-@c -*-texinfo-*-
+@c -*- coding: latin-1; mode: texinfo; -*-
@node Changing defaults
@chapter Changing defaults
The purpose of LilyPond's design is to provide the finest output
quality as a default. Nevertheless, it may happen that you need to
-change that default layout. The layout is controlled through a large
+change this default layout. The layout is controlled through a large
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 how to tune them.
+are available and explains how to lookup which knob to use for a
+certain effect.
-Which controls are available for tuning is described in a separate
-document, the @internalsref{Program reference} manual. This manual
+
+@cindex Program reference
+
+The controls available for tuning are described in a separate
+document, the @internalsref{Program reference} manual. That manual
lists all different variables, functions and options available in
-LilyPond. It is available as a HTML document, which is available
+LilyPond. It is written as a HTML document, which is available
@uref{http://lilypond.org/doc/Documentation/user/out-www/lilypond-internals/,on-line},
but is also included with the LilyPond documentation package.
-There are X areas where the default settings may be changed:
+There are three areas where the default settings may be changed:
@itemize @bullet
@item Output: changing the appearance of individual
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::
-* Font Size::
-* 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 LilyPondese 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). For entering lists, use a quote @code{'} and 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
-When music is printed, a lot of things notation elements must be added
-to the input, which is often bare bones. For example, compare the
-input and output of the following example
+When music is printed, a lot of notation elements must be added to the
+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
The input is rather sparse, but in the output, bar lines, accidentals,
-clef and time signature are added. LilyPond @emph{interprets} the
+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.
+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
+entire score.
+
+Within LilyPond, these rules and bits of information are grouped in
+so-called Contexts. Examples of context are @context{Voice},
+@context{Staff}, and @context{Score}. They are hierarchical, for
+example, a @context{Staff} can contain many @context{Voice}s, and a
+@context{Score} can contain many @context{Staff} contexts.
+
+Each context has the responsibility for enforcing some notation rules,
+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
+show or suppress the accidental for the remainder of the measure.
+
+For simple scores, contexts are created implicitly, and you need not
+be aware of them. For larger pieces, such as piano music, they must be
+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.
-This is contextual information. and it can be present 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 entire
-score. To match this hierarchy, LilyPond's interpretation step is
-hierarchical. There are interpretation contexts, like
-@context{Voice}, Staff and Score, and each level can maintain its own
-properties.
Full description of all available contexts is in the program
reference, see
@ifhtml
-@internalsref{Contexts}
+@internalsref{Contexts}.
@end ifhtml
@ifnothtml
Translation @arrow{} Context.
@end ifnothtml
+@c [TODO: describe propagation]
+
+
@menu
* Creating contexts::
-* Changing context properties on the fly ::
+* Changing context properties on the fly::
* Modifying context plug-ins::
* Layout tunings within contexts::
-* Defining context defaults ::
-* Which properties to change::
+* Changing context default settings::
+* Defining new contexts::
@end menu
@node Creating contexts
@subsection Creating contexts
-[TODO: propagation]
-
For scores with only one voice and one staff, correct contexts are
created automatically. For more complex scores, it is necessary to
-instantiate them by hand. There are three commands to do this.
+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}
interpreting @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, gets a @code{\new
-Staff}.
+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
This form will search for an existing context of type @var{type}
called @var{id}. If that context does not exist yet, it is created.
-This is useful if the context referred to later on. For example, when
+This is useful if the context is referred to later on. For example, when
setting lyrics the melody is in a named context
@example
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
\applyoutput #@var{function} % apply to Voice
@end example
-To have it interpreted at @context{Score} or @context{Staff} level use
+To have it interpreted at the @context{Score} or @context{Staff} level use
these forms
@example
@end example
-@node Changing context properties on the fly
-@subsection Changing context properties on the fly
+@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.
@end quotation
For example,
-@lilypond[verbatim,relative=2]
+@lilypond[verbatim,relative=2,fragment]
R1*2
\set Score.skipBars = ##t
R1*2
this case, it is @code{#t}, the boolean True value.
If the @var{context} argument is left out, then the current bottom-most
-context (typically @context{ChordNames}, @context{Voice} or
+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 only removes
-the definition if it is set in @var{context}. In
+which removes the definition of @var{prop}. This command removes
+the definition only if it is set in @var{context}, so
+
+@example
+ \set Staff.autoBeaming = ##f
+@end example
+
+@noindent
+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
- \set Staff.autoBeaming = ##f
- \unset Voice.autoBeaming
+ \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
-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.
+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
For a full a description of each plug-in, see
@ifhtml
-@internalsref{Engravers}
+@internalsref{Engravers}.
@end ifhtml
@ifnothtml
Program reference @arrow Translation @arrow{} Engravers.
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
}
@end lilypond
In the second stave there are no time signature or clef symbols. This
-is a rather crude method of making objects disappear, it will affect the
-entire staff. The spacing will be adversely influenced too. More
-sophisticated methods of blanking objects are shown in (TODO).
+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}.
The next example shows a practical application. Bar lines and time
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 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"
} <<
@end example
Here @var{name} is the name of a graphical object, like @code{Stem} or
-@code{NoteHead}. @var{property} is an internal variable of the
-formatting system (`grob property' or `layout property'). It is a
-symbol, so it must be quoted. The subsection refTODO explains what to
-fill in for @var{name}, @var{property} and @var{value}. Here we only
-discuss functionality of this command.
+@code{NoteHead}, and @var{property} is an internal variable of the
+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.
The command
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 only one timestep
+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 @code{\override} must be done before the object is
started. Therefore, when altering @emph{Spanner} objects, like slurs or
-beams, the @code{\override} command must be executed at the moment that
+beams, the @code{\override} command must be executed at the moment when
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
The back-end is not very strict in type-checking object properties.
Cyclic references in Scheme values for properties can cause hangs
-and/or crashes.
+or crashes, or both.
-@node Defining context defaults
-@subsection Defining context defaults
+@node Changing context default settings
+@subsection Changing context default settings
-Context properties can be set as defaults, within the
-@code{\paper} block. For example,
+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,
-@verbatim
-\paper {
- \context {
- \ScoreContext
- skipBars = ##t
+@example
+\layout @{
+ @dots{}
+ \context @{
+ \Staff
+
+ \set fontSize = #-2
+ \override Stem #'thickness = #4.0
+ \remove "Time_signature_engraver"
+ @}
+@}
+@end example
+
+Here
+@example
+ \Staff
+@end example
+
+@noindent
+takes the existing definition for context @context{Staff} from the
+identifier @code{\Staff}.
+
+The statements
+@example
+ \set fontSize = #-2
+ \override Stem #'thickness = #4.0
+ \remove "Time_signature_engraver"
+@end example
+
+@noindent
+affect all staves in the score.
+
+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
+will also work.
+
+
+
+@refbugs
+
+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
+
+Specific contexts, like @context{Staff} and @code{Voice}, are made of
+simple building blocks, and it is possible to compose engraver
+plug-ins in different combinations, thereby creating new types of
+contexts.
+
+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
+to indicate improvisation in Jazz pieces,
+
+@lilypond[raggedright]
+ \layout { \context {
+ \name ImproVoice
+ \type "Engraver_group_engraver"
+ \consists "Note_heads_engraver"
+ \consists "Text_engraver"
+ \consists Pitch_squash_engraver
+ squashedPosition = #0
+ \override NoteHead #'style = #'slash
+ \override Stem #'transparent = ##t
+ \alias Voice
}
+ \context { \Staff
+ \accepts "ImproVoice"
+ }}
+
+
+\relative c'' {
+ a4 d8 bes8 \new ImproVoice { c4^"ad lib" c
+ c4 c^"undress" c_"while playing :)" c }
+ a1
}
-@end verbatim
+@end lilypond
-@noindent
-will set skipBars default
-@node Which properties to change
-@subsection Which properties to change
+These settings are again done within a @code{\context} block inside a
+@code{\layout} block,
+
+@example
+ \layout @{
+ \context @{
+ @dots{}
+ @}
+ @}
+@end example
+
+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
+will be called @context{ImproVoice},
-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{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.
+@verbatim
+ \name ImproVoice
+@end verbatim
+Since it is similar to the @context{Voice}, we want commands that work
+on (existing) @context{Voice}s to remain working. This is achieved by
+giving the new context an alias @context{Voice},
-@node Tuning output
-@section Tuning output
+@verbatim
+ \alias Voice
+@end verbatim
+
+The context will print notes, and instructive texts
+
+@verbatim
+ \consists Note_heads_engraver
+ \consists Text_engraver
+@end verbatim
+but only on the center line,
+
+@verbatim
+ \consists Pitch_squash_engraver
+ squashedPosition = #0
+@end verbatim
+The @internalsref{Pitch_squash_engraver} modifies note heads (created
+by @internalsref{Note_heads_engraver}) and sets their vertical
+position to the value of @code{squashedPosition}, in this case
+@code{0}, the center line.
+The notes look like a slash, without a stem,
-There are situations where default layout decisions are not
-sufficient. In this section we discuss ways to override these
-defaults.
+@verbatim
+ \override NoteHead #'style = #'slash
+ \override Stem #'transparent = ##t
+@end verbatim
-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 that object. For example, a
-stem object has properties that specify its direction, length and
-thickness.
-The most direct way of tuning the output is by altering 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.
+All these plug-ins have to cooperate, and this is achieved with a
+special plug-in, which must be marked with the keyword @code{\type}.
+This should always be @internalsref{Engraver_group_engraver},
-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}
+ \type "Engraver_group_engraver"
@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:
+Putting together, we get
+
+@verbatim
+ \context {
+ \name ImproVoice
+ \type "Engraver_group_engraver"
+ \consists "Note_heads_engraver"
+ \consists "Text_engraver"
+ \consists Pitch_squash_engraver
+ squashedPosition = #0
+ \override NoteHead #'style = #'slash
+ \override Stem #'transparent = ##t
+ \alias Voice
+ }
+@end verbatim
+
+Contexts form hierarchies. We want to hang the @context{ImproVoice}
+under @context{Staff}, just like normal @code{Voice}s. Therefore, we
+modify the @code{Staff} definition with the @code{\accepts}
+command,@footnote{The opposite of @code{\accepts} is @code{\denies},
+which is sometimes when reusing existing context definitions. }
+
+
+
+@verbatim
+ \context {
+ \Staff
+ \accepts ImproVoice
+ }
+@end verbatim
+
+Putting both into a @code{\layout} block, like
+
@example
- #'layout-property-name
+ \layout @{
+ \context @{
+ \name ImproVoice
+ @dots{}
+ @}
+ \context @{
+ \Staff
+ \accepts "ImproVoice"
+ @}
+@}
@end example
+Then the output at the start of this subsection can be entered as
+
+@verbatim
+\relative c'' {
+ a4 d8 bes8
+ \new ImproVoice {
+ c4^"ad lib" c
+ c4 c^"undress"
+ c c_"while playing :)"
+ }
+ a1
+}
+@end verbatim
+
+
+
+
+@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,
+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
+@code{\override}.
+
@menu
* Common tweaks::
* Constructing a tweak::
+* Navigating the program reference::
+* Layout interfaces::
+* Determining the grob property::
+* Difficult tweaks::
@end menu
@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
+a short-cut, for example, @code{\slurUp} and @code{\stemDown}. These
commands are described in
@ifhtml
the
The exact tuning possibilities for each type of layout object are
documented in the program reference of the respective
object. However, many layout objects share properties, which can be
-used to apply generic tweaks. We mention a couple of these:
+used to apply generic tweaks. We mention a few of these:
@itemize @bullet
@item The @code{extra-offset} property, which
@cindex setting object properties
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=1,verbatim]
\stemUp
f-5
\once \override Fingering
@cindex transparent objects
@cindex removing objects
+@cindex hiding objects
@cindex invisible objects
The following example demonstrates how to connect different voices
using ties. Normally, ties only connect two notes in the same
-voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices:
+voice. By introducing a tie in a different voice,
+
+@lilypond[fragment,relative=2]
+ << {
+ b8~ b8\noBeam
+ } \\ {
+ b[ g8]
+ } >>
+@end lilypond
+
+@noindent
+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
@end itemize
-More specific overrides are also possible. The following section
+More specific overrides are also possible. The next section
discusses in depth how to figure out these statements for yourself.
@node Constructing a tweak
@subsection Constructing a tweak
+The general procedure of changing output, that is, entering
+a command like
+
+@example
+ \override Voice.Stem #'thickness = #3.0
+@end example
+
+@noindent
+means that we have to determine these bits of information:
+
+@itemize
+@item the context: here @context{Voice}.
+@item the layout object: here @code{Stem}.
+@item the layout property: here @code{thickness}
+@item a sensible value: here @code{3.0}
+@end itemize
+
@cindex internal documentation
@cindex finding graphical objects
@cindex @code{\set}
@cindex internal documentation
+We demonstrate how to glean this information from the notation manual
+and the program reference.
-
-Three pieces of information are required to use @code{\override} and
-@code{\set}: the name of the layout object, the context and the name
-of the property. We demonstrate how to glean this information from
-the notation manual and the program reference.
-
-The generated documentation is a set of HTML pages which should be
-included if you installed a binary distribution, typically in
-@file{/usr/share/doc/lilypond}. 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.'' It is advisable to bookmark the local HTML
-files. They will load faster than the ones on the web and matches the
-version of LilyPond you are using.
-
-
-
-@c [TODO: revise for new site.]
+@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
-Internals: @internalsref{FingerEvent} and @internalsref{Fingering}.
+Program reference: @internalsref{FingerEvent} and @internalsref{Fingering}.
@end quotation
-@separate
-
-@noindent
-In other words, the fingerings once entered, are internally stored as
-@code{FingerEvent} music objects. When printed, a @code{Fingering}
-layout object is created for every @code{FingerEvent}.
-The Fingering object has a number of different functions, and each of
-those is captured in an interface. The interfaces are listed under
-@internalsref{Fingering} in the program reference.
+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
+expression for the input @code{-2}. The page contains many links
+forward. For example, it says
-The @code{Fingering} object has a fixed size
-(@internalsref{item-interface}), the symbol is a piece of text
-(@internalsref{text-interface}), whose font can be set
-(@internalsref{font-interface}). It is centered horizontally
-(@internalsref{self-alignment-interface}), it is placed vertically
-next to other objects (@internalsref{side-position-interface}), and
-its placement is coordinated with other scripts
-(@internalsref{text-script-interface}). It also has the standard
-@internalsref{grob-interface} (grob stands for Graphical object)
-@cindex grob
-@cindex graphical object
-@cindex layout object
-@cindex object, layout
-with all the variables that come with
-it. Finally, it denotes a fingering instruction, so it has
-@internalsref{finger-interface}.
-
-For the vertical placement, we have to look under
-@code{side-position-interface}:
@quotation
-@code{side-position-interface}
-
- Position a victim object (this one) next to other objects (the
- support). In this case, the property @code{direction} signifies where to put the
- victim object relative to the support (left or right, up or down?)
-@end quotation
+ Accepted by: @internalsref{Fingering_engraver},
+@end quotation
-@cindex padding
@noindent
-below this description, the variable @code{padding} is described as
-@quotation
-@table @code
-@item padding
- (dimension, in staff space)
+That link brings us to the documentation for the Engraver, the
+plug-in, which says
- add this much extra space between objects that are next to each
-other. Default value: @code{0.6}
-@end table
+@quotation
+ This engraver creates the following layout objects: @internalsref{Fingering}.
@end quotation
-By increasing the value of @code{padding}, we can move away the
-fingering. The following command inserts 3 staff spaces of white
-between the note and the fingering:
-@example
-\once \override Fingering #'padding = #3
-@end example
+In other words, once the @code{FingerEvent}s are interpreted, the
+@code{Fingering_engraver} plug-in will process them.
+The @code{Fingering_engraver} is also listed to create
+@internalsref{Fingering} objects,
-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
-c-2
-\stemUp
-f
-@end lilypond
+ Lo and behold, that is also the
+second bit of information listed under @b{See also} in the Notation
+manual. By clicking around in the program reference, we can follow the
+flow of information within the program, either forward (like we did
+here), or backwards, following links like this:
-The context name @code{Voice} in the example above can be determined
-as follows. In the documentation for @internalsref{Fingering}, it says
-@quotation
-Fingering grobs are created by: @internalsref{Fingering_engraver} @c
-@end quotation
+@itemize @bullet
-Clicking @code{Fingering_engraver} shows the documentation of
-the module responsible for interpreting the fingering instructions and
-translating them to a @code{Fingering} object. Such a module is called
-an @emph{engraver}. The documentation of the @code{Fingering_engraver}
-says
-@example
-Fingering_engraver is part of contexts: Voice
-@end example
-so tuning the settings for Fingering should be done with
-@example
- \override Fingering @dots{}
-@end example
+@item @internalsref{Fingering}:
+ @internalsref{Fingering} objects are created by:
+ @b{@internalsref{Fingering_engraver}}
-Of course, the tweak may also done in a larger context than
-@code{Voice}, for example, @internalsref{Staff} or
-@internalsref{Score}.
+@item @internalsref{Fingering_engraver}:
+Music types accepted: @b{@internalsref{fingering-event}}
+@item @internalsref{fingering-event}:
+Music event type @code{fingering-event} is in Music expressions named
+@b{@internalsref{FingerEvent}}
+@end itemize
-@seealso
+This path goes against the flow of information in the program: it
+starts from the output, and ends at the input event.
-Internals: the program reference also contains alphabetical lists of
-@internalsref{Contexts}, @internalsref{All-layout-objects} and
-@internalsref{Music-expressions}, so you can also find which objects
-to tweak by browsing the internals document.
+The program reference can also be browsed like a normal document. It
+contains a chapter on
+@ifhtml
+@internalsref{Music-definitions},
+@end ifhtml
+@ifnothtml
+@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
+tuned.
-@node Fonts
-@section Fonts
+
+@node Layout interfaces
+@subsection Layout interfaces
-@menu
-* Selecting font sizes::
-* Font selection::
-@end menu
+@cindex interface, layout
+@cindex layout interface
-@node Selecting font sizes
-@subsection Selecting font sizes
+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},
+@cindex grob
+which is short for Graphical Object.
-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
-@lilypond[fragment,relative=1,verbatim]
- c4 c4 \set fontSize = #-3
- f4 g4
-@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.
+The page for @code{Fingering} lists the definitions for the
+@code{Fingering} object. For example, the page says
-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.
+@quotation
+ @code{padding} (dimension, in staff space):
+
+ @code{0.6}
+@end quotation
+
+which means that the number will be kept at a distance of at least 0.6
+of the note head.
+
+
+Each layout object may have several functions as a notational or
+typographical element. For example, the Fingering object
+has the following aspects
+
+@itemize @bullet
+@item Its size is independent of the horizontal spacing, unlike slurs or beams.
+
+@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
+center of the notehead
+@item Vertically, the symbol is placed next to the note and the staff.
+
+@item 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},
+which are listed on the @internalsref{Fingering} page at the bottom
+
+@quotation
+This object supports the following interfaces:
+@internalsref{item-interface},
+@internalsref{self-alignment-interface},
+@internalsref{side-position-interface}, @internalsref{text-interface},
+@internalsref{text-script-interface}, @internalsref{font-interface},
+@internalsref{finger-interface}, and @internalsref{grob-interface}.
+@end quotation
+
+Clicking any of the links will take you to the page of the respective
+object interface. Each interface has a number of properties. Some of
+them are not user-serviceable (``Internal properties''), but others
+are.
+
+We have been talking of `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',
+
+@verbatim
+ (Fingering
+ . (
+ (print-function . ,Text_interface::print)
+ (padding . 0.6)
+ (staff-padding . 0.6)
+ (self-alignment-X . 0)
+ (self-alignment-Y . 0)
+ (script-priority . 100)
+ (font-encoding . number)
+ (font-size . -5)
+ (meta . ((interfaces . (finger-interface font-interface
+ text-script-interface text-interface
+ side-position-interface self-alignment-interface
+ item-interface))))
+ ))
+@end verbatim
+
+@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[fragment,relative=2,verbatim]
+c-2
+\stemUp
+f
+@end lilypond
+
+Since the @b{2} is vertically positioned next to its note, we have to
+meddle with the interface associated with this positioning. This is
+done using @code{side-position-interface}. The page for this interface
+says
+
+@quotation
+@code{side-position-interface}
+
+ Position a victim object (this one) next to other objects (the
+ support). The property @code{direction} signifies where to put the
+ victim object relative to the support (left or right, up or down?)
+@end quotation
+
+@cindex padding
+@noindent
+below this description, the variable @code{padding} is described as
+@quotation
+@table @code
+@item padding
+ (dimension, in staff space)
+
+ Add this much extra space between objects that are next to each
+ other.
+@end table
+@end quotation
+
+By increasing the value of @code{padding}, we can move away the
+fingering. The following command inserts 3 staff spaces of white
+between the note and the fingering:
+@example
+\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 Voice.Fingering #'padding = #3
+c-2
+\stemUp
+f
+@end lilypond
+
+
+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.
-The @code{font-size} mechanism does not work for fonts selected
-through @code{font-name}. These may be scaled with
-@code{font-magnification}.
+@lilypond[verbatim,raggedright]
+#(define (my-callback grob)
+ (let* (
-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}.
+ ; have we been split?
+ (orig (ly:grob-original grob))
-@cindex @code{font-style}
+ ; 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
+
+@menu
+* Selecting font sizes::
+* Font selection::
+@end menu
+
+
+
+@node Selecting font sizes
+@subsection Selecting font sizes
+
+
+The easiest method of setting the font size of any context, is by
+setting the @code{fontSize} property.
+
+@lilypond[fragment,relative=1,verbatim]
+ c8
+ \set fontSize = #-4
+ c f
+ \set fontSize = #3
+ g
+@end lilypond
+
+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
+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. 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}. 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
-The following commands set @code{fontSize} for the current voice.
+The following commands set @code{fontSize} for the current voice:
@cindex @code{\tiny}
@code{\tiny},
@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}
is a symbol indicating the general class of the typeface. Supported are
-@code{roman} (Computer Modern), @code{sans} and @code{typewriter}
+@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
several font shapes available for each font family. Choices are
-@code{italic}, @code{caps} and @code{upright}.
+@code{italic}, @code{caps}, and @code{upright}.
@item @code{font-series}
is a symbol indicating the series of the font. There are typically several
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]
@cindex font switching
The markup in the example demonstrates font switching commands. The
-command @code{\bold} and @code{\italic} only apply to the first
-following word; enclose a set of texts with braces to apply a command
+command @code{\bold} and @code{\italic} apply to the first following
+word only; enclose a set of texts with braces to apply a command
to more words:
@example
\markup @{ \bold @{ hi there @} @}
In markup mode you can compose expressions, similar to mathematical
-expressions, XML documents and music expressions. The braces group
+expressions, XML documents, and music expressions. The braces group
notes into horizontal lines. Other types of lists also exist: you can
-stack expressions grouped with @code{<}, and @code{>} vertically with
+stack expressions grouped with @code{<} and @code{>} vertically with
the command @code{\column}. Similarly, @code{\center-align} aligns
texts by their center lines:
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
@section Global layout
The global layout determined by three factors: the page layout, the
-line breaks and the spacing. These all influence each other. The
+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 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.
+best results --- a layout that has uniform density and requires as
+little stretching or cramping as possible --- is chosen.
+
+After spacing and linebreaking, the systems are distributed across
+pages, taking into account the size of the page, and the size of the
+titles.
@menu
+* Setting global staff size::
+* Vertical spacing of piano staves::
* Vertical spacing::
* Horizontal spacing::
+* Line length::
+* Line breaking::
+* Multiple movements::
+* Creating titles::
+* Page breaking::
+* paper size::
+* Page layout::
@end menu
+@node Setting global staff size
+@subsection Setting global staff size
+
+@cindex font size, setting
+@cindex staff size, setting
+@cindex @code{layout} file
+
+The Feta font provides musical symbols at eight different
+sizes. Each font is tuned for a different staff size: at a smaller size
+the font becomes heavier, to match the relatively heavier staff lines.
+The recommended font sizes are listed in the following table:
+
+@multitable @columnfractions .25 .25 .25 .25
+
+@item @b{font name}
+@tab @b{staff height (pt)}
+@tab @b{staff height (mm)}
+@tab @b{use}
+
+@item feta11
+@tab 11.22
+@tab 3.9
+@tab pocket scores
+
+@item feta13
+@tab 12.60
+@tab 4.4
+@tab
+
+@item feta14
+@tab 14.14
+@tab 5.0
+@tab
+
+@item feta16
+@tab 15.87
+@tab 5.6
+@tab
+
+@item feta18
+@tab 17.82
+@tab 6.3
+@tab song books
+
+@item feta20
+@tab 20
+@tab 7.0
+@tab standard parts
+
+@item feta23
+@tab 22.45
+@tab 7.9
+@tab
+
+@item feta26
+@tab 25.2
+@tab 8.9
+@tab
+@c modern rental material ?
+
+@end multitable
+
+These fonts are available in any sizes. The context property
+@code{fontSize} and the layout property @code{staff-space} (in
+@internalsref{StaffSymbol}) can be used to tune size for individual
+staves. The size of individual staves are relative to the global size,
+which can be set in the following manner:
+
+@example
+ #(set-global-staff-size 14)
+@end example
+
+This sets the global default size to 14pt staff height, and scales all
+fonts accordingly.
+
+@seealso
+
+This manual: @ref{Selecting font sizes}.
+
+
+
+
+@node Vertical spacing of piano staves
+@subsection Vertical spacing of piano staves
+
+The distance between staves of a @internalsref{PianoStaff} cannot be
+computed during formatting. Rather, to make cross-staff beaming work
+correctly, that distance has to be fixed beforehand.
+
+The distance of staves in a @code{PianoStaff} is set with the
+@code{forced-distance} property of the
+@internalsref{VerticalAlignment} object, created in
+@internalsref{PianoStaff}.
+
+It can be adjusted as follows
+@verbatim
+\new PianoStaff \with {
+ \override VerticalAlignment #'forced-distance = #7
+} {
+ ...
+}
+@end verbatim
+This would bring the staves together at a distance of 7 staff spaces,
+measured from the center line of each staff.
+
+The difference is demonstrated in the following example,
+@lilypond[verbatim]
+\relative <<
+ \new PianoStaff \with {
+ \override VerticalAlignment #'forced-distance = #7
+ } <<
+ \new Staff { c1 }
+ \new Staff { c }
+ >>
+ \new PianoStaff <<
+ \new Staff { c }
+ \new Staff { c }
+ >>
+>>
+@end lilypond
+
+
+
+@refbugs
+
+@code{forced-distance} cannot be changed per system.
+
@node Vertical spacing
@subsection Vertical spacing
@cindex 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).
duration adds a fixed amount (this amount is controlled by
@code{spacing-increment}) of space to the note.
-For example, the following piece contains lots of half, quarter and
+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
+ \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
- SpacingSpanner \override #'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.
-
-
-
-@node Font Size
-@section Font size
-
-@cindex font size, setting
-@cindex staff size, setting
-@cindex @code{paper} file
-
-The Feta font provides musical symbols at eight different
-sizes. Each font is tuned for a different staff size: at smaller sizes
-the font gets heavier, to match the relatively heavier staff lines.
-The recommended font sizes are listed in the following table:
-
-@multitable @columnfractions .25 .25 .25 .25
-
-@item @b{font name}
-@tab @b{staff height (pt)}
-@tab @b{staff height (mm)}
-@tab @b{use}
-
-@item feta11
-@tab 11.22
-@tab 3.9
-@tab pocket scores
-
-@item feta13
-@tab 12.60
-@tab 4.4
-@tab
-
-@item feta14
-@tab 14.14
-@tab 5.0
-@tab
-
-@item feta16
-@tab 15.87
-@tab 5.6
-@tab
-
-@item feta18
-@tab 17.82
-@tab 6.3
-@tab song books
-
-@item feta20
-@tab 17.82
-@tab 7.0
-@tab standard parts
-
-@item feta23
-@tab 22.45
-@tab 7.9
-@tab
+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
-@item feta20
-@tab 25.2
-@tab 8.9
-@tab
-@c modern rental material ?
+No work-around exists for decreasing the amount of space.
-@end multitable
+@node Line length
+@subsection Line length
-These fonts are available in any sizes. The context property
-@code{fontSize} and the layout property @code{staff-space} (in
-@internalsref{StaffSymbol}) can be used to tune size for individual
-staves. The size of individual staves are relative to the global size,
-which can be set in the following manner:
+@cindex page breaks
+@cindex breaking pages
-@example
- #(set-global-staff-size 14)
-@end example
+@cindex @code{indent}
+@cindex @code{linewidth}
-This sets the global default size to 14pt staff height, and scales all
-fonts accordingly.
+@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.
-@seealso
+@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.
-This manual: @ref{Selecting font sizes}.
+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
-@menu
-* Line breaking::
-* Page layout::
-* Defining contexts::
-* Defining new contexts::
-@end menu
+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
@refcommands
-@code{\break}, @code{\noBreak}
+@code{\break}, and @code{\noBreak}.
@cindex @code{\break}
@cindex @code{\noBreak}
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 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 a 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
@cindex @code{papersize}
-To change the paper size, use the following Scheme code:
+To change the paper size, there are two commands,
@example
- \paper@{
+ #(set-default-paper-size "a4")
+ \layout@{
#(set-paper-size "a4")
@}
@end example
+The second one sets the size of the @code{\layout} block that it is in.
+The following paper sizes are supported.
-@refcommands
+@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.
-@cindex @code{\newpage}
-@code{\newpage}.
+@example
+#(set-default-paper-size "a6" 'landscape)
+@end example
+@node Page layout
+@subsection Page layout
-@seealso
+@cindex page layout
+@cindex margins
+@cindex header, page
+@cindex footer, page
-In this manual: @ref{Invoking lilypond}.
+LilyPond will do page layout, setting margins and adding headers and
+footers to each page.
-Examples: @inputfileref{input/regression,between-systems.ly}.
+The default layout responds to the following settings in the
+@code{\paper} block
-Internals: @internalsref{NonMusicalPaperColumn}.
+@cindex \paper
-@refbugs
+@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.
-LilyPond has no concept of page layout, which makes it difficult to
-reliably choose page breaks in longer pieces.
+ 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 Defining contexts
-@subsection Defining contexts
+Increasing this will put systems whose bounding boxes almost touch
+farther apart.
-@cindex context definition
-@cindex translator definition
+@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).
-The most common way to create a new context definition is by extending
-an existing one. An existing context from the paper block is copied
-by referencing a context identifier:
+@end table
@example
-\paper @{
- \context @{
- @var{context-identifier}
- @}
-@}
+ \paper@{
+ hsize = 2\cm
+ topmargin = 3\cm
+ bottommargin = 3\cm
+ raggedlastbottom = ##t
+ @}
@end example
-@noindent
-Every predefined context has a standard identifier. For example, the
-@code{Staff} context can be referred to as @code{\StaffContext}.
+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.
-The context can then be modified by setting or changing properties,
-e.g.
@example
-\context @{
- \StaffContext
- Stem \set #'thickness = #2.0
- defaultBarType = #"||"
-@}
+ \paper@{
+ #(define bottommargin (* 2 cm))
+ @}
@end example
-These assignments happen before interpretation starts, so a property
-command will override any predefined settings.
-@cindex engraver
+@cindex copyright
+@cindex tagline
-@refbugs
+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.}
-It is not possible to collect multiple property assignments in a
-variable, and apply to one @code{\context} definition by
-referencing that variable.
+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
-@node Defining new contexts
-@subsection Defining new contexts
+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.
-It is also possible to define new contexts from scratch. To do this,
-you must define give the new context a name. In the following
-example, a very simple Staff context is created: one that will put
-note heads on a staff symbol.
+@seealso
-@example
-\context @{
- \type "Engraver_group_engraver"
- \name "SimpleStaff"
- \alias "Staff"
- \consists "Staff_symbol_engraver"
- \consists "Note_head_engraver"
- \consistsend "Axis_group_engraver"
-@}
-@end example
+Examples: @inputfileref{input/test,page-breaks.ly}
-@noindent
-The argument of @code{\type} is the name for a special engraver that
-handles cooperation between simple engravers such as
-@code{Note_head_engraver} and @code{Staff_symbol_engraver}. This
-should always be @code{Engraver_group_engraver} (unless you are
-defining a Score context from scratch, in which case
-@code{Score_engraver} must be used).
-
-The complete list of context modifiers is the following:
-@itemize @bullet
-@item @code{\alias} @var{alternate-name}:
-This specifies a different name. In the above example,
-@code{\set Staff.X = Y} will also work on @code{SimpleStaff}s.
-
-@item @code{\consistsend} @var{engravername}:
-Analogous to @code{\consists}, but makes sure that
-@var{engravername} is always added to the end of the list of
-engravers.
-
-Engravers that group context objects into axis groups or alignments
-need to be at the end of the list. @code{\consistsend} insures that
-engravers stay at the end even if a user adds or removes engravers.
-
-@item @code{\accepts} @var{contextname}:
-This context can contains @var{contextname} contexts. The first
-@code{\accepts} is created as a default context when events (e.g. notes
-or rests) are encountered.
-
-@item @code{\denies}:
-The opposite of @code{\accepts}.
-
-@item @code{\name} @var{contextname}:
-This sets the type name of the context, e.g. @code{Staff},
-@code{Voice}. If the name is not specified, the translator will not
-do anything.
-@end itemize
+@refbugs
-@c EOF
+The option rightmargin is defined but doesn't set the right margin
+yet. The value for the right margin has to be defined adjusting the
+values of the leftmargin and linewidth.
+The default page header puts the page number and the @code{instrument}
+field from the @code{\header} block on a line.
-@node Output details
-@section Output details
+@node File structure
+@section File structure
-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.
+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
-Now the music is output system by system (a `system' consists of all
-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.
+@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.
-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.
+A @code{.ly} file contains any number of toplevel expressions, where a
+toplevel expressions is one of the following
-It is possible to fine-tune the vertical offset further by defining the
-macro @code{\lilypondscoreshift}:
+@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.
-@example
-\def\lilypondscoreshift@{0.25\baselineskip@}
-@end example
+@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.
-@noindent
-where @code{\baselineskip} is the distance from one text line to the next.
+@item An @code{\addquote} statement. See @ref{Quoting other voices}
+for more information.
-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}):
+@item A @code{\score} block. This score will be collected with other
+toplevel scores, and combined as a single @code{\book}.
-@example
-\documentclass@{article@}
+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}.
-\def\lilypondpaperlastpagefill@{@}
-\lineskip 5pt
-\def\lilypondscoreshift@{0.25\baselineskip@}
+@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..
-\begin@{document@}
-This is running text which includes an example music file
-\input@{foo.tex@}
-right here.
-\end@{document@}
-@end example
+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}.
-The file @file{foo.tex} has been simply produced with
+@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