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
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11 @node Expressive marks
12 @section Expressive marks
14 @lilypondfile[quote]{expressive-headword.ly}
23 @node Attached to notes
24 @subsection Attached to notes
27 * Articulations and ornamentations::
32 @node Articulations and ornamentations
33 @subsubsection Articulations and ornamentations
39 A variety of symbols that denote articulations, ornamentations,
40 and other performance indications can be attached to a note using
47 The possible values for @var{name} are listed in @ref{List of
48 articulations}. For example:
50 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
51 c4\staccato c\mordent b2\turn
63 Some of these articulations have shorthands for easier entry.
64 Shorthands are appended to the note name, and their syntax
65 consists of a dash (@tie{}@code{-}) followed by a symbol
66 signifying the articulation. Predefined shorthands exist for
67 @notation{marcato}, @notation{stopped}, @notation{tenuto},
68 @notation{staccatissimo}, @notation{accent}, @notation{staccato},
69 and @notation{portato}. Their corresponding output appears as
72 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
77 The rules for the default placement of articulations are defined
78 in @file{scm/@/script@/.scm}. Articulations and ornamentations
79 may be manually placed above or below the staff, see
80 @ref{Controlling direction and placement}.
87 @cindex organ pedal marks
100 @cindex thumb marking
108 @c Send these snippets to Valentin for the LSR.
110 The shorthands are defined in @file{ly/@/script@/-init@/.ly},
111 where the variables @code{dashHat}, @code{dashPlus},
112 @code{dashDash}, @code{dashBar}, @code{dashLarger},
113 @code{dashDot}, and @code{dashUnderscore} are assigned default
114 values. The default values for the shorthands can be modified.
115 For example, to associate the @code{-+} (@code{dashPlus})
116 shorthand with the @notation{trill} symbol instead of the default
117 @notation{+} symbol, assign the value @code{trill} to the variable
120 @lilypond[verbatim,quote,ragged-right]
121 \relative c'' { c-+ }
123 \relative c'' { c-+ }
126 The vertical ordering of scripts is controlled with the
127 @code{script-priority} property. The lower this number, the
128 closer it will be put to the note. In this example, the
129 @code{TextScript} (the sharp symbol) first has the lowest
130 priority, so it is put lowest in the first example. In the
131 second, the @notation{prall trill} (the @code{Script}) has the
132 lowest, so it is on the inside. When two objects have the same
133 priority, the order in which they are entered decides which one
136 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
137 \once \override TextScript #'script-priority = #-100
138 a4^\prall^\markup { \sharp }
140 \once \override Script #'script-priority = #-100
141 a4^\prall^\markup { \sharp }
147 Music Glossary: @rglos{tenuto}, @rglos{accent}, @rglos{staccato},
151 @lsrdir{Expressive,Expressive-marks}
153 Internals Reference: @internalsref{Script},
154 @internalsref{TextScript}.
159 These signs appear in the printed output but have no effect on the
160 MIDI rendering of the music.
164 @subsubsection Dynamics
185 Absolute dynamic marks are specified using a command after a note,
186 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
187 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
188 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
189 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
190 @code{\sfz}, and @code{\rfz}. The dynamic marks may be manually
191 placed above or below the staff, see @ref{Controlling direction
194 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
197 c_\spp c_\staccato^\ff
207 A @notation{crescendo} mark is started with @code{\<} and
208 terminated with @code{\!} or an absolute dynamic. A
209 @notation{decrescendo} is started with @code{\>} and is also
210 terminated with @code{\!} or an absolute dynamic. @code{\cr} and
211 @code{\decr} may be used instead of @code{\<} and @code{\>}. They
212 can be engraved either using a graphical sign (a
213 @notation{hairpin}), or with textual signs.
215 Because these marks are bound to notes, you must use spacer notes
216 if multiple marks are needed during one note.
218 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
220 << f1 { s4 s4\< s4\! \> s4\! } >>
223 This may give rise to very short hairpins. To lengthen them, the
224 following code can be used, for example:
227 \override Voice.Hairpin #'minimum-length = #5
231 A @notation{hairpin} normally starts at the left edge of the
232 beginning note and ends on the right edge of the ending note. If
233 the ending note falls on the downbeat, the @notation{hairpin} ends
234 on the immediately preceding bar line. The following example
235 illustrates this behavior:
237 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
239 \set hairpinToBarline = ##f
243 @cindex espressivo, articulation
245 In some situations the @code{\espressivo} articulation mark may be
246 suitable to indicate a crescendo and decrescendo on the one note:
248 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
249 c2 b4 a g1\espressivo
255 Hairpins may be printed with a circled tip (al niente notation):
257 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
258 \override Hairpin #'circled-tip = ##t
266 @funindex \setTextCresc
267 @funindex \setTextDim
268 @funindex \setTextDecresc
269 @funindex \setHairpinCresc
270 @funindex \setHairpinDim
271 @funindex \setHairpinDecresc
273 You can use text saying @notation{cresc.}, @notation{decr.}, or
274 @notation{dim.} instead of hairpins with the commands
275 @code{\setTextCresc}, @code{\setTextDim}, and
276 @code{\setTextDecresc}. The corresponding
277 @code{\setHairpinCresc}, @code{\setHairpinDim}, and
278 @code{\setHairpinDecresc} will revert to hairpins again:
280 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
293 You can also supply your own texts and change the style of the
294 spanner line with the properties @code{\crescendoText},
295 @code{\crescendoSpanner}, @code{\decrescendoText}, and
296 @code{\decrescendoSpanner}. Available values for the spanner
297 properties are @code{hairpin}, @code{line}, @code{dashed-line},
298 and @code{dotted-line}. If unset, a hairpin crescendo is used:
300 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
301 \set crescendoText = \markup { \italic "cresc. poco" }
302 \set crescendoSpanner = #'dotted-line
303 a'2\< a a a a a a a\!\mf
306 To create new dynamic marks or text that should be aligned with
307 dynamics, see @ref{New dynamic marks}.
309 Vertical positioning of dynamics is handled by
310 @internalsref{DynamicLineSpanner}.
317 @funindex \dynamicDown
319 @funindex \dynamicNeutral
320 @code{\dynamicNeutral}.
325 Dynamics that occur at, begin on, or end on the same note will be
326 vertically aligned. If you want to ensure that dynamics are
327 aligned when they do not occur on the same note, you can increase
328 the @code{staff-padding} property.
331 \override DynamicLineSpanner #'staff-padding = #4
335 You may also use this property if the dynamics are colliding with
338 @notation{Crescendi} and @notation{decrescendi} that cross a line
339 break will be continued on the second line. If they end on the
340 first note of a new line, nothing will be printed on that line.
341 To change this behavior, use
344 \override Score.Hairpin #'after-line-breaking = ##t
347 Text style dynamic changes (such as @notation{cresc.} and
348 @notation{dim.}) are printed with a dashed line showing their
349 extent. To suppress printing this line, use
352 \override DynamicTextSpanner #'dash-period = #-1.0
358 @c TODO: Add hairpin to glossary.
360 Music Glossary: @rglos{crescendo}, @rglos{decrescendo}.
362 Learning Manual: @rlearning{Articulation and dynamics}.
365 @lsrdir{Expressive,Expressive-marks}
367 Internals Reference: @internalsref{DynamicText},
368 @internalsref{Hairpin}. Vertical positioning of these symbols is
369 handled by @internalsref{DynamicLineSpanner}.
372 @node New dynamic marks
373 @subsubsection New dynamic marks
375 It is possible to print new dynamic marks or text that should be
376 aligned with dynamics. Use @code{make-dynamic-script} to create
377 these marks. Note that the dynamic font only contains the
378 characters @code{f,m,p,r,s} and @code{z}.
380 Some situations (such as dynamic marks) have preset font-related
381 properties. If you are creating text in such situations, it is
382 advisable to cancel those properties with @code{normal-text}. See
383 @ref{Text markup commands}, for more details.
385 @cindex make-dynamic-script
387 @lilypond[quote,verbatim,ragged-right]
388 sfzp = #(make-dynamic-script "sfzp")
394 @cindex Dynamics, editorial
395 @cindex Dynamics, parenthesis
397 It is also possible to print dynamics in round parenthesis or
398 square brackets. These are often used for adding editorial
401 @lilypond[quote,verbatim,ragged-right]
402 rndf = \markup{ \center-align {\line { \bold{\italic (}
403 \dynamic f \bold{\italic )} }} }
404 boxf = \markup{ \bracket { \dynamic f } }
405 { c'1_\rndf c'1_\boxf }
411 @lsrdir{Expressive,Expressive-marks}
429 A @notation{slur} indicates that notes are to be played bound or
430 @emph{legato}. They are entered using parentheses:
432 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
433 f( g a) a8 b( a4 g2 f4)
437 Just as with ties, the direction of a slur can be specified with
438 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
439 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
440 default). Slurs may be manually placed above or below the staff,
441 see @ref{Controlling direction and placement}.
443 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
447 Using this method, only one slur can be printed at once. To print
448 a long slur over a few small slurs, see @ref{Phrasing slurs}.
457 @funindex \slurNeutral
459 @funindex \slurDashed
461 @funindex \slurDotted
469 Some composers write two slurs when they want legato chords. This
470 can be achieved in LilyPond by setting @code{doubleSlurs},
472 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
473 \set doubleSlurs = ##t
474 <c e>4 ( <d f> <c e> <d f> )
480 Music Glossary: @rglos{slur}
483 @lsrdir{Expressive,Expressive-marks}
485 Internals Reference: @internalsref{Slur}.
489 @subsubsection Phrasing slurs
491 @cindex phrasing slurs
492 @cindex phrasing marks
496 A phrasing slur (or phrasing mark) connects notes and is used to
497 indicate a musical sentence. It is written using @code{\(} and
498 @code{\)} respectively:
500 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
501 \time 6/4 c'\( d( e) f( e) d\)
504 Typographically, the phrasing slur behaves almost exactly like a
505 normal slur. However, they are treated as different objects. A
506 @code{\slurUp} will have no effect on a phrasing slur; instead,
507 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
508 @code{\phrasingSlurNeutral}. Phrasing slurs may be manually
509 placed above or below the staff, see @ref{Controlling direction
512 You cannot have simultaneous phrasing slurs.
517 @funindex \phrasingSlurUp
518 @code{\phrasingSlurUp},
519 @funindex \phrasingSlurDown
520 @code{\phrasingSlurDown},
521 @funindex \phrasingSlurNeutral
522 @code{\phrasingSlurNeutral}.
528 @lsrdir{Expressive,Expressive-marks}
530 Internals Reference: @internalsref{PhrasingSlur}
534 @subsubsection Breath marks
539 Breath marks are entered using @code{\breathe}:
541 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
548 The glyph of the breath mark can be tuned by overriding the
549 @code{text} property of the @code{BreathingSign} layout object
550 with any markup text. For example,
552 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
554 \override BreathingSign #'text
555 = #(make-musicglyph-markup "scripts.rvarcomma")
564 @lsrdir{Expressive,Expressive-marks}
565 @c @lsr{expressive,breathing-sign.ly}.
567 Internals Reference: @internalsref{BreathingSign}
570 @node Falls and doits
571 @subsubsection Falls and doits
577 @notation{Falls} and @notation{doits} can be added to notes using
578 the @code{\bendAfter} command:
580 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
587 The dash (@tie{-}) following the note name is @emph{required} when
588 writing @notation{falls} and @notation{doits}.
593 The @code{shortest-duration-space} property may have to be tweaked
594 to adjust the shape of @notation{falls} and @notation{doits}.
596 @c Fix this snippet. The tweak does not work. -pm
598 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
599 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
607 @c TODO: add falls and doits to glossary.
608 @c Music Glossary: @rglos{falls}, @rglos{doits}.
611 @lsrdir{Expressive,Expressive-marks}
624 @subsubsection Glissando
629 A @notation{glissando} is a smooth change in pitch. It is denoted
630 by a line or a wavy line between two notes. A
631 @notation{glissando} is created by attaching @code{\glissando} to
634 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
636 \override Glissando #'style = #'zigzag
643 @lilypond[verbatim,quote,ragged-right]
644 I = \once \override NoteColumn #'ignore-collision = ##t
647 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
648 { \oneVoice \I c2 \glissando \I d, }
655 Music Glossary: @rglos{glissando}
658 @lsrdir{Expressive,Expressive-marks}
660 @c FIXME: I need to figure out what's up with these. -gp
661 @c @lsr{expressive,glissando.ly},
662 @c @lsr{expressive,line-styles.ly}
664 Internals Reference: @internalsref{Glissando}
669 Printing text over the line (such as @emph{gliss.}) is not
674 @subsubsection Arpeggio
679 You can specify an @notation{arpeggio} (also known as a
680 @notation{broken chord}) on a chord by attaching an
681 @code{\arpeggio} to the chord:
683 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
687 A square bracket on the left, denoted by @code{\arpeggioBracket},
688 is used to indicate that the chord should @emph{not} be
691 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
696 The direction of the arpeggio can be denoted by adding an
697 arrowhead to the wiggly line. This is done with the commands
698 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
699 reverts to the arrow-less version:
701 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
717 @funindex \arpeggioUp
719 @funindex \arpeggioDown
720 @code{\arpeggioDown},
721 @funindex \arpeggioNeutral
722 @code{\arpeggioNeutral},
723 @funindex \arpeggioBracket
724 @code{\arpeggioBracket}.
729 In a @code{PianoStaff}, it is possible to let an arpeggio cross
730 between the staves by setting the property
731 @code{PianoStaff}.@code{connectArpeggios}.
733 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
735 \set PianoStaff.connectArpeggios = ##t
736 \new Staff { <c' e g c>\arpeggio }
737 \new Staff { \clef bass <c,, e g>\arpeggio }
741 The same can be accomplished in contexts other than
742 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
743 in the Score context.
745 @lilypond[verbatim,quote,ragged-right]
748 \set Score.connectArpeggios = ##t
750 \new Voice \relative c' {
753 \new Voice \relative c {
762 \consists "Span_arpeggio_engraver"
768 Similarly, an arpeggio can be drawn across notes in different
769 voices on the same staff if the @code{Span_arpeggio_engraver} is
770 moved to the Staff context:
772 @lilypond[verbatim,quote,ragged-right]
775 \consists "Span_arpeggio_engraver"
777 \set Staff.connectArpeggios = ##t
779 {<e' g>4\arpeggio <d f> <d f>2 }
781 {<d, f>2\arpeggio <g b>2 }
789 @c TODO: Add 'broken chord' to glossary.
791 Music Glossary: @rglos{arpeggio}
793 Notation Reference: @ref{Ties}, for writing out arpeggios.
796 @lsrdir{Expressive,Expressive-marks}
798 Internals Reference: @internalsref{Arpeggio},
799 @internalsref{PianoStaff}.
804 It is not possible to mix connected arpeggios and unconnected
805 arpeggios in one @code{PianoStaff} at the same point in
810 @subsubsection Trills
815 Short @notation{trills} are printed with @code{\trill} like normal
816 articulation; see @ref{Articulations and ornamentations}.
818 Long running @notation{trills} are made with
819 @code{\startTrillSpan} and @code{\stopTrillSpan}. In the
820 following example, a long running @notation{trill} is shown
821 combined with grace notes. To achieve precise control of the
822 placement of the grace notes, see @ref{Grace notes}.
824 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
826 d1\startTrillSpan { c16[\stopTrillSpan d] }
830 @cindex pitched trills
832 @notation{Trills} that should be executed on an explicitly
833 specified pitch can be typeset with the command
834 @code{\pitchedTrill} using the following syntax:
837 @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
838 @var{trillnote} @var{endnote} @code{\stopTrillSpan}
841 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
842 \pitchedTrill e2 \startTrillSpan fis
847 The first argument is the main note. The pitch of the second is
848 printed as a stemless note head in parentheses.
853 @code{\startTrillSpan},
854 @funindex \startTrillSpan
855 @code{\stopTrillSpan}.
856 @funindex \stopTrillSpan
861 Music Glossary: @rglos{trill}
864 @lsrdir{Expressive,Expressive-marks}
866 Internals Reference: @internalsref{TrillSpanner}