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
12 @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
13 {expressive-headword.ly}
22 @node Attached to notes
23 @subsection Attached to notes
27 * Articulations and ornamentations::
31 @node Articulations and ornamentations
32 @unnumberedsubsubsec Articulations and ornamentations
38 A variety of symbols can appear above and below notes to indicate
39 different characteristics of the performance. All these symbols
40 can be attached to a note using the syntax
41 @var{note}@code{\}@var{name}.
43 The possible values for @var{name} are listed in @ref{List of
46 Some of these articulations have shorthands for easier entry. They
47 are used by adding a dash and the character signifying
48 the articulation to the note name. The available shorthands and
51 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
56 The marks are automatically placed, but the direction can be
57 forced as well. Like other pieces of LilyPond code,
58 @code{_}@tie{}will place them below the staff, and@tie{}@code{^}
59 will place them above. This applies both to the shorthands and
60 the fully named articulations. For the shorthands, the dash
61 itself should be omitted; the direction signs replace it:
63 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
65 c\fermata c^\fermata c_\fermata
81 @cindex organ pedal marks
102 The meanings of the shorthands can be changed. They are defined
103 in @file{ly/@/script@/-init@/.ly}, where the variables
104 @code{dashDot}, @code{dashDash}, @code{dashPlus}, @code{dashBar},
105 @code{dashLarger}, @code{dashHat}, and @code{dashUnderscore}
106 are associated with the default articulation marks. If you want,
107 e.g., @code{-+} to produce a trill instead of a "+", you can
108 redefine the variable in your document:
110 @lilypond[verbatim,quote,ragged-right]
111 \relative c'' { c-+ }
113 \relative c'' { c-+ }
116 The vertical ordering of scripts is controlled with the
117 @code{script-priority} property. The lower this number, the
118 closer it will be put to the note. In this example, the
119 @code{TextScript} (the sharp symbol) first has the lowest
120 priority, so it is put lowest in the first example. In the
121 second, the prall trill (the @code{Script}) has the
122 lowest, so it is on the inside. When two objects have the same
123 priority, the order in which they are entered decides which one
126 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
127 \once \override TextScript #'script-priority = #-100
128 a4^\prall^\markup { \sharp }
130 \once \override Script #'script-priority = #-100
131 a4^\prall^\markup { \sharp }
137 Snippets: @lsrdir{expressive}
139 Internals Reference: @internalsref{Script},
140 @internalsref{TextScript}.
145 These signs appear in the printed output but have no effect on the
146 MIDI rendering of the music.
150 @unnumberedsubsubsec Dynamics
171 Absolute dynamic marks are specified using a command after a note,
172 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
173 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
174 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
175 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
176 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
177 above or below the staff with@tie{}@code{_} and@tie{}@code{^},
178 just like articulation marks.
180 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
183 c_\spp c_\staccato^\ff
190 A crescendo mark is started with @code{\<} and terminated with
191 @code{\!} or an absolute dynamic. A decrescendo is started with
192 @code{\>} and is also terminated with @code{\!} or an absolute
193 dynamic. @code{\cr} and @code{\decr} may be used instead of
194 @code{\<} and @code{\>}. They can be engraved either using a
195 graphical sign (a @q{hairpin}), or with textual signs.
197 Because these marks are bound to notes, you must use spacer notes
198 if multiple marks are needed during one note.
200 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
202 << f1 { s4 s4\< s4\! \> s4\! } >>
205 This may give rise to very short hairpins. To lengthen them, use
206 for example @code{minimum-length} in
207 @internalsref{Voice}.@internalsref{Hairpin}:
210 \override Voice.Hairpin #'minimum-length = #5
214 A hairpin normally starts at the left edge of the beginning note
215 and ends on the right edge of the ending note. If the ending note
216 falls on the downbeat, the hairpin ends on the immediately
217 preceding bar line. This may be modified by setting the
218 @code{hairpinToBarline} property:
221 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
223 \set hairpinToBarline = ##f
227 @cindex espressivo, articulation
228 In some situations the @code{\espressivo} articulation mark may be
229 suitable to indicate a crescendo and decrescendo on the one note:
231 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
232 c2 b4 a g1\espressivo
238 Hairpins may be printed with a circled tip (al niente notation) by
239 setting the @code{circled-tip} property:
241 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
242 \override Hairpin #'circled-tip = ##t
251 You can use text saying @emph{cresc.}, @emph{decr.}, or
252 @emph{dim.} instead of hairpins with the commands \setTextCresc,
253 \setTextDim, and \setTextDecresc. The corresponding
254 \setHairpinCresc, \setHairpinDim, and \setHairpinDecresc will
255 revert to hairpins again:
257 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
270 You can also supply your own texts and change the style of the
271 spanner line with the properties @code{\crescendoText},
272 @code{\crescendoSpanner}, @code{\decrescendoText}, and
273 @code{\decrescendoSpanner}. Available values for the spanner
274 properties are @code{hairpin}, @code{line}, @code{dashed-line},
275 and @code{dotted-line}. If unset, a hairpin crescendo is used:
277 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
278 \set crescendoText = \markup { \italic "cresc. poco" }
279 \set crescendoSpanner = #'dotted-line
280 a'2\< a a a a a a a\!\mf
283 To create new dynamic marks or text that should be aligned with
284 dynamics, see @ref{New dynamic marks}.
286 Vertical positioning of dynamics is handled by
287 @internalsref{DynamicLineSpanner}.
294 @funindex \dynamicDown
296 @funindex \dynamicNeutral
297 @code{\dynamicNeutral}.
302 Dynamics that occur at, begin on, or end on the same note will be
303 vertically aligned. If you want to ensure that dynamics are
304 aligned when they do not occur on the same note, you can increase
305 the @code{staff-padding} property.
308 \override DynamicLineSpanner #'staff-padding = #4
312 You may also use this property if the dynamics are colliding with
315 Crescendi and decrescendi that cross a line break will be
316 continued on the second line. If they end on the first note of a
317 new line, nothing will be printed on that line. To change this
321 \override Score.Hairpin #'after-line-breaking = ##t
324 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
325 are printed with a dashed line showing their extent. To surpress
326 printing this line, use
329 \override DynamicTextSpanner #'dash-period = #-1.0
335 Music Glossary: @rglos{hairpin}, @rglos{crescendo},
338 Learning Manual: @rlearning{Articulation and dynamics}.
340 Snippets: @lsrdir{expressive}
342 Internals Reference: @internalsref{DynamicText},
343 @internalsref{Hairpin}. Vertical positioning of these symbols is
344 handled by @internalsref{DynamicLineSpanner}.
358 @unnumberedsubsubsec Slurs
362 A slur indicates that notes are to be played bound or
363 @emph{legato}. They are entered using parentheses:
365 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
366 f( g a) a8 b( a4 g2 f4)
370 Just as with ties, the direction of a slur can be specified with
371 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
372 @code{Up}, @code{Down}, or @code{Neutral} (automatically
373 selected). The shorthands are also available: by
374 adding@tie{}@code{_} or@tie{}@code{^} before the opening
375 parentheses, the direction is also set.
377 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
381 Only one slur can be printed at once. If you need to print a long
382 slur over a few small slurs, please see @ref{Phrasing slurs}.
391 @funindex \slurNeutral
393 @funindex \slurDashed
395 @funindex \slurDotted
403 Some composers write two slurs when they want legato chords. This
404 can be achieved in LilyPond by setting @code{doubleSlurs},
406 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
407 \set doubleSlurs = ##t
408 <c e>4 ( <d f> <c e> <d f> )
414 Snippets: @lsrdir{expressive}
416 Internals Reference: @internalsref{Slur}.
420 @unnumberedsubsubsec Phrasing slurs
422 @cindex phrasing slurs
423 @cindex phrasing marks
425 A phrasing slur (or phrasing mark) connects notes and is used to
426 indicate a musical sentence. It is written using @code{\(} and
427 @code{\)} respectively:
429 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
430 \time 6/4 c'\( d( e) f( e) d\)
433 Typographically, the phrasing slur behaves almost exactly like a
434 normal slur. However, they are treated as different objects. A
435 @code{\slurUp} will have no effect on a phrasing slur; instead,
436 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
437 @code{\phrasingSlurNeutral}, or use the shorthands@tie{}@code{_}
440 You cannot have simultaneous phrasing slurs.
445 @funindex \phrasingSlurUp
446 @code{\phrasingSlurUp},
447 @funindex \phrasingSlurDown
448 @code{\phrasingSlurDown},
449 @funindex \phrasingSlurNeutral
450 @code{\phrasingSlurNeutral}.
455 Snippets: @lsrdir{expressive}
457 Internals Reference: @internalsref{PhrasingSlur}.
461 @unnumberedsubsubsec Breath marks
463 Breath marks are entered using @code{\breathe}:
465 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
472 The glyph of the breath mark can be tuned by overriding the
473 @code{text} property of the @code{BreathingSign} layout object
474 with any markup text. For example,
476 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
478 \override BreathingSign #'text
479 = #(make-musicglyph-markup "scripts.rvarcomma")
486 Snippets: @lsrdir{expressive}, @lsr{expressive,breathing-sign.ly}.
488 Internals Reference: @internalsref{BreathingSign}.
491 @node Falls and doits
492 @unnumberedsubsubsec Falls and doits
494 Falls and doits can be added to notes using the @code{\bendAfter}
497 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
498 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
513 @unnumberedsubsubsec Glissando
518 A glissando is a smooth change in pitch. It is denoted by a line
519 or a wavy line between two notes. It is requested by attaching
520 @code{\glissando} to a note:
522 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
524 \override Glissando #'style = #'zigzag
531 @lilypond[verbatim,quote,ragged-right]
532 I = \once \override NoteColumn #'ignore-collision = ##t
535 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
536 { \oneVoice \I c2 \glissando \I d, }
544 Music Glossary: @rglos{falls}, @rglos{doits}.
546 Snippets: @lsrdir{expressive}.
548 @c FIXME: I need to figure out what's up with these. -gp
549 @c @lsr{expressive,glissando.ly},
550 @c @lsr{expressive,line-styles.ly}
552 Internals Reference: @internalsref{Glissando}.
557 Printing text over the line (such as @emph{gliss.}) is not
562 @unnumberedsubsubsec Arpeggio
568 You can specify an arpeggio sign (also known as broken chord) on a
569 chord by attaching an @code{\arpeggio} to the chord:
571 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
575 A square bracket on the left is used to indicate that the chord
576 should @emph{not} be arpeggiated:
578 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
583 The direction of the arpeggio can be denoted by adding an
584 arrowhead to the wiggly line. This is done with the commands
585 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
586 reverts to the arrow-less version:
588 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
603 @funindex \arpeggioUp
605 @funindex \arpeggioDown
606 @code{\arpeggioDown},
607 @funindex \arpeggioNeutral
608 @code{\arpeggioNeutral},
609 @funindex \arpeggioBracket
610 @code{\arpeggioBracket}.
615 In a @code{PianoStaff}, it is possible to let an arpeggio cross
616 between the staves by setting the property
617 @code{PianoStaff}.@code{connectArpeggios}.
619 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
621 \set PianoStaff.connectArpeggios = ##t
622 \new Staff { <c' e g c>\arpeggio }
623 \new Staff { \clef bass <c,, e g>\arpeggio }
627 The same can be accomplished in contexts other than
628 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
629 in the Score context.
631 @lilypond[verbatim,quote,ragged-right]
634 \set Score.connectArpeggios = ##t
636 \new Voice \relative c' {
639 \new Voice \relative c {
648 \consists "Span_arpeggio_engraver"
654 Similarly, an arpeggio can be drawn across notes in different
655 voices on the same staff if the @code{Span_arpeggio_engraver} is
656 moved to the Staff context:
658 @lilypond[verbatim,quote,ragged-right]
661 \consists "Span_arpeggio_engraver"
663 \set Staff.connectArpeggios = ##t
665 {<e' g>4\arpeggio <d f> <d f>2 }
667 {<d, f>2\arpeggio <g b>2 }
675 Notation Reference: @ref{Ties}, for writing out arpeggios.
677 Snippets: @lsrdir{expressive}
679 Internals Reference: @internalsref{Arpeggio},
680 @internalsref{PianoStaff}.
685 It is not possible to mix connected arpeggios and unconnected
686 arpeggios in one @code{PianoStaff} at the same point in
691 @unnumberedsubsubsec Trills
693 Short trills are printed with @code{\trill} like normal
694 articulation; see @ref{Articulations and ornamentations}.
696 Long running trills are made with @code{\startTrillSpan} and
697 @code{\stopTrillSpan}. In the following example, it is shown in
698 the common combination with grace notes. If a more precise
699 control of the placement of the grace notes is needed, see
702 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
704 d1\startTrillSpan { c16[\stopTrillSpan d] }
708 @cindex pitched trills
710 Trills that should be executed on an explicitly specified pitch
711 can be typeset with the command @code{pitchedTrill}, and the
712 syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
713 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
715 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
716 \pitchedTrill e2 \startTrillSpan fis
721 The first argument is the main note. The pitch of the second is
722 printed as a stemless note head in parentheses.
727 @code{\startTrillSpan},
728 @funindex \startTrillSpan
729 @code{\stopTrillSpan}.
730 @funindex \stopTrillSpan
735 Snippets: @lsrdir{expressive}
737 Internals Reference: @internalsref{TrillSpanner}.