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.
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 Once revised, add to 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 }
154 @ref{Controlling direction and placement}.
157 @file{scm/@/script@/.scm}.
160 @rlsr{Expressive marks}.
164 @rinternals{TextScript}.
169 These signs appear in the printed output but have no effect on the
170 MIDI rendering of the music.
174 @subsubsection Dynamics
176 @cindex absolute dynamics
178 @cindex dynamics, absolute
198 Absolute dynamic marks are specified using a command after a note,
199 such as @code{c4\ff}. The available dynamic marks are
200 @code{\ppppp}, @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p},
201 @code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, @code{\fff},
202 @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp},
203 @code{\spp}, @code{\sfz}, and @code{\rfz}. The dynamic marks may
204 be manually placed above or below the staff, see @ref{Controlling
205 direction and placement}.
207 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
220 A @notation{crescendo} mark is started with @code{\<} and
221 terminated with @code{\!}, an absolute dynamic, or an additional
222 @notation{crescendo} or @notation{decrescendo} mark. A
223 @notation{decrescendo} mark is started with @code{\>} and is also
224 terminated with @code{\!}, an absolute dynamic, or another
225 @notation{crescendo} or @notation{decrescendo} mark. @code{\cr}
226 and @code{\decr} may be used instead of @code{\<} and @code{\>}.
227 @notation{Hairpins} are engraved by default using this notation.
229 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
239 Spacer notes are needed to engrave multiple marks on one note.
241 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
243 << f1 { s4 s4\< s4\> s4\! } >>
246 @cindex espressivo articulation
248 In some situations the @code{\espressivo} articulation mark may be
249 the appropriate choice to indicate a @notation{crescendo} and
250 @notation{decrescendo} on one note:
252 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
260 @funindex \setTextCresc
261 @funindex \setTextDim
262 @funindex \setTextDecr
263 @funindex \setTextDecresc
264 @funindex \setHairpinCresc
265 @funindex \setHairpinDim
266 @funindex \setHairpinDecresc
268 @notation{Crescendos} and @notation{decrescendos} can be engraved
269 as textual markings instead of hairpins. The built-in commands
270 that enable these text modes are @code{\setTextCresc},
271 @code{\setTextDecresc}, @code{\setTextDecr}, and
272 @code{\setTextDim}. The corresponding @code{\setHairpinCresc},
273 @code{\setHairpinDim}, and @code{\setHairpinDecresc} commands will
274 revert to hairpins again:
276 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
287 The text used for @notation{crescendos} and
288 @notation{decrescendos} can be changed by modifying the context
289 properties @code{crescendoText} and @code{decrescendoText}. The
290 style of the spanner line can be changed by modifying the context
291 properties @code{crescendoSpanner} and @code{decrescendoSpanner}.
292 Available values for the spanner properties are @code{'hairpin},
293 @code{'line}, @code{'dashed-line}, and @code{'dotted-line}. If
294 unset, a hairpin crescendo is used:
296 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
297 \set crescendoText = \markup { \italic "cresc. poco" }
298 \set crescendoSpanner = #'dotted-line
299 a'2\< a a a a a a a\mf
302 To create new absolute dynamic marks or text that should be
303 aligned with dynamics, see @ref{New dynamic marks}.
305 Vertical positioning of dynamics is handled by
306 @rinternals{DynamicLineSpanner}.
313 @funindex \dynamicDown
315 @funindex \dynamicNeutral
316 @code{\dynamicNeutral}.
321 @c Add LilyPond examples to these snippets. -pm
323 @c A @notation{hairpin} normally starts at the left edge of the
324 @c beginning note and ends on the right edge of the ending note. If
325 @c the ending note falls on the downbeat, the @notation{hairpin} ends
326 @c on the immediately preceding bar line. The following example
327 @c illustrates this behavior:
329 @c TODO: Add link to new snippet for #'to-barline
331 If hairpins are too short, they can be lengthened using the
334 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
336 \override Voice.Hairpin #'minimum-length = #5
337 << f1 { s4 s4\< s4\> s4\! } >>
343 Hairpins may be printed with a circled tip (al niente notation):
345 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
346 \override Hairpin #'circled-tip = ##t
351 Dynamics that occur at, begin on, or end on the same note will be
352 vertically aligned. If you want to ensure that dynamics are
353 aligned when they do not occur on the same note, you can increase
354 the @code{staff-padding} property.
357 \override DynamicLineSpanner #'staff-padding = #4
360 @notation{Crescendi} and @notation{decrescendi} that cross a line
361 break will be continued on the second line. If they end on the
362 first note of a new line, nothing will be printed on that line.
363 To change this behavior, use
366 \override Score.Hairpin #'after-line-breaking = ##t
369 Text style dynamic changes (such as @notation{cresc.} and
370 @notation{dim.}) are printed with a dashed line showing their
371 extent. To suppress printing this line, use
374 \override DynamicTextSpanner #'dash-period = #-1.0
380 @c TODO: Add hairpin to glossary.
387 @rlearning{Articulation and dynamics}.
390 @ref{Controlling direction and placement}.
393 @rlsr{Expressive marks}.
396 @rinternals{DynamicText},
397 @rinternals{Hairpin},
398 @rinternals{DynamicLineSpanner}.
401 @node New dynamic marks
402 @subsubsection New dynamic marks
404 It is possible to print new dynamic marks or text that should be
405 aligned with dynamics. Use @code{make-dynamic-script} to create
406 these marks. Note that the dynamic font only contains the
407 characters @code{f,m,p,r,s} and @code{z}.
409 Some situations (such as dynamic marks) have preset font-related
410 properties. If you are creating text in such situations, it is
411 advisable to cancel those properties with @code{normal-text}. See
412 @ref{Text markup commands}, for more details.
414 @cindex make-dynamic-script
416 @lilypond[quote,verbatim,ragged-right]
417 sfzp = #(make-dynamic-script "sfzp")
423 @cindex Dynamics, editorial
424 @cindex Dynamics, parenthesis
426 It is also possible to print dynamics in round parenthesis or
427 square brackets. These are often used for adding editorial
430 @lilypond[quote,verbatim,ragged-right]
431 rndf = \markup{ \center-align {\line { \bold{\italic (}
432 \dynamic f \bold{\italic )} }} }
433 boxf = \markup{ \bracket { \dynamic f } }
434 { c'1_\rndf c'1_\boxf }
440 @rlsr{Expressive marks}.
458 A @notation{slur} indicates that notes are to be played bound or
459 @emph{legato}. They are entered using parentheses:
461 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
462 f( g a) a8 b( a4 g2 f4)
466 Just as with ties, the direction of a slur can be specified with
467 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
468 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
469 default). Slurs may be manually placed above or below the staff,
470 see @ref{Controlling direction and placement}.
472 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
476 Using this method, only one slur can be printed at once. To print
477 a long slur over a few small slurs, see @ref{Phrasing slurs}.
486 @funindex \slurNeutral
488 @funindex \slurDashed
490 @funindex \slurDotted
498 Some composers write two slurs when they want legato chords. This
499 can be achieved in LilyPond by setting @code{doubleSlurs},
501 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
502 \set doubleSlurs = ##t
503 <c e>4 ( <d f> <c e> <d f> )
513 @ref{Controlling direction and placement}.
516 @rlsr{Expressive marks}.
523 @subsubsection Phrasing slurs
525 @cindex phrasing slurs
526 @cindex phrasing marks
530 A phrasing slur (or phrasing mark) connects notes and is used to
531 indicate a musical sentence. It is written using @code{\(} and
532 @code{\)} respectively:
534 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
535 \time 6/4 c'\( d( e) f( e) d\)
538 Typographically, the phrasing slur behaves almost exactly like a
539 normal slur. However, they are treated as different objects. A
540 @code{\slurUp} will have no effect on a phrasing slur; instead,
541 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
542 @code{\phrasingSlurNeutral}. Phrasing slurs may be manually
543 placed above or below the staff, see @ref{Controlling direction
546 You cannot have simultaneous phrasing slurs.
551 @funindex \phrasingSlurUp
552 @code{\phrasingSlurUp},
553 @funindex \phrasingSlurDown
554 @code{\phrasingSlurDown},
555 @funindex \phrasingSlurNeutral
556 @code{\phrasingSlurNeutral}.
562 @ref{Controlling direction and placement}.
565 @rlsr{Expressive marks}.
568 @rinternals{PhrasingSlur}.
572 @subsubsection Breath marks
577 Breath marks are entered using @code{\breathe}:
579 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
586 The glyph of the breath mark can be tuned by overriding the
587 @code{text} property of the @code{BreathingSign} layout object
588 with any markup text. For example,
590 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
592 \override BreathingSign #'text
593 = #(make-musicglyph-markup "scripts.rvarcomma")
602 @rlsr{Expressive marks}.
603 @c @lsr{expressive,breathing-sign.ly}.
606 @rinternals{BreathingSign}.
609 @node Falls and doits
610 @subsubsection Falls and doits
616 @notation{Falls} and @notation{doits} can be added to notes using
617 the @code{\bendAfter} command:
619 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
626 The dash (@tie{-}) following the note name is @emph{required} when
627 writing @notation{falls} and @notation{doits}.
632 The @code{shortest-duration-space} property may have to be tweaked
633 to adjust the shape of @notation{falls} and @notation{doits}.
635 @c Fix this snippet. The tweak does not work. -pm
637 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
638 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
646 @c TODO: add falls and doits to glossary.
652 @rlsr{Expressive marks}.
665 @subsubsection Glissando
670 A @notation{glissando} is a smooth change in pitch. It is denoted
671 by a line or a wavy line between two notes. A
672 @notation{glissando} is created by attaching @code{\glissando} to
675 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
677 \override Glissando #'style = #'zigzag
684 @lilypond[verbatim,quote,ragged-right]
685 I = \once \override NoteColumn #'ignore-collision = ##t
688 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
689 { \oneVoice \I c2 \glissando \I d, }
700 @rlsr{Expressive marks}.
702 @c FIXME: I need to figure out what's up with these. -gp
703 @c @lsr{expressive,glissando.ly},
704 @c @lsr{expressive,line-styles.ly}
707 @rinternals{Glissando}.
712 Printing text over the line (such as @emph{gliss.}) is not
717 @subsubsection Arpeggio
722 @c Add documentation for new 'parenthesis' style arpeggio. Maybe
723 @c create a new \arpeggioParen command, or something similar. -pm
725 You can specify an @notation{arpeggio} (also known as a
726 @notation{broken chord}) on a chord by attaching an
727 @code{\arpeggio} to the chord:
729 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
733 A square bracket on the left, denoted by @code{\arpeggioBracket},
734 is used to indicate that the chord should @emph{not} be
737 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
742 The direction of the arpeggio can be denoted by adding an
743 arrowhead to the wiggly line. This is done with the commands
744 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
745 reverts to the arrow-less version:
747 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
763 @funindex \arpeggioUp
765 @funindex \arpeggioDown
766 @code{\arpeggioDown},
767 @funindex \arpeggioNeutral
768 @code{\arpeggioNeutral},
769 @funindex \arpeggioBracket
770 @code{\arpeggioBracket}.
775 In a @code{PianoStaff}, it is possible to let an arpeggio cross
776 between the staves by setting the property
777 @code{PianoStaff}.@code{connectArpeggios}.
779 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
781 \set PianoStaff.connectArpeggios = ##t
782 \new Staff { <c' e g c>\arpeggio }
783 \new Staff { \clef bass <c,, e g>\arpeggio }
787 The same can be accomplished in contexts other than
788 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
789 in the Score context.
791 @lilypond[verbatim,quote,ragged-right]
794 \set Score.connectArpeggios = ##t
796 \new Voice \relative c' {
799 \new Voice \relative c {
808 \consists "Span_arpeggio_engraver"
814 Similarly, an arpeggio can be drawn across notes in different
815 voices on the same staff if the @code{Span_arpeggio_engraver} is
816 moved to the Staff context:
818 @lilypond[verbatim,quote,ragged-right]
821 \consists "Span_arpeggio_engraver"
823 \set Staff.connectArpeggios = ##t
825 {<e' g>4\arpeggio <d f> <d f>2 }
827 {<d, f>2\arpeggio <g b>2 }
835 @c TODO: Add 'broken chord' to glossary.
841 @ref{Ties}, for writing out arpeggios.
844 @rlsr{Expressive marks}.
847 @rinternals{Arpeggio},
848 @rinternals{PianoStaff}.
853 It is not possible to mix connected arpeggios and unconnected
854 arpeggios in one @code{PianoStaff} at the same point in
859 @subsubsection Trills
864 Short @notation{trills} are printed with @code{\trill} like normal
865 articulation; see @ref{Articulations and ornamentations}.
867 Long running @notation{trills} are made with
868 @code{\startTrillSpan} and @code{\stopTrillSpan}. In the
869 following example, a long running @notation{trill} is shown
870 combined with grace notes. To achieve precise control of the
871 placement of the grace notes, see @ref{Grace notes}.
873 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
875 d1\startTrillSpan { c16[\stopTrillSpan d] }
879 @cindex pitched trills
881 @notation{Trills} that should be executed on an explicitly
882 specified pitch can be typeset with the command
883 @code{\pitchedTrill} using the following syntax:
886 @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
887 @var{trillnote} @var{endnote} @code{\stopTrillSpan}
890 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
891 \pitchedTrill e2 \startTrillSpan fis
896 The first argument is the main note. The pitch of the second is
897 printed as a stemless note head in parentheses.
902 @code{\startTrillSpan},
903 @funindex \startTrillSpan
904 @code{\stopTrillSpan}.
905 @funindex \stopTrillSpan
914 @rlsr{Expressive marks}.
917 @rinternals{TrillSpanner}.