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
24 * Articulations and ornamentations::
28 @node Articulations and ornamentations
29 @unnumberedsubsubsec Articulations and ornamentations
35 A variety of symbols can appear above and below notes to indicate
36 different characteristics of the performance. All these symbols
37 can be attached to a note using the syntax @var{note}@code{\}@var{name}.
39 The possible values for @var{name} are listed in @ref{List of
42 Some of these articulations have shorthands for easier entry. They
43 are used by adding a dash and the character signifying
44 the articulation to the note name. The available shorthands and
47 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
52 The marks are automatically placed, but the direction can be
53 forced as well. Like other pieces of LilyPond code, @code{_} will
54 place them below the staff, and @code{^} will place them above.
55 This applies both to the shorthands and the fully named
56 articulations. For the shorthands, the dash itself should be
57 omitted; the shorthand signs replace it:
59 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
61 c\fermata c^\fermata c_\fermata
77 @cindex organ pedal marks
98 The meanings of the shorthands can be changed. They are defined
99 in @file{ly/@/script@/-init@/.ly}, where the variables
100 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
101 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
102 are associated with the default articulation marks. If you want,
103 e.g., @code{-+} to produce a trill instead of a "+", you can
104 redefine the variable in your document:
106 @lilypond[quote,ragged-right,verbatim]
107 \relative c'' { c-+ }
109 \relative c'' { c-+ }
112 The vertical ordering of scripts is controlled with the
113 @code{script-priority} property. The lower this number, the
114 closer it will be put to the note. In this example, the
115 @internalsref{TextScript} (the sharp symbol) first has the lowest
116 priority, so it is put lowest in the first example. In the
117 second, the prall trill (the @internalsref{Script}) has the
118 lowest, so it is on the inside. When two objects have the same
119 priority, the order in which they are entered decides which one
125 The meanings of the shorthands can be changed. They are defined
126 in @file{ly/@/script@/-init@/.ly}, where the variables
127 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
128 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
129 are associated with the default articulation marks. If you want,
130 e.g., @code{-+} to produce a trill instead of a "+", you can
131 redefine the variable in your document:
133 @lilypond[quote,ragged-right,verbatim]
134 \relative c'' { c-+ }
136 \relative c'' { c-+ }
139 The vertical ordering of scripts is controlled with the
140 @code{script-priority} property. The lower this number, the
141 closer it will be put to the note. In this example, the
142 @internalsref{TextScript} (the sharp symbol) first has the lowest
143 priority, so it is put lowest in the first example. In the
144 second, the prall trill (the @internalsref{Script}) has the
145 lowest, so it is on the inside. When two objects have the same
146 priority, the order in which they are entered decides which one
149 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
150 \once \override TextScript #'script-priority = #-100
151 a4^\prall^\markup { \sharp }
153 \once \override Script #'script-priority = #-100
154 a4^\prall^\markup { \sharp }
160 Internals Reference: @internalsref{Script}.
165 These signs appear in the printed output but have no effect on the
166 MIDI rendering of the music.
170 @unnumberedsubsubsec Dynamics
191 Absolute dynamic marks are specified using a command after a note
192 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
193 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
194 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
195 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
196 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
197 above or below the staff with @code{_} and @code{^}, just like
200 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
203 c_\spp c_\staccato^\ff
210 A crescendo mark is started with @code{\<} and terminated with
211 @code{\!} or an absolute dynamic. A decrescendo is started with
212 @code{\>} and is also terminated with @code{\!} or an absolute
213 dynamic. @code{\cr} and @code{\decr} may be used instead of
214 @code{\<} and @code{\>}. They can be engraved either using a
215 graphical sign (a @q{hairpin}), or with textual signs.
217 Because these marks are bound to notes, you must use spacer notes
218 if multiple marks are needed during one note.
220 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
222 << f1 { s4 s4\< s4\! \> s4\! } >>
225 This may give rise to very short hairpins. Use
226 @code{minimum-length} in
227 @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
231 \override Voice.Hairpin #'minimum-length = #5
235 A hairpin normally starts at the left edge of the beginning note
236 and ends on the right edge of the ending note. If the ending note
237 falls on the downbeat, the hairpin ends on the immediately
238 preceding barline. This may be modified by setting the
239 @code{hairpinToBarline} property,
242 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
244 \set hairpinToBarline = ##f
248 @cindex espressivo, articulation
249 In some situations the @code{\espressivo} articulation mark may be
250 suitable to indicate a crescendo and decrescendo on the one note:
252 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
253 c2 b4 a g1\espressivo
259 Hairpins may be printed with a circled tip (al niente notation) by
260 setting the @code{circled-tip} property:
262 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
263 \override Hairpin #'circled-tip = ##t
273 You can use text saying @emph{cresc.}, @emph{decr.}, or
274 @emph{dim.} instead of hairpins with the commands \setTextCresc,
275 \setTextDim, and \setTextDecresc. The corresponding
276 \setHairpinCresc, \setHairpinDim, and \setHairpinDecresc will
277 revert to hairpins again:
279 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
290 You can also supply your own texts and change the style of the
291 spanner line with the properties @code{\crescendoText},
292 @code{\crescendoSpanner}, @code{\decrescendoText}, and
293 @code{\decrescendoSpanner}. Available values for the spanner
294 properties are @code{hairpin}, @code{line}, @code{dashed-line},
295 and @code{dotted-line}. If unset, a hairpin crescendo is used:
297 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
298 \set crescendoText = \markup { \italic "cresc. poco" }
299 \set crescendoSpanner = #'dotted-line
300 a'2\< a a a a a a a\!\mf
304 To create new dynamic marks or text that should be aligned with
305 dynamics, see @ref{New dynamic marks}.
307 Vertical positioning of dynamics is handled by
308 @internalsref{DynamicLineSpanner}.
313 Dynamics that occur at, begin on, or end on the same note will be
314 vertically aligned. If you want to ensure that dynamics are
315 aligned when they do not occur on the same note, you can increase
316 the @code{staff-padding} property.
319 \override DynamicLineSpanner #'staff-padding = #4
322 You may also use this property if the dynamics are colliding with
325 Crescendi and decrescendi that cross a line break will be
326 continued on the second line. If they end on the first note of a
327 new line, nothing will be printed on that line. To change this
331 \override Score.Hairpin #'after-line-breaking = ##t
334 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
335 are printed with a dashed line showing their extent. To surpress
336 printing this line, use
339 \override DynamicTextSpanner #'dash-period = #-1.0
347 @funindex \dynamicDown
349 @funindex \dynamicNeutral
350 @code{\dynamicNeutral}.
355 Internals Reference: @internalsref{DynamicText},
356 @internalsref{Hairpin}. Vertical positioning of these symbols is
357 handled by @internalsref{DynamicLineSpanner}.
358 Glossary: @rglos{Hairpin}, @rglos{crescendo}, @rglos{decrescendo}
360 @c TODO: add link to LM directions
374 @unnumberedsubsubsec Slurs
378 A slur indicates that notes are to be played bound or
379 @emph{legato}. They are entered using parentheses:
381 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
382 f( g a) a8 b( a4 g2 f4)
386 Just as with ties, the direction of a slur can be specified with
387 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
388 @code{Up}, @code{Down}, or @code{Neutral} (automatically
389 selected). The shorthands are also available: by adding
390 @code{_} or @code{^} before the opening parentheses, the direction
393 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
397 Only one slur can be printed at once. If you need to print a long
398 slur over a few small slurs, please see @ref{Phrasing slurs}.
403 Some composers write two slurs when they want legato chords. This
404 can be achieved in LilyPond by setting @code{doubleSlurs},
406 @lilypond[verbatim,ragged-right,relative,fragment,quote]
407 \set doubleSlurs = ##t
408 <c e>4 ( <d f> <c e> <d f> )
418 @funindex \slurNeutral
420 @funindex \slurDashed
422 @funindex \slurDotted
429 Internals Reference: @internalsref{Slur}.
433 @unnumberedsubsubsec Phrasing slurs
435 @cindex phrasing slurs
436 @cindex phrasing marks
438 A phrasing slur (or phrasing mark) connects notes and is used to
439 indicate a musical sentence. It is written using @code{\(} and
440 @code{\)} respectively:
442 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
443 \time 6/4 c'\( d( e) f( e) d\)
446 Typographically, the phrasing slur behaves almost exactly like a
447 normal slur. However, they are treated as different objects. A
448 @code{\slurUp} will have no effect on a phrasing slur; instead,
449 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
450 @code{\phrasingSlurNeutral}, or use the shorthands @code{_} and
453 You cannot have simultaneous phrasing slurs.
458 @funindex \phrasingSlurUp
459 @code{\phrasingSlurUp},
460 @funindex \phrasingSlurDown
461 @code{\phrasingSlurDown},
462 @funindex \phrasingSlurNeutral
463 @code{\phrasingSlurNeutral}.
468 Internals Reference: @internalsref{PhrasingSlur}.
472 @unnumberedsubsubsec Breath marks
474 Breath marks are entered using @code{\breathe}
476 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
483 The glyph of the breath mark can be tuned by overriding the
484 @code{text} property of the @code{BreathingSign} layout object
485 with any markup text. For example,
487 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
489 \override BreathingSign #'text
490 = #(make-musicglyph-markup "scripts.rvarcomma")
497 Internals Reference: @internalsref{BreathingSign}.
499 Examples: @lsr{expressive,breathing-sign.ly}
502 @node Falls and doits
503 @unnumberedsubsubsec Falls and doits
505 Falls and doits can be added to notes using the @code{\bendAfter}
508 @lilypond[fragment,ragged-right,relative=2]
509 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
524 @unnumberedsubsubsec Glissando
529 A glissando is a smooth change in pitch. It is denoted by a line
530 or a wavy line between two notes. It is requested by attaching
531 @code{\glissando} to a note
533 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
535 \override Glissando #'style = #'zigzag
542 @lilypond[quote,ragged-right,verbatim]
543 I = \once \override NoteColumn #'ignore-collision = ##t
546 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
547 { \oneVoice \I c2 \glissando \I d, }
555 Internals Reference: @internalsref{Glissando}.
557 Glossary: @rglos{falls}, @rglos{doits}
559 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
564 Printing text over the line (such as @emph{gliss.}) is not
569 @unnumberedsubsubsec Arpeggio
575 You can specify an arpeggio sign (also known as broken chord) on a
576 chord by attaching an @code{\arpeggio} to the chord:
578 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
582 A square bracket on the left is used to indicate that the chord should
583 @emph{not} be arpeggiated:
585 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
590 The direction of the arpeggio can be denoted by adding an
591 arrowhead to the wiggly line. This is done with the commands
592 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
593 reverts to the arrow-less version:
595 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
609 In a @code{PianoStaff}, it is possible to let an arpeggio cross
610 between the staves by setting the property
611 @internalsref{PianoStaff}.@code{connectArpeggios}.
613 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
615 \set PianoStaff.connectArpeggios = ##t
616 \new Staff { <c' e g c>\arpeggio }
617 \new Staff { \clef bass <c,, e g>\arpeggio }
621 The same can be accomplished in contexts other than
622 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
623 in the Score context.
625 @lilypond[quote,ragged-right,verbatim]
628 \set Score.connectArpeggios = ##t
630 \new Voice \relative c' {
633 \new Voice \relative c {
642 \consists "Span_arpeggio_engraver"
648 Similarly, an arpeggio can be drawn across notes in
649 different voices on the same staff if the Span_arpeggio_engraver
650 is moved to the Staff context:
652 @lilypond[quote,ragged-right,verbatim]
655 \consists "Span_arpeggio_engraver"
657 \set Staff.connectArpeggios = ##t
659 {<e' g>4\arpeggio <d f> <d f>2 }
661 {<d, f>2\arpeggio <g b>2 }
671 @funindex \arpeggioUp
673 @funindex \arpeggioDown
674 @code{\arpeggioDown},
675 @funindex \arpeggioNeutral
676 @code{\arpeggioNeutral},
677 @funindex \arpeggioBracket
678 @code{\arpeggioBracket}.
683 Notation manual: @ref{Ties}, for writing out arpeggios.
685 Internals Reference: @internalsref{Arpeggio}.
690 It is not possible to mix connected arpeggios and unconnected
691 arpeggios in one @internalsref{PianoStaff} at the same point in
696 @unnumberedsubsubsec Trills
698 Short trills are printed with @code{\trill} like normal
699 articulation; see @ref{Articulations and ornamentations}.
701 Long running trills are made with @code{\startTrillSpan} and
702 @code{\stopTrillSpan}. In the following example, it is shown in
703 the common combination with grace notes. If a more precise
704 control of the placement of the grace notes is needed, see
707 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
710 d1\startTrillSpan { c16[\stopTrillSpan d] }
714 @cindex Pitched trills
716 Trills that should be executed on an explicitly specified pitch
717 can be typeset with the command @code{pitchedTrill}, and the
718 syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
719 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
721 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
722 \pitchedTrill e2 \startTrillSpan fis
728 The first argument is the main note. The pitch of the second is
729 printed as a stemless note head in parentheses.
734 @code{\startTrillSpan},
735 @funindex \startTrillSpan
736 @code{\stopTrillSpan}.
737 @funindex \stopTrillSpan
742 Internals Reference: @internalsref{TrillSpanner}.