1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
10 @section Expressive marks
19 @node Attached to notes
20 @subsection Attached to notes
29 @unnumberedsubsubsec Articulations
35 A variety of symbols can appear above and below notes to indicate
36 different characteristics of the performance. They are added to a
37 note by adding a dash and the character signifying the
40 See @ref{List of articulations}.
42 @lilypond[quote,ragged-right,verbatim,fragment]
43 \override TextScript #'font-family = #'typewriter
44 \override TextScript #'font-shape = #'upright
54 The meanings of these shorthands can be changed. See
55 @file{ly/@/script@/-init@/.ly} for examples.
57 The script is automatically placed, but the direction can be
58 forced as well. Like other pieces of LilyPond code, @code{_} will
59 place them below the staff, and @code{^} will place them above.
61 @lilypond[quote,ragged-right,fragment,verbatim]
65 Other symbols can be added using the syntax
66 @var{note}@code{\}@var{name}. Again, they
67 can be forced up or down using @code{^} and @code{_},
70 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
71 c\fermata c^\fermata c_\fermata
86 @cindex organ pedal marks
107 The vertical ordering of scripts is controlled with the
108 @code{script-priority} property. The lower this number, the closer it
109 will be put to the note. In this example, the
110 @internalsref{TextScript} (the sharp symbol) first has the lowest
111 priority, so it is put lowest in the first example. In the second, the
112 prall trill (the @internalsref{Script}) has the lowest, so it is on the
113 inside. When two objects have the same priority, the order in which
114 they are entered decides which one comes first.
116 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
117 \once \override TextScript #'script-priority = #-100
118 a4^\prall^\markup { \sharp }
120 \once \override Script #'script-priority = #-100
121 a4^\prall^\markup { \sharp }
127 Program reference: @internalsref{Script}.
132 These signs appear in the printed output but have no effect on the
133 MIDI rendering of the music.
137 @unnumberedsubsubsec Dynamics
158 Absolute dynamic marks are specified using a command after a note
159 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
160 @code{\pppp}, @code{\ppp},
161 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
162 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
163 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
165 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
166 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
167 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
174 A crescendo mark is started with @code{\<} and terminated with
175 @code{\!} or an absolute dynamic. A decrescendo is started with
176 @code{\>} and is also terminated with @code{\!} or an absolute
177 dynamic. @code{\cr} and @code{\decr} may be used instead of
178 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
179 use spacer notes if multiple marks are needed during one note
181 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 << f1 { s4 s4\< s4\! \> s4\! } >>
187 A hairpin normally starts at the left edge of the beginning note
188 and ends on the right edge of the ending note. If the ending
189 note falls on the downbeat, the hairpin ends on the immediately
190 preceding barline. This may be modified by setting the
191 @code{hairpinToBarline} property,
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 \set hairpinToBarline = ##f
198 In some situations the @code{\espressivo} articulation mark may
199 be suitable to indicate a crescendo and decrescendo on the one note,
201 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
202 c2 b4 a g1\espressivo
205 This may give rise to very short hairpins. Use @code{minimum-length}
206 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
210 \override Voice.Hairpin #'minimum-length = #5
216 Hairpins may be printed with a circled tip (al niente notation) by
217 setting the @code{circled-tip} property,
219 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
220 \override Hairpin #'circled-tip = ##t
230 You can also use text saying @emph{cresc.} instead of hairpins
232 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
243 You can also supply your own texts
244 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
245 \set crescendoText = \markup { \italic "cresc. poco" }
246 \set crescendoSpanner = #'dashed-line
250 To create new dynamic marks or text that should be aligned
251 with dynamics, see @ref{New dynamic marks}.
253 Vertical positioning of dynamics is handled by
254 @internalsref{DynamicLineSpanner}.
259 Dynamics that occur at, begin on, or end on, the same note
260 will be vertically aligned. If you want to ensure that dynamics
261 are aligned when they do not occur on the same note, you can
262 increase the @code{staff-padding} property.
265 \override DynamicLineSpanner #'staff-padding = #4
268 You may also use this property if the dynamics are colliding
271 Crescendi and decrescendi that end on the first note of a
272 new line are not printed. To change this behavior, use
275 \override Score.Hairpin #'after-line-breaking = ##t
278 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
280 dashed line showing their extent. To surpress printing this line, use
283 \override DynamicTextSpanner #'dash-period = #-1.0
291 @funindex \dynamicDown
293 @funindex \dynamicNeutral
294 @code{\dynamicNeutral}.
299 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
300 Vertical positioning of these symbols is handled by
301 @internalsref{DynamicLineSpanner}.
311 * Laissez vibrer ties::
317 @unnumberedsubsubsec Ties
322 A tie connects two adjacent note heads of the same pitch. The tie in
323 effect extends the length of a note. Ties should not be confused with
324 slurs, which indicate articulation, or phrasing slurs, which indicate
325 musical phrasing. A tie is entered using the tilde symbol @samp{~}
327 @lilypond[quote,ragged-right,fragment,verbatim]
328 e' ~ e' <c' e' g'> ~ <c' e' g'>
331 When a tie is applied to a chord, all note heads whose pitches match
332 are connected. When no note heads match, no ties will be created. Chords
333 may be partially tied by placing the tie inside the chord,
335 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
336 <c~ e g~ b> <c e g b>
339 A tie is just a way of extending a note duration, similar to the
340 augmentation dot. The following example shows two ways of notating
341 exactly the same concept
343 @lilypond[quote,fragment,ragged-right]
344 \time 3/4 c'2. c'2 ~ c'4
348 Ties are used either when the note crosses a bar line, or when dots
349 cannot be used to denote the rhythm. When using ties, larger note
350 values should be aligned to subdivisions of the measure, such as
352 @lilypond[fragment,quote,ragged-right]
354 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
358 If you need to tie a lot of notes over bars, it may be easier to use
359 automatic note splitting (see @ref{Automatic note splitting}). This
360 mechanism automatically splits long notes, and ties them across bar
365 When a second alternative of a repeat starts with a tied note, you
366 have to repeat the tie. This can be achieved with @code{\repeatTie},
368 @lilypond[fragment,quote,ragged-right,relative=2]
372 @cindex repeating ties
373 @cindex volta brackets and ties
377 Ties are sometimes used to write out arpeggios. In this case, two tied
378 notes need not be consecutive. This can be achieved by setting the
379 @code{tieWaitForNote} property to true. The same feature is also useful,
380 for example, to tie a tremolo to a chord. For example,
382 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
383 \set tieWaitForNote = ##t
384 \grace { c16[~ e~ g]~ } <c, e g>2
385 \repeat tremolo 8 { c32~ c'~ } <c c,>1
386 e8~ c~ a~ f~ <e' c a f>2
389 Ties may be engraved manually by changing the @code{tie-configuration}
390 property. The first number indicates the distance from the center
391 of the staff in staff-spaces, and the second number indicates the
392 direction (1=up, -1=down).
394 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
396 \override TieColumn #'tie-configuration =
397 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
409 @funindex \tieNeutral
421 In this manual: @ref{Automatic note splitting}.
423 Program reference: @internalsref{Tie}.
428 Switching staves when a tie is active will not produce a slanted tie.
430 Changing clefs or octavations during a tie is not really
431 well-defined. In these cases, a slur may be preferable.
435 @unnumberedsubsubsec Slurs
439 A slur indicates that notes are to be played bound or
440 @emph{legato}. They are entered using parentheses
442 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
443 f( g a) a8 b( a4 g2 f4)
447 The direction of a slur can be specified with
448 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
449 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
452 However, there is a convenient shorthand for forcing slur
453 directions. By adding @code{_} or @code{^} before the opening
454 parentheses, the direction is also set. For example,
456 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
460 Only one slur can be printed at once. If you need to print a long
461 slur over a few small slurs, please see @ref{Phrasing slurs}.
466 Some composers write two slurs when they want legato chords. This can
467 be achieved in LilyPond by setting @code{doubleSlurs},
469 @lilypond[verbatim,ragged-right,relative,fragment,quote]
470 \set doubleSlurs = ##t
471 <c e>4 ( <d f> <c e> <d f> )
481 @funindex \slurNeutral
483 @funindex \slurDashed
485 @funindex \slurDotted
492 Program reference: @internalsref{Slur}.
496 @unnumberedsubsubsec Phrasing slurs
498 @cindex phrasing slurs
499 @cindex phrasing marks
501 A phrasing slur (or phrasing mark) connects notes and is used to
502 indicate a musical sentence. It is written using @code{\(} and @code{\)}
505 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
506 \time 6/4 c'\( d( e) f( e) d\)
509 Typographically, the phrasing slur behaves almost exactly like a
510 normal slur. However, they are treated as different objects. A
511 @code{\slurUp} will have no effect on a phrasing slur; instead, use
512 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
513 @code{\phrasingSlurNeutral}.
515 You cannot have simultaneous phrasing slurs.
520 @funindex \phrasingSlurUp
521 @code{\phrasingSlurUp},
522 @funindex \phrasingSlurDown
523 @code{\phrasingSlurDown},
524 @funindex \phrasingSlurNeutral
525 @code{\phrasingSlurNeutral}.
530 Program reference: @internalsref{PhrasingSlur}.
533 @node Laissez vibrer ties
534 @unnumberedsubsubsec Laissez vibrer ties
535 @cindex Laissez vibrer
536 @cindex Ties, laissez vibrer
538 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
539 end. It is used in notation for piano, harp and other string and
540 percussion instruments. They can be entered using @code{\laissezVibrer},
542 @lilypond[fragment,ragged-right,verbatim,relative=1]
543 <c f g>\laissezVibrer
549 @internalsref{LaissezVibrerTie}
550 @internalsref{LaissezVibrerTieColumn}
553 @lsr{connecting,laissez-vibrer-ties.ly}
557 @unnumberedsubsubsec Breath marks
559 Breath marks are entered using @code{\breathe}
561 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
568 The glyph of the breath mark can be tuned by overriding the
569 @code{text} property of the @code{BreathingSign} layout object with
570 any markup text. For example,
571 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
573 \override BreathingSign #'text
574 = #(make-musicglyph-markup "scripts.rvarcomma")
581 Program reference: @internalsref{BreathingSign}.
583 Examples: @lsr{expressive,breathing-sign.ly}
586 @node Falls and doits
587 @unnumberedsubsubsec Falls and doits
589 Falls and doits can be added to notes using the @code{\bendAfter}
592 @lilypond[fragment,ragged-right,relative=2]
593 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
606 * Analysis brackets::
610 @unnumberedsubsubsec Glissando
615 A glissando is a smooth change in pitch. It is denoted by a line or a
616 wavy line between two notes. It is requested by attaching
617 @code{\glissando} to a note
619 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
621 \override Glissando #'style = #'zigzag
628 @lilypond[quote,ragged-right,verbatim]
629 I = \once \override NoteColumn #'ignore-collision = ##t
632 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
633 { \oneVoice \I c2 \glissando \I d, }
641 Program reference: @internalsref{Glissando}.
644 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
649 Printing text over the line (such as @emph{gliss.}) is not supported.
653 @unnumberedsubsubsec Arpeggio
659 You can specify an arpeggio sign (also known as broken chord) on a
660 chord by attaching an @code{\arpeggio} to a chord
662 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
666 A square bracket on the left indicates that the player should not
669 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
674 The direction of the arpeggio is sometimes denoted by adding an
675 arrowhead to the wiggly line
677 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
689 When an arpeggio crosses staves, you may attach an arpeggio to the chords
690 in both staves and set
691 @internalsref{PianoStaff}.@code{connectArpeggios}
693 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
695 \set PianoStaff.connectArpeggios = ##t
696 \new Staff { <c' e g c>\arpeggio }
697 \new Staff { \clef bass <c,, e g>\arpeggio }
701 @c TODO: cross-voice arpeggio example?
702 @c such an example is already in LSR -J.Mandereau
707 @funindex \arpeggioUp
709 @funindex \arpeggioDown
710 @code{\arpeggioDown},
711 @funindex \arpeggioNeutral
712 @code{\arpeggioNeutral},
713 @funindex \arpeggioBracket
714 @code{\arpeggioBracket}.
719 Notation manual: @ref{Ties}, for writing out arpeggios.
721 Program reference: @internalsref{Arpeggio}.
726 It is not possible to mix connected arpeggios and unconnected
727 arpeggios in one @internalsref{PianoStaff} at the same point in time.
731 @unnumberedsubsubsec Trills
733 Short trills are printed like normal articulation; see @ref{Articulations}.
735 Long running trills are made with @code{\startTrillSpan} and
736 @code{\stopTrillSpan},
738 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
740 << { c1 \startTrillSpan }
741 { s2. \grace { d16[\stopTrillSpan e] } } >>
745 @cindex Pitched trills
747 Trills that should be executed on an explicitly specified pitch can be
748 typeset with the command @code{pitchedTrill},
750 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
751 \pitchedTrill c4\startTrillSpan fis
756 The first argument is the main note. The pitch of the second
757 is printed as a stemless note head in parentheses.
762 @code{\startTrillSpan},
763 @funindex \startTrillSpan
764 @code{\stopTrillSpan}.
765 @funindex \stopTrillSpan
770 Program reference: @internalsref{TrillSpanner}.
773 @node Analysis brackets
774 @unnumberedsubsubsec Analysis brackets
776 @cindex phrasing brackets
777 @cindex musicological analysis
778 @cindex note grouping bracket
780 Brackets are used in musical analysis to indicate structure in musical
781 pieces. LilyPond supports a simple form of nested horizontal
782 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
783 to @internalsref{Staff} context. A bracket is started with
784 @code{\startGroup} and closed with @code{\stopGroup}
786 @lilypond[quote,ragged-right,verbatim]
789 c4\startGroup\startGroup
792 c4\stopGroup\stopGroup
796 \Staff \consists "Horizontal_bracket_engraver"
802 Program reference: @internalsref{HorizontalBracket}.