1 @c -*- coding: utf-8; mode: texinfo; -*-
4 @section Expressive marks
13 @node Attached to notes
14 @subsection Attached to notes
17 @anchor{Articulations}
18 @unnumberedsubsubsec Articulations
24 A variety of symbols can appear above and below notes to indicate
25 different characteristics of the performance. They are added to a note
26 by adding a dash and the character signifying the
27 articulation. They are demonstrated here
29 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
31 The meanings of these shorthands can be changed. See
32 @file{ly/@/script@/-init@/.ly} for examples.
34 The script is automatically placed, but the direction can be forced as
35 well. Like other pieces of LilyPond code, @code{_} will place them
36 below the staff, and @code{^} will place them above.
38 @lilypond[quote,ragged-right,fragment,verbatim]
42 Other symbols can be added using the syntax
43 @var{note}@code{\}@var{name}. Again, they
44 can be forced up or down using @code{^} and @code{_},
47 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
48 c\fermata c^\fermata c_\fermata
63 @cindex organ pedal marks
81 Here is a chart showing all scripts available,
83 @lilypondfile[ragged-right,quote]{script-chart.ly}
88 The vertical ordering of scripts is controlled with the
89 @code{script-priority} property. The lower this number, the closer it
90 will be put to the note. In this example, the
91 @internalsref{TextScript} (the sharp symbol) first has the lowest
92 priority, so it is put lowest in the first example. In the second, the
93 prall trill (the @internalsref{Script}) has the lowest, so it is on the
94 inside. When two objects have the same priority, the order in which
95 they are entered decides which one comes first.
97 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
98 \once \override TextScript #'script-priority = #-100
99 a4^\prall^\markup { \sharp }
101 \once \override Script #'script-priority = #-100
102 a4^\prall^\markup { \sharp }
108 Program reference: @internalsref{Script}.
113 These signs appear in the printed output but have no effect on the
114 MIDI rendering of the music.
118 @unnumberedsubsubsec Dynamics
139 Absolute dynamic marks are specified using a command after a note
140 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
141 @code{\pppp}, @code{\ppp},
142 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
143 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
144 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
146 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
147 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
148 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
155 A crescendo mark is started with @code{\<} and terminated with
156 @code{\!} or an absolute dynamic. A decrescendo is started with
157 @code{\>} and is also terminated with @code{\!} or an absolute
158 dynamic. @code{\cr} and @code{\decr} may be used instead of
159 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
160 use spacer notes if multiple marks are needed during one note
162 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
164 << f1 { s4 s4\< s4\! \> s4\! } >>
168 A hairpin normally starts at the left edge of the beginning note
169 and ends on the right edge of the ending note. If the ending
170 note falls on the downbeat, the hairpin ends on the immediately
171 preceding barline. This may be modified by setting the
172 @code{hairpinToBarline} property,
174 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
175 \set hairpinToBarline = ##f
179 In some situations the @code{\espressivo} articulation mark may
180 be suitable to indicate a crescendo and decrescendo on the one note,
182 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
183 c2 b4 a g1\espressivo
186 This may give rise to very short hairpins. Use @code{minimum-length}
187 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
191 \override Voice.Hairpin #'minimum-length = #5
197 Hairpins may be printed with a circled tip (al niente notation) by
198 setting the @code{circled-tip} property,
200 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
201 \override Hairpin #'circled-tip = ##t
211 You can also use text saying @emph{cresc.} instead of hairpins
213 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
224 You can also supply your own texts
225 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
226 \set crescendoText = \markup { \italic "cresc. poco" }
227 \set crescendoSpanner = #'dashed-line
231 To create new dynamic marks or text that should be aligned
232 with dynamics, see @ref{New dynamic marks}.
234 Vertical positioning of dynamics is handled by
235 @internalsref{DynamicLineSpanner}.
240 Dynamics that occur at, begin on, or end on, the same note
241 will be vertically aligned. If you want to ensure that dynamics
242 are aligned when they do not occur on the same note, you can
243 increase the @code{staff-padding} property.
246 \override DynamicLineSpanner #'staff-padding = #4
249 You may also use this property if the dynamics are colliding
252 Crescendi and decrescendi that end on the first note of a
253 new line are not printed. To change this behavior, use
256 \override Score.Hairpin #'after-line-breaking = ##t
259 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
261 dashed line showing their extent. To surpress printing this line, use
264 \override DynamicTextSpanner #'dash-period = #-1.0
272 @funindex \dynamicDown
274 @funindex \dynamicNeutral
275 @code{\dynamicNeutral}.
280 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
281 Vertical positioning of these symbols is handled by
282 @internalsref{DynamicLineSpanner}.
289 @unnumberedsubsubsec Ties
294 A tie connects two adjacent note heads of the same pitch. The tie in
295 effect extends the length of a note. Ties should not be confused with
296 slurs, which indicate articulation, or phrasing slurs, which indicate
297 musical phrasing. A tie is entered using the tilde symbol @samp{~}
299 @lilypond[quote,ragged-right,fragment,verbatim]
300 e' ~ e' <c' e' g'> ~ <c' e' g'>
303 When a tie is applied to a chord, all note heads whose pitches match
304 are connected. When no note heads match, no ties will be created. Chords
305 may be partially tied by placing the tie inside the chord,
307 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
308 <c~ e g~ b> <c e g b>
311 A tie is just a way of extending a note duration, similar to the
312 augmentation dot. The following example shows two ways of notating
313 exactly the same concept
315 @lilypond[quote,fragment,ragged-right]
316 \time 3/4 c'2. c'2 ~ c'4
320 Ties are used either when the note crosses a bar line, or when dots
321 cannot be used to denote the rhythm. When using ties, larger note
322 values should be aligned to subdivisions of the measure, such as
324 @lilypond[fragment,quote,ragged-right]
326 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
330 If you need to tie a lot of notes over bars, it may be easier to use
331 automatic note splitting (see @ref{Automatic note splitting}). This
332 mechanism automatically splits long notes, and ties them across bar
337 When a second alternative of a repeat starts with a tied note, you
338 have to repeat the tie. This can be achieved with @code{\repeatTie},
340 @lilypond[fragment,quote,ragged-right,relative=2]
344 @cindex repeating ties
345 @cindex volta brackets and ties
349 Ties are sometimes used to write out arpeggios. In this case, two tied
350 notes need not be consecutive. This can be achieved by setting the
351 @code{tieWaitForNote} property to true. The same feature is also useful,
352 for example, to tie a tremolo to a chord. For example,
354 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
355 \set tieWaitForNote = ##t
356 \grace { c16[~ e~ g]~ } <c, e g>2
357 \repeat tremolo 8 { c32~ c'~ } <c c,>1
358 e8~ c~ a~ f~ <e' c a f>2
361 Ties may be engraved manually by changing the @code{tie-configuration}
362 property. The first number indicates the distance from the center
363 of the staff in staff-spaces, and the second number indicates the
364 direction (1=up, -1=down).
366 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
368 \override TieColumn #'tie-configuration =
369 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
381 @funindex \tieNeutral
393 In this manual: @ref{Automatic note splitting}.
395 Program reference: @internalsref{Tie}.
400 Switching staves when a tie is active will not produce a slanted tie.
402 Changing clefs or octavations during a tie is not really
403 well-defined. In these cases, a slur may be preferable.
407 @unnumberedsubsubsec Slurs
411 A slur indicates that notes are to be played bound or
412 @emph{legato}. They are entered using parentheses
414 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
415 f( g a) a8 b( a4 g2 f4)
419 The direction of a slur can be specified with
420 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
421 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
424 However, there is a convenient shorthand for forcing slur
425 directions. By adding @code{_} or @code{^} before the opening
426 parentheses, the direction is also set. For example,
428 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
432 Only one slur can be printed at once. If you need to print a long
433 slur over a few small slurs, please see @ref{Phrasing slurs}.
438 Some composers write two slurs when they want legato chords. This can
439 be achieved in LilyPond by setting @code{doubleSlurs},
441 @lilypond[verbatim,ragged-right,relative,fragment,quote]
442 \set doubleSlurs = ##t
443 <c e>4 ( <d f> <c e> <d f> )
453 @funindex \slurNeutral
455 @funindex \slurDashed
457 @funindex \slurDotted
464 Program reference: @internalsref{Slur}.
467 @anchor{Phrasing slurs}
468 @unnumberedsubsubsec Phrasing slurs
470 @cindex phrasing slurs
471 @cindex phrasing marks
473 A phrasing slur (or phrasing mark) connects notes and is used to
474 indicate a musical sentence. It is written using @code{\(} and @code{\)}
477 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
478 \time 6/4 c'\( d( e) f( e) d\)
481 Typographically, the phrasing slur behaves almost exactly like a
482 normal slur. However, they are treated as different objects. A
483 @code{\slurUp} will have no effect on a phrasing slur; instead, use
484 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
485 @code{\phrasingSlurNeutral}.
487 You cannot have simultaneous phrasing slurs.
492 @funindex \phrasingSlurUp
493 @code{\phrasingSlurUp},
494 @funindex \phrasingSlurDown
495 @code{\phrasingSlurDown},
496 @funindex \phrasingSlurNeutral
497 @code{\phrasingSlurNeutral}.
502 Program reference: @internalsref{PhrasingSlur}.
505 @anchor{Laissez vibrer ties}
506 @unnumberedsubsubsec Laissez vibrer ties
507 @cindex Laissez vibrer
508 @cindex Ties, laissez vibrer
510 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
511 end. It is used in notation for piano, harp and other string and
512 percussion instruments. They can be entered using @code{\laissezVibrer},
514 @lilypond[fragment,ragged-right,verbatim,relative=1]
515 <c f g>\laissezVibrer
521 @internalsref{LaissezVibrerTie}
522 @internalsref{LaissezVibrerTieColumn}
525 @lsr{connecting,laissez-vibrer-ties.ly}
528 @anchor{Breath marks}
529 @unnumberedsubsubsec Breath marks
531 Breath marks are entered using @code{\breathe}
533 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
540 The glyph of the breath mark can be tuned by overriding the
541 @code{text} property of the @code{BreathingSign} layout object with
542 any markup text. For example,
543 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
545 \override BreathingSign #'text
546 = #(make-musicglyph-markup "scripts.rvarcomma")
553 Program reference: @internalsref{BreathingSign}.
555 Examples: @lsr{expressive,breathing-sign.ly}
558 @anchor{Falls and doits}
559 @unnumberedsubsubsec Falls and doits
561 Falls and doits can be added to notes using the @code{\bendAfter}
564 @lilypond[fragment,ragged-right,relative=2]
565 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
575 @unnumberedsubsubsec Glissando
580 A glissando is a smooth change in pitch. It is denoted by a line or a
581 wavy line between two notes. It is requested by attaching
582 @code{\glissando} to a note
584 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
586 \override Glissando #'style = #'zigzag
593 @lilypond[quote,ragged-right,verbatim]
594 I = \once \override NoteColumn #'ignore-collision = ##t
597 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
598 { \oneVoice \I c2 \glissando \I d, }
606 Program reference: @internalsref{Glissando}.
609 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
614 Printing text over the line (such as @emph{gliss.}) is not supported.
618 @unnumberedsubsubsec Arpeggio
624 You can specify an arpeggio sign (also known as broken chord) on a
625 chord by attaching an @code{\arpeggio} to a chord
627 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
631 A square bracket on the left indicates that the player should not
634 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
639 The direction of the arpeggio is sometimes denoted by adding an
640 arrowhead to the wiggly line
642 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
654 When an arpeggio crosses staves, you may attach an arpeggio to the chords
655 in both staves and set
656 @internalsref{PianoStaff}.@code{connectArpeggios}
658 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
660 \set PianoStaff.connectArpeggios = ##t
661 \new Staff { <c' e g c>\arpeggio }
662 \new Staff { \clef bass <c,, e g>\arpeggio }
666 @c TODO: cross-voice arpeggio example?
667 @c such an example is already in LSR -J.Mandereau
672 @funindex \arpeggioUp
674 @funindex \arpeggioDown
675 @code{\arpeggioDown},
676 @funindex \arpeggioNeutral
677 @code{\arpeggioNeutral},
678 @funindex \arpeggioBracket
679 @code{\arpeggioBracket}.
684 Notation manual: @ref{Ties}, for writing out arpeggios.
686 Program reference: @internalsref{Arpeggio}.
691 It is not possible to mix connected arpeggios and unconnected
692 arpeggios in one @internalsref{PianoStaff} at the same point in time.
696 @unnumberedsubsubsec Trills
698 Short trills are printed like normal articulation; see @ref{Articulations}.
700 Long running trills are made with @code{\startTrillSpan} and
701 @code{\stopTrillSpan},
703 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
705 << { c1 \startTrillSpan }
706 { s2. \grace { d16[\stopTrillSpan e] } } >>
710 @cindex Pitched trills
712 Trills that should be executed on an explicitly specified pitch can be
713 typeset with the command @code{pitchedTrill},
715 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
716 \pitchedTrill c4\startTrillSpan fis
721 The first argument is the main note. The pitch of the second
722 is printed as a stemless note head in parentheses.
727 @code{\startTrillSpan},
728 @funindex \startTrillSpan
729 @code{\stopTrillSpan}.
730 @funindex \stopTrillSpan
735 Program reference: @internalsref{TrillSpanner}.
738 @anchor{Analysis brackets}
739 @unnumberedsubsubsec Analysis brackets
741 @cindex phrasing brackets
742 @cindex musicological analysis
743 @cindex note grouping bracket
745 Brackets are used in musical analysis to indicate structure in musical
746 pieces. LilyPond supports a simple form of nested horizontal
747 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
748 to @internalsref{Staff} context. A bracket is started with
749 @code{\startGroup} and closed with @code{\stopGroup}
751 @lilypond[quote,ragged-right,verbatim]
754 c4\startGroup\startGroup
757 c4\stopGroup\stopGroup
761 \Staff \consists "Horizontal_bracket_engraver"
767 Program reference: @internalsref{HorizontalBracket}.