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 @lilypond[quote,ragged-right,verbatim,fragment]
43 \override TextScript #'font-family = #'typewriter
44 \override TextScript #'font-shape = #'upright
54 The meanings of these shorthands can be changed. See
55 @file{ly/@/script@/-init@/.ly} for examples.
57 The script is automatically placed, but the direction can be
58 forced as well. Like other pieces of LilyPond code, @code{_} will
59 place them below the staff, and @code{^} will place them above.
61 @lilypond[quote,ragged-right,fragment,verbatim]
65 Other symbols can be added using the syntax
66 @var{note}@code{\}@var{name}. Again, they
67 can be forced up or down using @code{^} and @code{_},
70 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
71 c\fermata c^\fermata c_\fermata
86 @cindex organ pedal marks
107 The vertical ordering of scripts is controlled with the
108 @code{script-priority} property. The lower this number, the
109 closer it will be put to the note. In this example, the
110 @internalsref{TextScript} (the sharp symbol) first has the lowest
111 priority, so it is put lowest in the first example. In the
112 second, the prall trill (the @internalsref{Script}) has the
113 lowest, so it is on the inside. When two objects have the same
114 priority, the order in which they are entered decides which one
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}, @code{\pp}, @code{\p}, @code{\mp},
162 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
163 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
164 @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,
180 you must use spacer notes if multiple marks are needed during one
183 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
185 << f1 { s4 s4\< s4\! \> s4\! } >>
189 A hairpin normally starts at the left edge of the beginning note
190 and ends on the right edge of the ending note. If the ending note
191 falls on the downbeat, the hairpin ends on the immediately
192 preceding barline. This may be modified by setting the
193 @code{hairpinToBarline} property,
195 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
196 \set hairpinToBarline = ##f
200 In some situations the @code{\espressivo} articulation mark may be
201 suitable to indicate a crescendo and decrescendo on the one note,
203 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
204 c2 b4 a g1\espressivo
207 This may give rise to very short hairpins. Use
208 @code{minimum-length} in
209 @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
213 \override Voice.Hairpin #'minimum-length = #5
219 Hairpins may be printed with a circled tip (al niente notation) by
220 setting the @code{circled-tip} property,
222 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
223 \override Hairpin #'circled-tip = ##t
233 You can also use text saying @emph{cresc.} instead of hairpins
235 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
246 You can also supply your own texts
247 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
248 \set crescendoText = \markup { \italic "cresc. poco" }
249 \set crescendoSpanner = #'dashed-line
253 To create new dynamic marks or text that should be aligned with
254 dynamics, see @ref{New dynamic marks}.
256 Vertical positioning of dynamics is handled by
257 @internalsref{DynamicLineSpanner}.
262 Dynamics that occur at, begin on, or end on, the same note will be
263 vertically aligned. If you want to ensure that dynamics are
264 aligned when they do not occur on the same note, you can increase
265 the @code{staff-padding} property.
268 \override DynamicLineSpanner #'staff-padding = #4
271 You may also use this property if the dynamics are colliding with
274 Crescendi and decrescendi that end on the first note of a new line
275 are not printed. To change this behavior, use
278 \override Score.Hairpin #'after-line-breaking = ##t
281 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
282 are printed with a dashed line showing their extent. To surpress
283 printing this line, use
286 \override DynamicTextSpanner #'dash-period = #-1.0
294 @funindex \dynamicDown
296 @funindex \dynamicNeutral
297 @code{\dynamicNeutral}.
302 Program reference: @internalsref{DynamicText},
303 @internalsref{Hairpin}. Vertical positioning of these symbols is
304 handled by @internalsref{DynamicLineSpanner}.
314 * Laissez vibrer ties::
320 @unnumberedsubsubsec Ties
325 A tie connects two adjacent note heads of the same pitch. The tie
326 in effect extends the length of a note. Ties should not be
327 confused with slurs, which indicate articulation, or phrasing
328 slurs, which indicate musical phrasing. A tie is entered using
329 the tilde symbol @samp{~}
331 @lilypond[quote,ragged-right,fragment,verbatim]
332 e' ~ e' <c' e' g'> ~ <c' e' g'>
335 When a tie is applied to a chord, all note heads whose pitches
336 match are connected. When no note heads match, no ties will be
337 created. Chords may be partially tied by placing the tie inside
340 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
341 <c~ e g~ b> <c e g b>
344 A tie is just a way of extending a note duration, similar to the
345 augmentation dot. The following example shows two ways of
346 notating exactly the same concept
348 @lilypond[quote,fragment,ragged-right]
349 \time 3/4 c'2. c'2 ~ c'4
353 Ties are used either when the note crosses a bar line, or when
354 dots cannot be used to denote the rhythm. When using ties, larger
355 note values should be aligned to subdivisions of the measure, such
358 @lilypond[fragment,quote,ragged-right]
360 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
364 If you need to tie a lot of notes over bars, it may be easier to
365 use automatic note splitting (see @ref{Automatic note splitting}).
366 This mechanism automatically splits long notes, and ties them
371 When a second alternative of a repeat starts with a tied note, you
372 have to repeat the tie. This can be achieved with
375 @lilypond[fragment,quote,ragged-right,relative=2]
379 @cindex repeating ties
380 @cindex volta brackets and ties
384 Ties are sometimes used to write out arpeggios. In this case, two
385 tied notes need not be consecutive. This can be achieved by
386 setting the @code{tieWaitForNote} property to true. The same
387 feature is also useful, for example, to tie a tremolo to a chord.
390 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
391 \set tieWaitForNote = ##t
392 \grace { c16[~ e~ g]~ } <c, e g>2
393 \repeat tremolo 8 { c32~ c'~ } <c c,>1
394 e8~ c~ a~ f~ <e' c a f>2
397 Ties may be engraved manually by changing the
398 @code{tie-configuration} property. The first number indicates the
399 distance from the center of the staff in staff-spaces, and the
400 second number indicates the direction (1=up, -1=down).
402 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
404 \override TieColumn #'tie-configuration =
405 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
417 @funindex \tieNeutral
429 In this manual: @ref{Automatic note splitting}.
431 Program reference: @internalsref{Tie}.
436 Switching staves when a tie is active will not produce a slanted
439 Changing clefs or octavations during a tie is not really
440 well-defined. In these cases, a slur may be preferable.
444 @unnumberedsubsubsec Slurs
448 A slur indicates that notes are to be played bound or
449 @emph{legato}. They are entered using parentheses
451 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
452 f( g a) a8 b( a4 g2 f4)
456 The direction of a slur can be specified with
457 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
458 @code{Up}, @code{Down}, or @code{Neutral} (automatically
461 However, there is a convenient shorthand for forcing slur
462 directions. By adding @code{_} or @code{^} before the opening
463 parentheses, the direction is also set. For example,
465 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
469 Only one slur can be printed at once. If you need to print a long
470 slur over a few small slurs, please see @ref{Phrasing slurs}.
475 Some composers write two slurs when they want legato chords. This
476 can be achieved in LilyPond by setting @code{doubleSlurs},
478 @lilypond[verbatim,ragged-right,relative,fragment,quote]
479 \set doubleSlurs = ##t
480 <c e>4 ( <d f> <c e> <d f> )
490 @funindex \slurNeutral
492 @funindex \slurDashed
494 @funindex \slurDotted
501 Program reference: @internalsref{Slur}.
505 @unnumberedsubsubsec Phrasing slurs
507 @cindex phrasing slurs
508 @cindex phrasing marks
510 A phrasing slur (or phrasing mark) connects notes and is used to
511 indicate a musical sentence. It is written using @code{\(} and
512 @code{\)} respectively
514 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
515 \time 6/4 c'\( d( e) f( e) d\)
518 Typographically, the phrasing slur behaves almost exactly like a
519 normal slur. However, they are treated as different objects. A
520 @code{\slurUp} will have no effect on a phrasing slur; instead,
521 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
522 @code{\phrasingSlurNeutral}.
524 You cannot have simultaneous phrasing slurs.
529 @funindex \phrasingSlurUp
530 @code{\phrasingSlurUp},
531 @funindex \phrasingSlurDown
532 @code{\phrasingSlurDown},
533 @funindex \phrasingSlurNeutral
534 @code{\phrasingSlurNeutral}.
539 Program reference: @internalsref{PhrasingSlur}.
542 @node Laissez vibrer ties
543 @unnumberedsubsubsec Laissez vibrer ties
544 @cindex Laissez vibrer
545 @cindex Ties, laissez vibrer
547 L.v. ties (laissez vibrer) indicate that notes must not be damped
548 at the end. It is used in notation for piano, harp and other
549 string and percussion instruments. They can be entered using
550 @code{\laissezVibrer},
552 @lilypond[fragment,ragged-right,verbatim,relative=1]
553 <c f g>\laissezVibrer
559 @internalsref{LaissezVibrerTie}
560 @internalsref{LaissezVibrerTieColumn}
563 @lsr{connecting,laissez-vibrer-ties.ly}
567 @unnumberedsubsubsec Breath marks
569 Breath marks are entered using @code{\breathe}
571 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
578 The glyph of the breath mark can be tuned by overriding the
579 @code{text} property of the @code{BreathingSign} layout object
580 with any markup text. For example,
582 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
584 \override BreathingSign #'text
585 = #(make-musicglyph-markup "scripts.rvarcomma")
592 Program reference: @internalsref{BreathingSign}.
594 Examples: @lsr{expressive,breathing-sign.ly}
597 @node Falls and doits
598 @unnumberedsubsubsec Falls and doits
600 Falls and doits can be added to notes using the @code{\bendAfter}
603 @lilypond[fragment,ragged-right,relative=2]
604 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
617 * Analysis brackets::
621 @unnumberedsubsubsec Glissando
626 A glissando is a smooth change in pitch. It is denoted by a line
627 or a wavy line between two notes. It is requested by attaching
628 @code{\glissando} to a note
630 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
632 \override Glissando #'style = #'zigzag
639 @lilypond[quote,ragged-right,verbatim]
640 I = \once \override NoteColumn #'ignore-collision = ##t
643 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
644 { \oneVoice \I c2 \glissando \I d, }
652 Program reference: @internalsref{Glissando}.
655 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
660 Printing text over the line (such as @emph{gliss.}) is not
665 @unnumberedsubsubsec Arpeggio
671 You can specify an arpeggio sign (also known as broken chord) on a
672 chord by attaching an @code{\arpeggio} to a chord
674 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
678 A square bracket on the left indicates that the player should not
681 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
686 The direction of the arpeggio is sometimes denoted by adding an
687 arrowhead to the wiggly line
689 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
701 When an arpeggio crosses staves, you may attach an arpeggio to the
702 chords in both staves and set
703 @internalsref{PianoStaff}.@code{connectArpeggios}
705 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
707 \set PianoStaff.connectArpeggios = ##t
708 \new Staff { <c' e g c>\arpeggio }
709 \new Staff { \clef bass <c,, e g>\arpeggio }
713 @c TODO: cross-voice arpeggio example?
714 @c such an example is already in LSR -J.Mandereau
719 @funindex \arpeggioUp
721 @funindex \arpeggioDown
722 @code{\arpeggioDown},
723 @funindex \arpeggioNeutral
724 @code{\arpeggioNeutral},
725 @funindex \arpeggioBracket
726 @code{\arpeggioBracket}.
731 Notation manual: @ref{Ties}, for writing out arpeggios.
733 Program reference: @internalsref{Arpeggio}.
738 It is not possible to mix connected arpeggios and unconnected
739 arpeggios in one @internalsref{PianoStaff} at the same point in
744 @unnumberedsubsubsec Trills
746 Short trills are printed like normal articulation; see
749 Long running trills are made with @code{\startTrillSpan} and
750 @code{\stopTrillSpan},
752 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
754 << { c1 \startTrillSpan }
755 { s2. \grace { d16[\stopTrillSpan e] } } >>
759 @cindex Pitched trills
761 Trills that should be executed on an explicitly specified pitch
762 can be typeset with the command @code{pitchedTrill},
764 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
765 \pitchedTrill c4\startTrillSpan fis
770 The first argument is the main note. The pitch of the second is
771 printed as a stemless note head in parentheses.
776 @code{\startTrillSpan},
777 @funindex \startTrillSpan
778 @code{\stopTrillSpan}.
779 @funindex \stopTrillSpan
784 Program reference: @internalsref{TrillSpanner}.
787 @node Analysis brackets
788 @unnumberedsubsubsec Analysis brackets
791 @cindex phrasing brackets
792 @cindex musicological analysis
793 @cindex note grouping bracket
795 Brackets are used in musical analysis to indicate structure in
796 musical pieces. LilyPond supports a simple form of nested
797 horizontal brackets. To use this, add the
798 @internalsref{Horizontal_bracket_engraver} to @internalsref{Staff}
799 context. A bracket is started with @code{\startGroup} and closed
800 with @code{\stopGroup}
802 @lilypond[quote,ragged-right,verbatim]
805 c4\startGroup\startGroup
808 c4\stopGroup\stopGroup
812 \Staff \consists "Horizontal_bracket_engraver"
818 Program reference: @internalsref{HorizontalBracket}.