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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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 @subsubsection 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}@tie{}@code{\}@var{name}.
43 @c Add a LilyPond example here soon. -pm
45 The possible values for @var{name} are listed in @ref{List of
56 Some of these articulations have shorthands for easier entry.
57 Shorthands are appended to the note name, and their syntax
58 consists of a dash (@tie{}@code{-}) followed by a symbol
59 signifying the articulation. Predefined shorthands exist for
60 @notation{marcato}, @notation{stopped}, @notation{tenuto},
61 @notation{staccatissimo}, @notation{accent}, @notation{staccato},
62 and @notation{portato}. Their corresponding output appears as
65 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
70 The marks are placed automatically by default (either above or
71 below the note), but their positions can be manually @q{forced}
72 above or below notes as well. For details, see
73 @ref{Controlling direction and placement}.
80 @cindex organ pedal marks
101 @c Send these snippets to Valentin for the LSR.
103 The shorthands are defined in @file{ly/@/script@/-init@/.ly},
104 where the variables @code{dashHat}, @code{dashPlus},
105 @code{dashDash}, @code{dashBar}, @code{dashLarger},
106 @code{dashDot}, and @code{dashUnderscore} are assigned default
107 values. The default values for the shorthands can be modified.
108 For example, to associate the @code{-+} (@code{dashPlus})
109 shorthand with the @notation{trill} symbol instead of the default
110 @notation{+} symbol, assign the value @code{trill} to the variable
113 @lilypond[verbatim,quote,ragged-right]
114 \relative c'' { c-+ }
116 \relative c'' { c-+ }
119 The vertical ordering of scripts is controlled with the
120 @code{script-priority} property. The lower this number, the
121 closer it will be put to the note. In this example, the
122 @code{TextScript} (the sharp symbol) first has the lowest
123 priority, so it is put lowest in the first example. In the
124 second, the @notation{prall trill} (the @code{Script}) has the
125 lowest, so it is on the inside. When two objects have the same
126 priority, the order in which they are entered decides which one
129 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
130 \once \override TextScript #'script-priority = #-100
131 a4^\prall^\markup { \sharp }
133 \once \override Script #'script-priority = #-100
134 a4^\prall^\markup { \sharp }
140 Music Glossary: @rglos{marcato}, @rglos{stopped}, @rglos{tenuto},
141 @rglos{staccatissimo}, @rglos{accent}, @rglos{staccato},
144 Snippets: @lsrdir{Expressive,Expressive-marks}
146 Internals Reference: @internalsref{Script},
147 @internalsref{TextScript}.
152 These signs appear in the printed output but have no effect on the
153 MIDI rendering of the music.
157 @subsubsection Dynamics
178 Absolute dynamic marks are specified using a command after a note,
179 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
180 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
181 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
182 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
183 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
184 above or below the staff: For details, see
185 @ref{Controlling direction and placement}.
187 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
190 c_\spp c_\staccato^\ff
200 A @notation{crescendo} mark is started with @code{\<} and
201 terminated with @code{\!} or an absolute dynamic. A
202 @notation{decrescendo} is started with @code{\>} and is also
203 terminated with @code{\!} or an absolute dynamic. @code{\cr} and
204 @code{\decr} may be used instead of @code{\<} and @code{\>}. They
205 can be engraved either using a graphical sign (a
206 @notation{hairpin}), or with textual signs.
208 Because these marks are bound to notes, you must use spacer notes
209 if multiple marks are needed during one note.
211 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
213 << f1 { s4 s4\< s4\! \> s4\! } >>
216 This may give rise to very short hairpins. To lengthen them, use
217 for example @code{minimum-length} in
218 @internalsref{Voice}.@internalsref{Hairpin}:
221 \override Voice.Hairpin #'minimum-length = #5
225 A @notation{hairpin} normally starts at the left edge of the
226 beginning note and ends on the right edge of the ending note. If
227 the ending note falls on the downbeat, the @notation{hairpin} ends
228 on the immediately preceding bar line. This may be modified by
229 setting the @code{hairpinToBarline} property:
231 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
233 \set hairpinToBarline = ##f
237 @cindex espressivo, articulation
239 In some situations the @code{\espressivo} articulation mark may be
240 suitable to indicate a crescendo and decrescendo on the one note:
242 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
243 c2 b4 a g1\espressivo
249 Hairpins may be printed with a circled tip (al niente notation) by
250 setting the @code{circled-tip} property:
252 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
253 \override Hairpin #'circled-tip = ##t
261 @funindex \setTextCresc
262 @funindex \setTextDim
263 @funindex \setTextDecresc
264 @funindex \setHairpinCresc
265 @funindex \setHairpinDim
266 @funindex \setHairpinDecresc
268 You can use text saying @emph{cresc.}, @emph{decr.}, or
269 @emph{dim.} instead of hairpins with the commands
270 @code{\setTextCresc}, @code{\setTextDim}, and
271 @code{\setTextDecresc}. The corresponding
272 @code{\setHairpinCresc}, @code{\setHairpinDim}, and
273 @code{\setHairpinDecresc} will revert to hairpins again:
275 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
288 You can also supply your own texts and change the style of the
289 spanner line with the properties @code{\crescendoText},
290 @code{\crescendoSpanner}, @code{\decrescendoText}, and
291 @code{\decrescendoSpanner}. Available values for the spanner
292 properties are @code{hairpin}, @code{line}, @code{dashed-line},
293 and @code{dotted-line}. If unset, a hairpin crescendo is used:
295 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
296 \set crescendoText = \markup { \italic "cresc. poco" }
297 \set crescendoSpanner = #'dotted-line
298 a'2\< a a a a a a a\!\mf
301 To create new dynamic marks or text that should be aligned with
302 dynamics, see @ref{New dynamic marks}.
304 Vertical positioning of dynamics is handled by
305 @internalsref{DynamicLineSpanner}.
312 @funindex \dynamicDown
314 @funindex \dynamicNeutral
315 @code{\dynamicNeutral}.
320 Dynamics that occur at, begin on, or end on the same note will be
321 vertically aligned. If you want to ensure that dynamics are
322 aligned when they do not occur on the same note, you can increase
323 the @code{staff-padding} property.
326 \override DynamicLineSpanner #'staff-padding = #4
330 You may also use this property if the dynamics are colliding with
333 Crescendi and decrescendi that cross a line break will be
334 continued on the second line. If they end on the first note of a
335 new line, nothing will be printed on that line. To change this
339 \override Score.Hairpin #'after-line-breaking = ##t
342 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
343 are printed with a dashed line showing their extent. To surpress
344 printing this line, use
347 \override DynamicTextSpanner #'dash-period = #-1.0
353 Music Glossary: @rglos{hairpin}, @rglos{crescendo},
356 Learning Manual: @rlearning{Articulation and dynamics}.
358 Snippets: @lsrdir{Expressive,Expressive-marks}
360 Internals Reference: @internalsref{DynamicText},
361 @internalsref{Hairpin}. Vertical positioning of these symbols is
362 handled by @internalsref{DynamicLineSpanner}.
380 A @notation{slur} indicates that notes are to be played bound or
381 @emph{legato}. They are entered using parentheses:
383 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
384 f( g a) a8 b( a4 g2 f4)
388 Just as with ties, the direction of a slur can be specified with
389 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
390 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
391 default). The shorthands are also available: For details, see
392 @ref{Controlling direction and placement}.
394 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
398 Using this method, only one slur can be printed at once. To print
399 a long slur over a few small slurs, see @ref{Phrasing slurs}.
408 @funindex \slurNeutral
410 @funindex \slurDashed
412 @funindex \slurDotted
420 Some composers write two slurs when they want legato chords. This
421 can be achieved in LilyPond by setting @code{doubleSlurs},
423 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
424 \set doubleSlurs = ##t
425 <c e>4 ( <d f> <c e> <d f> )
431 Music Glossary: @rglos{slur}
433 Snippets: @lsrdir{Expressive,Expressive-marks}
435 Internals Reference: @internalsref{Slur}.
439 @subsubsection Phrasing slurs
441 @cindex phrasing slurs
442 @cindex phrasing marks
446 A phrasing slur (or phrasing mark) connects notes and is used to
447 indicate a musical sentence. It is written using @code{\(} and
448 @code{\)} respectively:
450 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
451 \time 6/4 c'\( d( e) f( e) d\)
454 Typographically, the phrasing slur behaves almost exactly like a
455 normal slur. However, they are treated as different objects. A
456 @code{\slurUp} will have no effect on a phrasing slur; instead,
457 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
458 @code{\phrasingSlurNeutral}. The shorthands work for phrasing
459 slurs as well: For details, see @ref{Controlling direction and placement}.
461 You cannot have simultaneous phrasing slurs.
466 @funindex \phrasingSlurUp
467 @code{\phrasingSlurUp},
468 @funindex \phrasingSlurDown
469 @code{\phrasingSlurDown},
470 @funindex \phrasingSlurNeutral
471 @code{\phrasingSlurNeutral}.
476 Snippets: @lsrdir{Expressive,Expressive-marks}
478 Internals Reference: @internalsref{PhrasingSlur}
482 @subsubsection Breath marks
487 Breath marks are entered using @code{\breathe}:
489 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
496 The glyph of the breath mark can be tuned by overriding the
497 @code{text} property of the @code{BreathingSign} layout object
498 with any markup text. For example,
500 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
502 \override BreathingSign #'text
503 = #(make-musicglyph-markup "scripts.rvarcomma")
510 Snippets: @lsrdir{Expressive,Expressive-marks}
511 @c @lsr{expressive,breathing-sign.ly}.
513 Internals Reference: @internalsref{BreathingSign}
516 @node Falls and doits
517 @subsubsection Falls and doits
523 @notation{Falls} and @notation{doits} can be added to notes using
524 the @code{\bendAfter} command,
526 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
527 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
535 Music Glossary: @rglos{falls}, @rglos{doits}.
537 Snippets: @lsrdir{Expressive,Expressive-marks}
550 @subsubsection Glissando
555 A @notation{glissando} is a smooth change in pitch. It is denoted
556 by a line or a wavy line between two notes. A
557 @notation{glissando} is created by attaching @code{\glissando} to
560 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
562 \override Glissando #'style = #'zigzag
569 @lilypond[verbatim,quote,ragged-right]
570 I = \once \override NoteColumn #'ignore-collision = ##t
573 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
574 { \oneVoice \I c2 \glissando \I d, }
581 Music Glossary: @rglos{glissando}
583 Snippets: @lsrdir{Expressive,Expressive-marks}
585 @c FIXME: I need to figure out what's up with these. -gp
586 @c @lsr{expressive,glissando.ly},
587 @c @lsr{expressive,line-styles.ly}
589 Internals Reference: @internalsref{Glissando}
594 Printing text over the line (such as @emph{gliss.}) is not
599 @subsubsection Arpeggio
605 You can specify an @notation{arpeggio} (also known as a
606 @notation{broken chord}) on a chord by attaching an
607 @code{\arpeggio} to the chord:
609 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
613 A square bracket on the left, denoted by @code{\arpeggioBracket},
614 is used to indicate that the chord should @emph{not} be
617 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
622 The direction of the arpeggio can be denoted by adding an
623 arrowhead to the wiggly line. This is done with the commands
624 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
625 reverts to the arrow-less version:
627 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
641 @funindex \arpeggioUp
643 @funindex \arpeggioDown
644 @code{\arpeggioDown},
645 @funindex \arpeggioNeutral
646 @code{\arpeggioNeutral},
647 @funindex \arpeggioBracket
648 @code{\arpeggioBracket}.
653 In a @code{PianoStaff}, it is possible to let an arpeggio cross
654 between the staves by setting the property
655 @code{PianoStaff}.@code{connectArpeggios}.
657 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
659 \set PianoStaff.connectArpeggios = ##t
660 \new Staff { <c' e g c>\arpeggio }
661 \new Staff { \clef bass <c,, e g>\arpeggio }
665 The same can be accomplished in contexts other than
666 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
667 in the Score context.
669 @lilypond[verbatim,quote,ragged-right]
672 \set Score.connectArpeggios = ##t
674 \new Voice \relative c' {
677 \new Voice \relative c {
686 \consists "Span_arpeggio_engraver"
692 Similarly, an arpeggio can be drawn across notes in different
693 voices on the same staff if the @code{Span_arpeggio_engraver} is
694 moved to the Staff context:
696 @lilypond[verbatim,quote,ragged-right]
699 \consists "Span_arpeggio_engraver"
701 \set Staff.connectArpeggios = ##t
703 {<e' g>4\arpeggio <d f> <d f>2 }
705 {<d, f>2\arpeggio <g b>2 }
713 Music Glossary: @rglos{arpeggio}, @rglos{broken chord}.
715 Notation Reference: @ref{Ties}, for writing out arpeggios.
717 Snippets: @lsrdir{Expressive,Expressive-marks}
719 Internals Reference: @internalsref{Arpeggio},
720 @internalsref{PianoStaff}.
725 It is not possible to mix connected arpeggios and unconnected
726 arpeggios in one @code{PianoStaff} at the same point in
731 @subsubsection Trills
736 Short @notation{trills} are printed with @code{\trill} like normal
737 articulation; see @ref{Articulations and ornamentations}.
739 Long running trills are made with @code{\startTrillSpan} and
740 @code{\stopTrillSpan}. In the following example, it is shown in
741 the common combination with grace notes. If a more precise
742 control of the placement of the grace notes is needed, see
745 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
747 d1\startTrillSpan { c16[\stopTrillSpan d] }
751 @cindex pitched trills
753 Trills that should be executed on an explicitly specified pitch
754 can be typeset with the command @code{\pitchedTrill}, and the
755 syntax @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
756 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
758 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
759 \pitchedTrill e2 \startTrillSpan fis
764 The first argument is the main note. The pitch of the second is
765 printed as a stemless note head in parentheses.
770 @code{\startTrillSpan},
771 @funindex \startTrillSpan
772 @code{\stopTrillSpan}.
773 @funindex \stopTrillSpan
778 Music Glossary: @rglos{trill}
780 Snippets: @lsrdir{Expressive,Expressive-marks}
782 Internals Reference: @internalsref{TrillSpanner}