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
12 @lilypondfile[quote]{expressive-headword.ly}
21 @node Attached to notes
22 @subsection Attached to notes
26 * Articulations and ornamentations::
30 @node Articulations and ornamentations
31 @subsubsection Articulations and ornamentations
37 A variety of symbols can appear above and below notes to indicate
38 different characteristics of the performance. All these symbols
39 can be attached to a note using the syntax
40 @var{note}@tie{}@code{\}@var{name}.
42 @c Add a LilyPond example here soon. -pm
44 The possible values for @var{name} are listed in @ref{List of
55 Some of these articulations have shorthands for easier entry.
56 Shorthands are appended to the note name, and their syntax
57 consists of a dash (@tie{}@code{-}) followed by a symbol
58 signifying the articulation. Predefined shorthands exist for
59 @notation{marcato}, @notation{stopped}, @notation{tenuto},
60 @notation{staccatissimo}, @notation{accent}, @notation{staccato},
61 and @notation{portato}. Their corresponding output appears as
64 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
69 The marks are placed automatically by default (either above or
70 below the note), but their positions can be manually @q{forced}
71 above or below notes as well. For details, see
72 @ref{Controlling direction and placement}.
79 @cindex organ pedal marks
100 @c Send these snippets to Valentin for the LSR.
102 The shorthands are defined in @file{ly/@/script@/-init@/.ly},
103 where the variables @code{dashHat}, @code{dashPlus},
104 @code{dashDash}, @code{dashBar}, @code{dashLarger},
105 @code{dashDot}, and @code{dashUnderscore} are assigned default
106 values. The default values for the shorthands can be modified.
107 For example, to associate the @code{-+} (@code{dashPlus})
108 shorthand with the @notation{trill} symbol instead of the default
109 @notation{+} symbol, assign the value @code{trill} to the variable
112 @lilypond[verbatim,quote,ragged-right]
113 \relative c'' { c-+ }
115 \relative c'' { c-+ }
118 The vertical ordering of scripts is controlled with the
119 @code{script-priority} property. The lower this number, the
120 closer it will be put to the note. In this example, the
121 @code{TextScript} (the sharp symbol) first has the lowest
122 priority, so it is put lowest in the first example. In the
123 second, the @notation{prall trill} (the @code{Script}) has the
124 lowest, so it is on the inside. When two objects have the same
125 priority, the order in which they are entered decides which one
128 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
129 \once \override TextScript #'script-priority = #-100
130 a4^\prall^\markup { \sharp }
132 \once \override Script #'script-priority = #-100
133 a4^\prall^\markup { \sharp }
139 Music Glossary: @rglos{marcato}, @rglos{stopped}, @rglos{tenuto},
140 @rglos{staccatissimo}, @rglos{accent}, @rglos{staccato},
143 Snippets: @lsrdir{Expressive,Expressive-marks}
145 Internals Reference: @internalsref{Script},
146 @internalsref{TextScript}.
151 These signs appear in the printed output but have no effect on the
152 MIDI rendering of the music.
156 @subsubsection Dynamics
177 Absolute dynamic marks are specified using a command after a note,
178 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
179 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
180 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
181 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
182 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
183 above or below the staff: For details, see
184 @ref{Controlling direction and placement}.
186 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
189 c_\spp c_\staccato^\ff
199 A @notation{crescendo} mark is started with @code{\<} and
200 terminated with @code{\!} or an absolute dynamic. A
201 @notation{decrescendo} is started with @code{\>} and is also
202 terminated with @code{\!} or an absolute dynamic. @code{\cr} and
203 @code{\decr} may be used instead of @code{\<} and @code{\>}. They
204 can be engraved either using a graphical sign (a
205 @notation{hairpin}), or with textual signs.
207 Because these marks are bound to notes, you must use spacer notes
208 if multiple marks are needed during one note.
210 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
212 << f1 { s4 s4\< s4\! \> s4\! } >>
215 This may give rise to very short hairpins. To lengthen them, use
216 for example @code{minimum-length} in
217 @internalsref{Voice}.@internalsref{Hairpin}:
220 \override Voice.Hairpin #'minimum-length = #5
224 A @notation{hairpin} normally starts at the left edge of the
225 beginning note and ends on the right edge of the ending note. If
226 the ending note falls on the downbeat, the @notation{hairpin} ends
227 on the immediately preceding bar line. This may be modified by
228 setting the @code{hairpinToBarline} property:
230 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
232 \set hairpinToBarline = ##f
236 @cindex espressivo, articulation
238 In some situations the @code{\espressivo} articulation mark may be
239 suitable to indicate a crescendo and decrescendo on the one note:
241 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
242 c2 b4 a g1\espressivo
248 Hairpins may be printed with a circled tip (al niente notation) by
249 setting the @code{circled-tip} property:
251 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
252 \override Hairpin #'circled-tip = ##t
260 @funindex \setTextCresc
261 @funindex \setTextDim
262 @funindex \setTextDecresc
263 @funindex \setHairpinCresc
264 @funindex \setHairpinDim
265 @funindex \setHairpinDecresc
267 You can use text saying @emph{cresc.}, @emph{decr.}, or
268 @emph{dim.} instead of hairpins with the commands
269 @code{\setTextCresc}, @code{\setTextDim}, and
270 @code{\setTextDecresc}. The corresponding
271 @code{\setHairpinCresc}, @code{\setHairpinDim}, and
272 @code{\setHairpinDecresc} will revert to hairpins again:
274 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
287 You can also supply your own texts and change the style of the
288 spanner line with the properties @code{\crescendoText},
289 @code{\crescendoSpanner}, @code{\decrescendoText}, and
290 @code{\decrescendoSpanner}. Available values for the spanner
291 properties are @code{hairpin}, @code{line}, @code{dashed-line},
292 and @code{dotted-line}. If unset, a hairpin crescendo is used:
294 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
295 \set crescendoText = \markup { \italic "cresc. poco" }
296 \set crescendoSpanner = #'dotted-line
297 a'2\< a a a a a a a\!\mf
300 To create new dynamic marks or text that should be aligned with
301 dynamics, see @ref{New dynamic marks}.
303 Vertical positioning of dynamics is handled by
304 @internalsref{DynamicLineSpanner}.
311 @funindex \dynamicDown
313 @funindex \dynamicNeutral
314 @code{\dynamicNeutral}.
319 Dynamics that occur at, begin on, or end on the same note will be
320 vertically aligned. If you want to ensure that dynamics are
321 aligned when they do not occur on the same note, you can increase
322 the @code{staff-padding} property.
325 \override DynamicLineSpanner #'staff-padding = #4
329 You may also use this property if the dynamics are colliding with
332 Crescendi and decrescendi that cross a line break will be
333 continued on the second line. If they end on the first note of a
334 new line, nothing will be printed on that line. To change this
338 \override Score.Hairpin #'after-line-breaking = ##t
341 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
342 are printed with a dashed line showing their extent. To surpress
343 printing this line, use
346 \override DynamicTextSpanner #'dash-period = #-1.0
352 Music Glossary: @rglos{hairpin}, @rglos{crescendo},
355 Learning Manual: @rlearning{Articulation and dynamics}.
357 Snippets: @lsrdir{Expressive,Expressive-marks}
359 Internals Reference: @internalsref{DynamicText},
360 @internalsref{Hairpin}. Vertical positioning of these symbols is
361 handled by @internalsref{DynamicLineSpanner}.
379 A @notation{slur} indicates that notes are to be played bound or
380 @emph{legato}. They are entered using parentheses:
382 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
383 f( g a) a8 b( a4 g2 f4)
387 Just as with ties, the direction of a slur can be specified with
388 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
389 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
390 default). The shorthands are also available: For details, see
391 @ref{Controlling direction and placement}.
393 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
397 Using this method, only one slur can be printed at once. To print
398 a long slur over a few small slurs, see @ref{Phrasing slurs}.
407 @funindex \slurNeutral
409 @funindex \slurDashed
411 @funindex \slurDotted
419 Some composers write two slurs when they want legato chords. This
420 can be achieved in LilyPond by setting @code{doubleSlurs},
422 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
423 \set doubleSlurs = ##t
424 <c e>4 ( <d f> <c e> <d f> )
430 Music Glossary: @rglos{slur}
432 Snippets: @lsrdir{Expressive,Expressive-marks}
434 Internals Reference: @internalsref{Slur}.
438 @subsubsection Phrasing slurs
440 @cindex phrasing slurs
441 @cindex phrasing marks
445 A phrasing slur (or phrasing mark) connects notes and is used to
446 indicate a musical sentence. It is written using @code{\(} and
447 @code{\)} respectively:
449 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
450 \time 6/4 c'\( d( e) f( e) d\)
453 Typographically, the phrasing slur behaves almost exactly like a
454 normal slur. However, they are treated as different objects. A
455 @code{\slurUp} will have no effect on a phrasing slur; instead,
456 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
457 @code{\phrasingSlurNeutral}. The shorthands work for phrasing
458 slurs as well: For details, see @ref{Controlling direction and placement}.
460 You cannot have simultaneous phrasing slurs.
465 @funindex \phrasingSlurUp
466 @code{\phrasingSlurUp},
467 @funindex \phrasingSlurDown
468 @code{\phrasingSlurDown},
469 @funindex \phrasingSlurNeutral
470 @code{\phrasingSlurNeutral}.
475 Snippets: @lsrdir{Expressive,Expressive-marks}
477 Internals Reference: @internalsref{PhrasingSlur}
481 @subsubsection Breath marks
486 Breath marks are entered using @code{\breathe}:
488 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
495 The glyph of the breath mark can be tuned by overriding the
496 @code{text} property of the @code{BreathingSign} layout object
497 with any markup text. For example,
499 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
501 \override BreathingSign #'text
502 = #(make-musicglyph-markup "scripts.rvarcomma")
509 Snippets: @lsrdir{Expressive,Expressive-marks}
510 @c @lsr{expressive,breathing-sign.ly}.
512 Internals Reference: @internalsref{BreathingSign}
515 @node Falls and doits
516 @subsubsection Falls and doits
522 @notation{Falls} and @notation{doits} can be added to notes using
523 the @code{\bendAfter} command,
525 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
526 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
534 Music Glossary: @rglos{falls}, @rglos{doits}.
536 Snippets: @lsrdir{Expressive,Expressive-marks}
549 @subsubsection Glissando
554 A @notation{glissando} is a smooth change in pitch. It is denoted
555 by a line or a wavy line between two notes. A
556 @notation{glissando} is created by attaching @code{\glissando} to
559 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
561 \override Glissando #'style = #'zigzag
568 @lilypond[verbatim,quote,ragged-right]
569 I = \once \override NoteColumn #'ignore-collision = ##t
572 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
573 { \oneVoice \I c2 \glissando \I d, }
580 Music Glossary: @rglos{glissando}
582 Snippets: @lsrdir{Expressive,Expressive-marks}
584 @c FIXME: I need to figure out what's up with these. -gp
585 @c @lsr{expressive,glissando.ly},
586 @c @lsr{expressive,line-styles.ly}
588 Internals Reference: @internalsref{Glissando}
593 Printing text over the line (such as @emph{gliss.}) is not
598 @subsubsection Arpeggio
604 You can specify an @notation{arpeggio} (also known as a
605 @notation{broken chord}) on a chord by attaching an
606 @code{\arpeggio} to the chord:
608 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
612 A square bracket on the left, denoted by @code{\arpeggioBracket},
613 is used to indicate that the chord should @emph{not} be
616 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
621 The direction of the arpeggio can be denoted by adding an
622 arrowhead to the wiggly line. This is done with the commands
623 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
624 reverts to the arrow-less version:
626 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
640 @funindex \arpeggioUp
642 @funindex \arpeggioDown
643 @code{\arpeggioDown},
644 @funindex \arpeggioNeutral
645 @code{\arpeggioNeutral},
646 @funindex \arpeggioBracket
647 @code{\arpeggioBracket}.
652 In a @code{PianoStaff}, it is possible to let an arpeggio cross
653 between the staves by setting the property
654 @code{PianoStaff}.@code{connectArpeggios}.
656 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
658 \set PianoStaff.connectArpeggios = ##t
659 \new Staff { <c' e g c>\arpeggio }
660 \new Staff { \clef bass <c,, e g>\arpeggio }
664 The same can be accomplished in contexts other than
665 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
666 in the Score context.
668 @lilypond[verbatim,quote,ragged-right]
671 \set Score.connectArpeggios = ##t
673 \new Voice \relative c' {
676 \new Voice \relative c {
685 \consists "Span_arpeggio_engraver"
691 Similarly, an arpeggio can be drawn across notes in different
692 voices on the same staff if the @code{Span_arpeggio_engraver} is
693 moved to the Staff context:
695 @lilypond[verbatim,quote,ragged-right]
698 \consists "Span_arpeggio_engraver"
700 \set Staff.connectArpeggios = ##t
702 {<e' g>4\arpeggio <d f> <d f>2 }
704 {<d, f>2\arpeggio <g b>2 }
712 Music Glossary: @rglos{arpeggio}, @rglos{broken chord}.
714 Notation Reference: @ref{Ties}, for writing out arpeggios.
716 Snippets: @lsrdir{Expressive,Expressive-marks}
718 Internals Reference: @internalsref{Arpeggio},
719 @internalsref{PianoStaff}.
724 It is not possible to mix connected arpeggios and unconnected
725 arpeggios in one @code{PianoStaff} at the same point in
730 @subsubsection Trills
735 Short @notation{trills} are printed with @code{\trill} like normal
736 articulation; see @ref{Articulations and ornamentations}.
738 Long running trills are made with @code{\startTrillSpan} and
739 @code{\stopTrillSpan}. In the following example, it is shown in
740 the common combination with grace notes. If a more precise
741 control of the placement of the grace notes is needed, see
744 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
746 d1\startTrillSpan { c16[\stopTrillSpan d] }
750 @cindex pitched trills
752 Trills that should be executed on an explicitly specified pitch
753 can be typeset with the command @code{\pitchedTrill}, and the
754 syntax @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
755 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
757 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
758 \pitchedTrill e2 \startTrillSpan fis
763 The first argument is the main note. The pitch of the second is
764 printed as a stemless note head in parentheses.
769 @code{\startTrillSpan},
770 @funindex \startTrillSpan
771 @code{\stopTrillSpan}.
772 @funindex \stopTrillSpan
777 Music Glossary: @rglos{trill}
779 Snippets: @lsrdir{Expressive,Expressive-marks}
781 Internals Reference: @internalsref{TrillSpanner}