\relative c'' {
a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
c4 c^"undress" c_"while playing :)" c }
a1
- }}
+}
@end lilypond
These settings are again done within a @code{\context} block inside a
-@code{\paper} block,
+@code{\layout} block,
@example
- \paper @{
+ \layout @{
\context @{
@dots{}
@}
\name ImproVoice
\type "Engraver_group_engraver"
\consists "Note_heads_engraver"
- \consists "Text_script_engraver"
+ \consists "Text_engraver"
\consists Pitch_squash_engraver
squashedPosition = #0
\override NoteHead #'style = #'slash
@verbatim
\context {
- \StaffContext
+ \Staff
\accepts ImproVoice
}
@end verbatim
-Putting both into a @code{\paper} block, like
+Putting both into a @code{\layout} block, like
@example
- \paper @{
+ \layout @{
\context @{
\name ImproVoice
@dots{}
@}
\context @{
- \StaffContext
+ \Staff
\accepts "ImproVoice"
@}
@}
Then the output at the start of this subsection can be entered as
@verbatim
-\score {
- \notes \relative c'' {
+\relative c'' {
a4 d8 bes8
\new ImproVoice {
c4^"ad lib" c
c4 c^"undress"
c c_"while playing :)"
}
- a1
- }
+ a1
}
@end verbatim
-@node Which properties to change
-@subsection Which properties to change
-
-There are many different properties. Not all of them are listed in
-this manual. However, the program reference lists them all in the
-section @internalsref{Tunable-context-properties}, and most properties
-are demonstrated in one of the
-@ifhtml
-@uref{../../../../input/test/out-www/collated-files.html,tips-and-tricks}
-@end ifhtml
-@ifnothtml
-tips-and-tricks
-@end ifnothtml
-examples.
-
-
-@node Tuning output
-@section Tuning output
+@node The \override command
+@section The \override command
In the previous section, we have already touched on a command that
changes layout details, the @code{\override} command. In this section,
for many situations. The next section will discuss general use of
@code{\override}.
-@ignore
-There are situations where default layout decisions are not
-sufficient. In this section we discuss ways to override these
-defaults.
-
-Formatting is internally done by manipulating so called objects
-(graphic objects). Each object carries with it a set of properties
-(object or layout properties) specific to the object. For example, a
-stem object has properties that specify its direction, length, and
-thickness.
-
-The most direct way of tuning the output is to alter the values of
-these properties. There are two ways of doing that: First, you can
-temporarily change the definition of one type of object, thus
-affecting a whole set of objects. Second, you can select one specific
-object, and set a layout property in that object.
-
-Do not confuse layout properties with translation
-properties. Translation properties always use a mixed caps style
-naming, and are manipulated using @code{\set} and @code{\unset}:
-@example
- \set Context.propertyName = @var{value}
-@end example
-
-Layout properties are use Scheme style variable naming, i.e. lower
-case words separated with dashes. They are symbols, and should always
-be quoted using @code{#'}. For example, this could be an imaginary
-layout property name:
-@example
- #'layout-property-name
-@end example
-
-@end ignore
@menu
* Common tweaks::
* Navigating the program reference::
* Layout interfaces::
* Determining the grob property::
+* Difficult tweaks::
@end menu
@cindex setting object properties
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=1,verbatim]
\stemUp
f-5
\once \override Fingering
@end lilypond
@noindent
-and blanking a stem in that voice, the tie appears to cross voices:
+and blanking the first up-stem in that voice, the tie appears to cross
+voices:
@lilypond[fragment,relative=2,verbatim]
<< {
example; a more elaborate explanation is in @ref{Constructing a
tweak}:
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=1,verbatim]
c2\fermata
\override Script #'padding = #3
b2\fermata
We demonstrate how to glean this information from the notation manual
and the program reference.
-The program reference is a set of HTML pages, which is part of the
-documentation package. On Unix systems, it is typically in
-@file{/usr/share/doc/lilypond}. If you have them, it is best to
-bookmark them in your webbrowser, because you will need them. They
-are also available on the web: go to the
-@uref{http://lilypond.org,LilyPond website}, click ``Documentation'',
-select the correct version, and then click ``Program reference.''
-
-If you have them, use the local HTML files. They will load faster,
-and they are exactly matched to LilyPond version installed.
-
-
@node Navigating the program reference
@subsection Navigating the program reference
Suppose we want to move the fingering indication in the fragment
below:
-@lilypond[relative=2,verbatim]
+@lilypond[fragment,relative=2,verbatim]
c-2
\stemUp
f
@end lilypond
-If you visit the documentation of @code{Fingering} (in @ref{Fingering
-instructions}), you will notice that there is written:
+If you visit the documentation on fingering instructions (in
+@ref{Fingering instructions}), you will notice that there is written:
@quotation
@seealso
@end quotation
-This fragments points to two parts of the program reference: a page
+
+
+This fragment points to two parts of the program reference: a page
on @code{FingerEvent} and on @code{Fingering}.
The page on @code{FingerEvent} describes the properties of the music
@item @internalsref{Fingering_engraver}:
Music types accepted: @b{@internalsref{fingering-event}}
@item @internalsref{fingering-event}:
-Music event type @code{fingering-event} is in Music objects of type
+Music event type @code{fingering-event} is in Music expressions named
@b{@internalsref{FingerEvent}}
@end itemize
@internalsref{Music-definitions},
@end ifhtml
@ifnothtml
-Music definitions
+@code{Music definitions}
@end ifnothtml
on @internalsref{Translation}, and the @internalsref{Backend}. Every
chapter lists all the definitions used, and all properties that may be
@node Layout interfaces
@subsection Layout interfaces
-@internalsref{Fingering} is a layout object. Such an object is a
+@cindex interface, layout
+@cindex layout interface
+
+The HTML page which 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
-thicknesses and directions), but also pointers to related objects.
-A layout object is also called @emph{grob},
+thicknesses and directions), but also pointers to related objects. A
+layout object is also called @emph{grob},
@cindex grob
which is short for Graphical Object.
has the following aspects
@itemize @bullet
-@item Its size is independent of the horizontal spacing, unlike slurs or beams
+@item Its size is independent of the horizontal spacing, unlike slurs or beams.
-@item It is a piece of text. Granted, it's usually a very short text.
+@item It is a piece of text. Granted, it is usually a very short text.
@item That piece of text is typeset with a font, unlike slurs or beams.
@item Horizontally, the center of the symbol should be aligned to the
@item The
vertical position is also coordinated with other super and subscript
-symbols
+symbols.
@end itemize
Each of these aspects is captured in a so-called @emph{interface},
are.
We have been talking of `the' @code{Fingering} object, but actually it
-does not amount to much. The initialization file
+does not amount to much. The initialization file
@file{scm/define-grobs.scm} shows the soul of the `object',
@verbatim
(Fingering
. (
- (print-function . ,Text_item::print)
+ (print-function . ,Text_interface::print)
(padding . 0.6)
(staff-padding . 0.6)
(self-alignment-X . 0)
))
@end verbatim
-as you can see, @code{Fingering} is nothing more than a bunch of
-variable settings, and the webpage is directly generated from this
-definition.
+@noindent
+As you can see, the @code{Fingering} object is nothing more than a
+bunch of variable settings, and the webpage in the Program Reference
+is directly generated from this definition.
@node Determining the grob property
@subsection Determining the grob property
Recall that we wanted to change the position of the @b{2} in
-@lilypond[relative=2,verbatim]
+@lilypond[fragment,relative=2,verbatim]
c-2
\stemUp
f
@item padding
(dimension, in staff space)
- add this much extra space between objects that are next to each
+ Add this much extra space between objects that are next to each
other.
@end table
@end quotation
fingering. The following command inserts 3 staff spaces of white
between the note and the fingering:
@example
-\once \override Fingering #'padding = #3
+\once \override Voice.Fingering #'padding = #3
@end example
Inserting this command before the Fingering object is created,
i.e. before @code{c2}, yields the following result:
@lilypond[relative=2,fragment,verbatim]
-\once \override Fingering
- #'padding = #3
+\once \override Voice.Fingering #'padding = #3
c-2
\stemUp
f
@end lilypond
-In this case, the context for this tweak is @context{Voice}, which
-does not have to be specified for @code{\override}. This fact can
-also be deduced from the program reference, for the page for the
-@internalsref{Fingering_engraver} plug-in says
+In this case, the context for this tweak is @context{Voice}. This
+fact can also be deduced from the program reference, for the page for
+the @internalsref{Fingering_engraver} plug-in says
@quotation
Fingering_engraver is part of contexts: @dots{} @b{@internalsref{Voice}}
@end quotation
+@node Difficult tweaks
+@subsection Difficult tweaks
+
+There are two classes of difficult adjustments. First, when there are
+several of the same objects at one point, and you want to adjust only
+one. For example, if you want to change only one note head in a chord.
+
+In this case, the @code{\applyoutput} function must be used. The
+next example defines a Scheme function @code{set-position-font-size}
+that sets the @code{font-size} property, but only
+on objects that have @internalsref{note-head-interface} and are at the
+right Y-position.
+
+@lilypond[verbatim]
+#(define ((set-position-font-size pos size) grob origin current)
+ (let*
+ ((interfaces (ly:grob-property grob 'interfaces))
+ (position (ly:grob-property grob 'staff-position)))
+ (if (and
+
+ ; is this a note head?
+ (memq 'note-head-interface interfaces)
+
+ ; is the Y coordinate right?
+ (= pos position))
+
+ ; then do it.
+ (set! (ly:grob-property grob 'font-size) size))))
+
+\relative {
+ c
+ \applyoutput #(set-position-font-size -2 4)
+ <c e g>
+}
+@end lilypond
+
+@noindent
+A similar technique can be used for accidentals. In that case, the
+function should check for @code{accidental-interface}.
+
+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
+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
+properties, including @code{\override}s.
+
+In other words, an @code{\override} always affects all pieces of a
+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
+objects have been split over different systems.
+
+In the following example, we define a procedure
+@code{my-callback}. This procedure
+
+@itemize @bullet
+@item
+determines if we have been split across line breaks
+@item
+if yes, retrieves all the split objects
+@item
+checks if we are the last of the split objects
+@item
+if yes, it sets @code{extra-offset}.
+@end itemize
+
+This procedure is installed into @internalsref{Tie}, so the last part
+of broken tie is translated up.
+
+
+@lilypond[verbatim,raggedright]
+#(define (my-callback grob)
+ (let* (
+
+ ; have we been split?
+ (orig (ly:grob-original grob))
+
+ ; if yes, get the split pieces (our siblings)
+ (siblings (if (ly:grob? orig) (ly:spanner-broken-into orig) '() )))
+
+
+ (if (and (>= (length siblings) 2)
+ (eq? (car (last-pair siblings)) grob))
+ (ly:grob-set-property! grob 'extra-offset '(-2 . 5))
+ )))
+
+\relative c'' {
+ \override Tie #'after-line-breaking-callback =
+ #my-callback
+ c1 ~ \break c2 ~ c
+}
+@end lilypond
+
+
+When applying this trick, the new @code{after-line-breaking-callback}
+should also call the old @code{after-line-breaking-callback}, if there
+is one. For example, if using this with @code{Slur},
+@code{Slur::after_line_breaking} should also be called.
@node Fonts
@section Fonts
@node Selecting font sizes
@subsection Selecting font sizes
-The most common thing to change about the appearance of fonts is their
-size. The font size of any context can be easily changed by setting
-the @code{fontSize} property for that context. Its value is a number:
-negative numbers make the font smaller, positive numbers larger. An
-example is given below:
-@c
+
+The easiest method of setting the font size of any context, is by
+setting the @code{fontSize} property.
+
@lilypond[fragment,relative=1,verbatim]
- c4 c4 \set fontSize = #-3
- f4 g4
+ c8
+ \set fontSize = #-4
+ c f
+ \set fontSize = #3
+ g
@end lilypond
-This command will set @code{font-size} (see below) in all layout
-objects in the current context. It does not change the size of
-variable symbols, such as beams or slurs.
-The font size is set by modifying the @code{font-size} property. Its
-value is a number indicating the size relative to the standard size.
-Each step up is an increase of approximately 12% of the font size. Six
-steps is exactly a factor two. The Scheme function @code{magstep}
-converts a @code{font-size} number to a scaling factor.
+It does not change the size of variable symbols, such as beams or
+slurs.
+
+Internally, the @code{fontSize} context property will cause
+@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
+increase of approximately 12% of the font size. Six steps is exactly a
+factor two. The Scheme function @code{magstep} converts a
+@code{font-size} number to a scaling factor.
+
+@lilypond[fragment,relative=1,verbatim]
+ c8
+ \override NoteHead #'font-size = #-4
+ c f
+ \override NoteHead #'font-size = #3
+ g
+@end lilypond
-LilyPond has fonts in different design sizes: the music fonts for
+LilyPond has fonts in different design sizes. The music fonts for
smaller sizes are chubbier, while the text fonts are relatively wider.
Font size changes are achieved by scaling the design size that is
-closest to the desired size.
+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.
The @code{font-size} mechanism does not work for fonts selected
through @code{font-name}. These may be scaled with
-@code{font-magnification}.
-
-
-One of the uses of @code{fontSize} is to get smaller symbols for cue
-notes. An elaborate example of those is in
-@inputfileref{input/test,cue-notes.ly}.
-
-@cindex @code{font-style}
+@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.
@refcommands
@node Font selection
@subsection Font selection
-Font selection for the standard fonts, @TeX{}'s Computer Modern fonts,
-can also be adjusted with a more fine-grained mechanism. By setting
-the object properties described below, you can select a different font;
-all three mechanisms work for every object that supports
-@code{font-interface}:
+
+
+@cindex font selection
+@cindex font magnification
+@cindex @code{font-interface}
+
+By setting the object properties described below, you can select a
+font from the preconfigured font families. LilyPond has default
+support for the feta music fonts and @TeX{}'s Computer Modern text
+fonts.
@itemize @bullet
@item @code{font-encoding}
-is a symbol that sets layout of the glyphs. Choices include
-@code{text} for normal text, @code{braces} (for piano staff braces),
-@code{music} (the standard music font, including ancient glyphs),
-@code{dynamic} (for dynamic signs) and @code{number} for the number
-font.
+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 the number font.
@item @code{font-family}
Init files: @file{ly/declarations-init.ly} contains hints how new
fonts may be added to LilyPond.
-@refbugs
-
-No style sheet is provided for other fonts besides the @TeX{}
-Computer Modern family.
-
-@cindex font selection
-@cindex font magnification
-@cindex @code{font-interface}
@node Text markup
@cindex typeset text
-LilyPond has an internal mechanism to typeset texts. You can access it
-with the keyword @code{\markup}. Within markup mode, you can enter texts
-similar to lyrics: simply enter them, surrounded by spaces:
+The internal mechanism to typeset texts is accessed with the keyword
+@code{\markup}. Within markup mode, you can enter texts similar to
+lyrics. They are simply entered, while commands use the backslash @code{\}.
@cindex markup
@lilypond[verbatim,fragment,relative=1]
may be attached to notes, like
@verbatim
allegro = \markup { \bold \large { Allegro } }
-\notes { a^\allegro b c d }
+ { a^\allegro b c d }
@end verbatim
Similarly, for moving whole texts over notes with
@code{\raise}, use the following trick:
-@example
- "" \raise #0.5 raised
-@end example
+@lilypond[verbatim]
+{
+ c'^\markup { \raise #0.5 not-raised }
+ c'^\markup { "" \raise #0.5 raised }
+}
+@end lilypond
-The text @code{raised} is now raised relative to the empty string
-@code{""} which is not visible. Alternatively, complete objects can
-be moved with layout properties such as @code{padding} and
+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
-Text layout is ultimately done by @TeX{}, which does kerning of
-letters. LilyPond does not account for kerning, so texts will be
-spaced slightly too wide.
+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.
-Markup texts cannot be used in the titling of the @code{\header}
-field. Titles are made by La@TeX{}, so La@TeX{} commands should be used
-for formatting.
-
-
@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
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. This section
-explains how to tune the algorithm for spacing.
+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. When the score
-is processed by @TeX{}, each page is filled with systems, and page breaks
-are chosen whenever the page gets full.
+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
@cindex font size, setting
@cindex staff size, setting
-@cindex @code{paper} file
+@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
@tab 12.60
@tab 4.4
@tab
-
+
@item feta14
@tab 14.14
@tab 5.0
@tab song books
@item feta20
-@tab 17.82
+@tab 20
@tab 7.0
@tab standard parts
-@menu
-* Vertical spacing::
-* Horizontal spacing::
-* Line breaking::
-* Page layout::
-@end menu
+
+@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 staves per page
@cindex space between staves
-The height of each system is determined automatically by LilyPond, to
-keep 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.
+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, then you could
-set
+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
@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)}.
+. 4)}.
-The piano staves are handled a little differently: to make cross-staff
-beaming work correctly, it is necessary that the distance between staves
-is fixed beforehand. This is also done with a
-@internalsref{VerticalAlignment} object, created in
-@internalsref{PianoStaff}. In this object the distance between the
-staves is fixed by setting @code{forced-distance}. If you want to
-override this, use a @code{\context} block as follows:
-@example
- \paper @{
- \context @{
- \PianoStaffContext
- \override VerticalAlignment #'forced-distance = #9
- @}
- @dots{}
- @}
-@end example
-This would bring the staves together at a distance of 9 staff spaces,
-measured from the center line of each staff.
@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.
@subsection Horizontal Spacing
The spacing engine translates differences in durations into
-stretchable distances (``springs'') of differing lengths. Longer
+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).
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
+@lilypond[fragment,verbatim,relative=1]
+c2 c4. c8 c4. c8 c4. c8 c8
c8 c4 c4 c4
@end lilypond
-Normally, @code{shortest-duration-space} is set to 1.2, which is the
-width of a note head, and @code{shortest-duration-space} is set to
-2.0, meaning that the shortest note gets 2 NHW (i.e. 2 times
-@code{shortest-duration-space}) of space. For normal notes, this space
-is always counted from the left edge of the symbol, so the shortest
-notes are generally followed by one NHW of space.
+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 the most commonly found shortest note. Notes that are even
-shorter this 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:
+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.
-@lilypond[fragment,verbatim,relative=2]
- c2 c4. c8 c4. c16[ c] c4. c8 c8 c8 c4 c4 c4
-@end lilypond
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 lilypond
-with @code{--verbose}. 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}.
+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}
-In the Introduction it was explained that stem directions influence
-spacing. This is controlled with @code{stem-spacing-correction}
-property in @internalsref{NoteSpacing}, which are generated for every
+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
+for controlling the stem/bar line spacing. The following example shows
+these corrections, once with default settings, and once with
exaggerated corrections:
-@lilypond
- \score { \notes {
+@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|
- }
- \paper { raggedright = ##t } }
+}
@end lilypond
-@cindex SpacingSpanner, overriding properties
-
-Properties of the @internalsref{SpacingSpanner} must be overridden
-from the @code{\paper} block, since the @internalsref{SpacingSpanner} is
-created before any property commands are interpreted.
-@example
-\paper @{ \context @{
- \ScoreContext
- \override SpacingSpanner #'spacing-increment = #3.0
-@} @}
-@end example
-
@seealso
score, the part containing the longer durations will be spaced too
widely.
-There is no convenient mechanism to manually override spacing.
+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
-@menu
-* Line breaking::
-* Page layout::
-@end menu
+@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
Internals: @internalsref{BreakEvent}.
-@node Page layout
-@subsection Page layout
-@cindex page breaks
-@cindex breaking pages
+@node Multiple movements
+@subsection Multiple movements
-@cindex @code{indent}
-@cindex @code{linewidth}
+@cindex bibliographic information
+@cindex titles
+@cindex composer
+@cindex Engraved by LilyPond
-The most basic settings influencing the spacing are @code{indent} and
-@code{linewidth}. They are set in the @code{\paper} block. They
-control the indentation of the first line of music, and the lengths of
-the lines.
+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,
-If @code{raggedright} is set to true in the @code{\paper}
-block, then the lines are justified at their natural length. This
-useful for short fragments, and for checking how tight the natural
-spacing is.
+@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 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 = "and the subtitle"
+ subsubtitle = "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 vertical spacing
+@cindex titles
-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 paragraphs. In a
-paragraph, the last line simply takes its natural length.
-The page layout process happens outside the LilyPond formatting
-engine: variables controlling page layout are passed to the output,
-and are further interpreted by @code{lilypond} wrapper program. It
-responds to the following variables in the @code{\paper} block. The
-spacing between systems is controlled with @code{interscoreline}, its
-default is 16pt. The distance between the score lines will stretch in
-order to fill the full page @code{interscorelinefill} is set to a
-positive number. In that case @code{interscoreline} specifies the
-minimum spacing.
-
-@cindex @code{textheight}
-@cindex @code{interscoreline}
-@cindex @code{interscorelinefill}
-
-If the variable @code{lastpagefill} is defined,
-@c fixme: this should only be done if lastpagefill= #t
-systems are evenly distributed vertically on the last page. This
-might produce ugly results in case there are not enough systems on the
-last page. The @command{lilypond-book} command ignores
-@code{lastpagefill}. See @ref{lilypond-book manual} for more
-information.
-
-@cindex @code{lastpagefill}
-
-Page breaks are normally computed by @TeX{}, so they are not under
-direct control of LilyPond. However, you can insert commands into
-the @file{.tex} output to instruct @TeX{} where to break pages. This
-is done by setting the @code{between-systems-strings} on the
-@internalsref{NonMusicalPaperColumn} where the system is broken.
-An example is shown in @inputfileref{input/regression,between-systems.ly}.
-The predefined command @code{\newpage} also does this.
+
+
+@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
To change the paper size, there are two commands,
@example
#(set-default-paper-size "a4")
- \paper@{
+ \layout@{
#(set-paper-size "a4")
@}
@end example
-The second one sets the size of the @code{\paper} block that it's in.
+The second one sets the size of the @code{\layout} block that it is in.
-@refcommands
+The following paper sizes are supported.
-@cindex @code{\newpage}
-@code{\newpage}.
+@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
-@seealso
+@node Page layout
+@subsection Page layout
-In this manual: @ref{Invoking lilypond}.
+@cindex page layout
+@cindex margins
+@cindex header, page
+@cindex footer, page
-Examples: @inputfileref{input/regression,between-systems.ly}.
+LilyPond will do page layout, setting margins and adding headers and
+footers to each page.
-Internals: @internalsref{NonMusicalPaperColumn}.
+The default layout responds to the following settings in the
+@code{\paper} block
-@refbugs
+@cindex \paper
-LilyPond has no concept of page layout, which makes it difficult to
-reliably choose page breaks in longer pieces.
+@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.
-@node Output details
-@section Output details
+Increasing this will put systems whose bounding boxes almost touch
+farther apart.
-The default output format is La@TeX{}, which should be run
-through La@TeX{}. Using the option @option{-f}
-(or @option{--format}) other output formats can be selected also, but
- none of them work reliably.
+@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).
-Now the music is output system by system (a `system' is a single line
-from the score, consisting of staves belonging together). From
-@TeX{}'s point of view, a system is an @code{\hbox} which contains a
-lowered @code{\vbox} so that it is centered vertically on the baseline
-of the text. Between systems, @code{\interscoreline} is inserted
-vertically to have stretchable space. The horizontal dimension of the
-@code{\hbox} is given by the @code{linewidth} parameter from
-LilyPond's @code{\paper} block.
+@end table
-After the last system LilyPond emits a stronger variant of
-@code{\interscoreline} only if the macro
-@code{\lilypondpaperlastpagefill} is not defined (flushing the systems
-to the top of the page). You can avoid that by setting the variable
-@code{lastpagefill} in LilyPond's @code{\paper} block.
+@example
+ \paper@{
+ hsize = 2\cm
+ topmargin = 3\cm
+ bottommargin = 3\cm
+ raggedlastbottom = ##t
+ @}
+@end example
-It is possible to fine-tune the vertical offset further by defining the
-macro @code{\lilypondscoreshift}:
+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
-\def\lilypondscoreshift@{0.25\baselineskip@}
+ \paper@{
+ #(define bottommargin (* 2 cm))
+ @}
@end example
-@noindent
-where @code{\baselineskip} is the distance from one text line to the next.
+@cindex copyright
+@cindex tagline
-Here an example how to embed a small LilyPond file @code{foo.ly} into
-running La@TeX{} text without using the @code{lilypond-book} script
-(@pxref{lilypond-book manual}):
+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.
-@example
-\documentclass@{article@}
-\def\lilypondpaperlastpagefill@{@}
-\lineskip 5pt
-\def\lilypondscoreshift@{0.25\baselineskip@}
-\begin@{document@}
-This is running text which includes an example music file
-\input@{foo.tex@}
-right here.
-\end@{document@}
+@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
-The file @file{foo.tex} has been simply produced with
+@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
- lilypond-bin foo.ly
+ @{ c'4 d' e'2 @}
@end example
-The call to @code{\lineskip} assures that there is enough vertical space
-between the LilyPond box and the surrounding text lines.
+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}.
+
+@end itemize
+
+The following example shows three things which may be entered at
+toplevel
+@verbatim
+ \layout {
+ % movements are non-justified by default
+ raggedright = ##t
+ }
+
+ \header {
+ title = "Do-re-mi"
+ }
+
+ { c'4 d' e2 }
+@end verbatim
+
+
+At any point in a file, any of the following lexical instructions can
+be entered:
+
+@itemize @bullet
+@item @code{\version}
+@item @code{\include}
+@item @code{\encoding}
+@item @code{\renameinput}
+@end itemize
projects / lilypond.git / blobdiff