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 @c @l ilypondfile[quote,ragged-right]{script-abbreviations.ly}
43 @lilypond[quote,ragged-right,verbatim,fragment]
44 \override TextScript #'font-family = #'typewriter
45 \override TextScript #'font-shape = #'upright
55 The meanings of these shorthands can be changed. See
56 @file{ly/@/script@/-init@/.ly} for examples.
58 The script is automatically placed, but the direction can be
59 forced as well. Like other pieces of LilyPond code, @code{_} will
60 place them below the staff, and @code{^} will place them above.
62 @lilypond[quote,ragged-right,fragment,verbatim]
66 Other symbols can be added using the syntax
67 @var{note}@code{\}@var{name}. Again, they
68 can be forced up or down using @code{^} and @code{_},
71 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
72 c\fermata c^\fermata c_\fermata
87 @cindex organ pedal marks
100 @cindex thumb marking
108 The vertical ordering of scripts is controlled with the
109 @code{script-priority} property. The lower this number, the closer it
110 will be put to the note. In this example, the
111 @internalsref{TextScript} (the sharp symbol) first has the lowest
112 priority, so it is put lowest in the first example. In the second, the
113 prall trill (the @internalsref{Script}) has the lowest, so it is on the
114 inside. When two objects have the same priority, the order in which
115 they are entered decides which one comes first.
117 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
118 \once \override TextScript #'script-priority = #-100
119 a4^\prall^\markup { \sharp }
121 \once \override Script #'script-priority = #-100
122 a4^\prall^\markup { \sharp }
128 Program reference: @internalsref{Script}.
133 These signs appear in the printed output but have no effect on the
134 MIDI rendering of the music.
138 @unnumberedsubsubsec Dynamics
159 Absolute dynamic marks are specified using a command after a note
160 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
161 @code{\pppp}, @code{\ppp},
162 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
163 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
164 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
166 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
167 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
168 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
175 A crescendo mark is started with @code{\<} and terminated with
176 @code{\!} or an absolute dynamic. A decrescendo is started with
177 @code{\>} and is also terminated with @code{\!} or an absolute
178 dynamic. @code{\cr} and @code{\decr} may be used instead of
179 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
180 use spacer notes if multiple marks are needed during one note
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
184 << f1 { s4 s4\< s4\! \> s4\! } >>
188 A hairpin normally starts at the left edge of the beginning note
189 and ends on the right edge of the ending note. If the ending
190 note falls on the downbeat, the hairpin ends on the immediately
191 preceding barline. This may be modified by setting the
192 @code{hairpinToBarline} property,
194 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
195 \set hairpinToBarline = ##f
199 In some situations the @code{\espressivo} articulation mark may
200 be suitable to indicate a crescendo and decrescendo on the one note,
202 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
203 c2 b4 a g1\espressivo
206 This may give rise to very short hairpins. Use @code{minimum-length}
207 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
211 \override Voice.Hairpin #'minimum-length = #5
217 Hairpins may be printed with a circled tip (al niente notation) by
218 setting the @code{circled-tip} property,
220 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
221 \override Hairpin #'circled-tip = ##t
231 You can also use text saying @emph{cresc.} instead of hairpins
233 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
244 You can also supply your own texts
245 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
246 \set crescendoText = \markup { \italic "cresc. poco" }
247 \set crescendoSpanner = #'dashed-line
251 To create new dynamic marks or text that should be aligned
252 with dynamics, see @ref{New dynamic marks}.
254 Vertical positioning of dynamics is handled by
255 @internalsref{DynamicLineSpanner}.
260 Dynamics that occur at, begin on, or end on, the same note
261 will be vertically aligned. If you want to ensure that dynamics
262 are aligned when they do not occur on the same note, you can
263 increase the @code{staff-padding} property.
266 \override DynamicLineSpanner #'staff-padding = #4
269 You may also use this property if the dynamics are colliding
272 Crescendi and decrescendi that end on the first note of a
273 new line are not printed. To change this behavior, use
276 \override Score.Hairpin #'after-line-breaking = ##t
279 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
281 dashed line showing their extent. To surpress printing this line, use
284 \override DynamicTextSpanner #'dash-period = #-1.0
292 @funindex \dynamicDown
294 @funindex \dynamicNeutral
295 @code{\dynamicNeutral}.
300 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
301 Vertical positioning of these symbols is handled by
302 @internalsref{DynamicLineSpanner}.
312 * Laissez vibrer ties::
318 @unnumberedsubsubsec Ties
323 A tie connects two adjacent note heads of the same pitch. The tie in
324 effect extends the length of a note. Ties should not be confused with
325 slurs, which indicate articulation, or phrasing slurs, which indicate
326 musical phrasing. A tie is entered using the tilde symbol @samp{~}
328 @lilypond[quote,ragged-right,fragment,verbatim]
329 e' ~ e' <c' e' g'> ~ <c' e' g'>
332 When a tie is applied to a chord, all note heads whose pitches match
333 are connected. When no note heads match, no ties will be created. Chords
334 may be partially tied by placing the tie inside the chord,
336 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
337 <c~ e g~ b> <c e g b>
340 A tie is just a way of extending a note duration, similar to the
341 augmentation dot. The following example shows two ways of notating
342 exactly the same concept
344 @lilypond[quote,fragment,ragged-right]
345 \time 3/4 c'2. c'2 ~ c'4
349 Ties are used either when the note crosses a bar line, or when dots
350 cannot be used to denote the rhythm. When using ties, larger note
351 values should be aligned to subdivisions of the measure, such as
353 @lilypond[fragment,quote,ragged-right]
355 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
359 If you need to tie a lot of notes over bars, it may be easier to use
360 automatic note splitting (see @ref{Automatic note splitting}). This
361 mechanism automatically splits long notes, and ties them across bar
366 When a second alternative of a repeat starts with a tied note, you
367 have to repeat the tie. This can be achieved with @code{\repeatTie},
369 @lilypond[fragment,quote,ragged-right,relative=2]
373 @cindex repeating ties
374 @cindex volta brackets and ties
378 Ties are sometimes used to write out arpeggios. In this case, two tied
379 notes need not be consecutive. This can be achieved by setting the
380 @code{tieWaitForNote} property to true. The same feature is also useful,
381 for example, to tie a tremolo to a chord. For example,
383 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
384 \set tieWaitForNote = ##t
385 \grace { c16[~ e~ g]~ } <c, e g>2
386 \repeat tremolo 8 { c32~ c'~ } <c c,>1
387 e8~ c~ a~ f~ <e' c a f>2
390 Ties may be engraved manually by changing the @code{tie-configuration}
391 property. The first number indicates the distance from the center
392 of the staff in staff-spaces, and the second number indicates the
393 direction (1=up, -1=down).
395 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
397 \override TieColumn #'tie-configuration =
398 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
410 @funindex \tieNeutral
422 In this manual: @ref{Automatic note splitting}.
424 Program reference: @internalsref{Tie}.
429 Switching staves when a tie is active will not produce a slanted tie.
431 Changing clefs or octavations during a tie is not really
432 well-defined. In these cases, a slur may be preferable.
436 @unnumberedsubsubsec Slurs
440 A slur indicates that notes are to be played bound or
441 @emph{legato}. They are entered using parentheses
443 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
444 f( g a) a8 b( a4 g2 f4)
448 The direction of a slur can be specified with
449 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
450 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
453 However, there is a convenient shorthand for forcing slur
454 directions. By adding @code{_} or @code{^} before the opening
455 parentheses, the direction is also set. For example,
457 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
461 Only one slur can be printed at once. If you need to print a long
462 slur over a few small slurs, please see @ref{Phrasing slurs}.
467 Some composers write two slurs when they want legato chords. This can
468 be achieved in LilyPond by setting @code{doubleSlurs},
470 @lilypond[verbatim,ragged-right,relative,fragment,quote]
471 \set doubleSlurs = ##t
472 <c e>4 ( <d f> <c e> <d f> )
482 @funindex \slurNeutral
484 @funindex \slurDashed
486 @funindex \slurDotted
493 Program reference: @internalsref{Slur}.
497 @unnumberedsubsubsec Phrasing slurs
499 @cindex phrasing slurs
500 @cindex phrasing marks
502 A phrasing slur (or phrasing mark) connects notes and is used to
503 indicate a musical sentence. It is written using @code{\(} and @code{\)}
506 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
507 \time 6/4 c'\( d( e) f( e) d\)
510 Typographically, the phrasing slur behaves almost exactly like a
511 normal slur. However, they are treated as different objects. A
512 @code{\slurUp} will have no effect on a phrasing slur; instead, use
513 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
514 @code{\phrasingSlurNeutral}.
516 You cannot have simultaneous phrasing slurs.
521 @funindex \phrasingSlurUp
522 @code{\phrasingSlurUp},
523 @funindex \phrasingSlurDown
524 @code{\phrasingSlurDown},
525 @funindex \phrasingSlurNeutral
526 @code{\phrasingSlurNeutral}.
531 Program reference: @internalsref{PhrasingSlur}.
534 @node Laissez vibrer ties
535 @unnumberedsubsubsec Laissez vibrer ties
536 @cindex Laissez vibrer
537 @cindex Ties, laissez vibrer
539 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
540 end. It is used in notation for piano, harp and other string and
541 percussion instruments. They can be entered using @code{\laissezVibrer},
543 @lilypond[fragment,ragged-right,verbatim,relative=1]
544 <c f g>\laissezVibrer
550 @internalsref{LaissezVibrerTie}
551 @internalsref{LaissezVibrerTieColumn}
554 @lsr{connecting,laissez-vibrer-ties.ly}
558 @unnumberedsubsubsec Breath marks
560 Breath marks are entered using @code{\breathe}
562 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
569 The glyph of the breath mark can be tuned by overriding the
570 @code{text} property of the @code{BreathingSign} layout object with
571 any markup text. For example,
572 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
574 \override BreathingSign #'text
575 = #(make-musicglyph-markup "scripts.rvarcomma")
582 Program reference: @internalsref{BreathingSign}.
584 Examples: @lsr{expressive,breathing-sign.ly}
587 @node Falls and doits
588 @unnumberedsubsubsec Falls and doits
590 Falls and doits can be added to notes using the @code{\bendAfter}
593 @lilypond[fragment,ragged-right,relative=2]
594 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
607 * Analysis brackets::
611 @unnumberedsubsubsec Glissando
616 A glissando is a smooth change in pitch. It is denoted by a line or a
617 wavy line between two notes. It is requested by attaching
618 @code{\glissando} to a note
620 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
622 \override Glissando #'style = #'zigzag
629 @lilypond[quote,ragged-right,verbatim]
630 I = \once \override NoteColumn #'ignore-collision = ##t
633 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
634 { \oneVoice \I c2 \glissando \I d, }
642 Program reference: @internalsref{Glissando}.
645 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
650 Printing text over the line (such as @emph{gliss.}) is not supported.
654 @unnumberedsubsubsec Arpeggio
660 You can specify an arpeggio sign (also known as broken chord) on a
661 chord by attaching an @code{\arpeggio} to a chord
663 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
667 A square bracket on the left indicates that the player should not
670 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
675 The direction of the arpeggio is sometimes denoted by adding an
676 arrowhead to the wiggly line
678 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
690 When an arpeggio crosses staves, you may attach an arpeggio to the chords
691 in both staves and set
692 @internalsref{PianoStaff}.@code{connectArpeggios}
694 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
696 \set PianoStaff.connectArpeggios = ##t
697 \new Staff { <c' e g c>\arpeggio }
698 \new Staff { \clef bass <c,, e g>\arpeggio }
702 @c TODO: cross-voice arpeggio example?
703 @c such an example is already in LSR -J.Mandereau
708 @funindex \arpeggioUp
710 @funindex \arpeggioDown
711 @code{\arpeggioDown},
712 @funindex \arpeggioNeutral
713 @code{\arpeggioNeutral},
714 @funindex \arpeggioBracket
715 @code{\arpeggioBracket}.
720 Notation manual: @ref{Ties}, for writing out arpeggios.
722 Program reference: @internalsref{Arpeggio}.
727 It is not possible to mix connected arpeggios and unconnected
728 arpeggios in one @internalsref{PianoStaff} at the same point in time.
732 @unnumberedsubsubsec Trills
734 Short trills are printed like normal articulation; see @ref{Articulations}.
736 Long running trills are made with @code{\startTrillSpan} and
737 @code{\stopTrillSpan},
739 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
741 << { c1 \startTrillSpan }
742 { s2. \grace { d16[\stopTrillSpan e] } } >>
746 @cindex Pitched trills
748 Trills that should be executed on an explicitly specified pitch can be
749 typeset with the command @code{pitchedTrill},
751 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
752 \pitchedTrill c4\startTrillSpan fis
757 The first argument is the main note. The pitch of the second
758 is printed as a stemless note head in parentheses.
763 @code{\startTrillSpan},
764 @funindex \startTrillSpan
765 @code{\stopTrillSpan}.
766 @funindex \stopTrillSpan
771 Program reference: @internalsref{TrillSpanner}.
774 @node Analysis brackets
775 @unnumberedsubsubsec Analysis brackets
777 @cindex phrasing brackets
778 @cindex musicological analysis
779 @cindex note grouping bracket
781 Brackets are used in musical analysis to indicate structure in musical
782 pieces. LilyPond supports a simple form of nested horizontal
783 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
784 to @internalsref{Staff} context. A bracket is started with
785 @code{\startGroup} and closed with @code{\stopGroup}
787 @lilypond[quote,ragged-right,verbatim]
790 c4\startGroup\startGroup
793 c4\stopGroup\stopGroup
797 \Staff \consists "Horizontal_bracket_engraver"
803 Program reference: @internalsref{HorizontalBracket}.