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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11 @node Expressive marks
12 @section Expressive marks
14 @lilypondfile[quote]{expressive-headword.ly}
23 @node Attached to notes
24 @subsection Attached to notes
27 * Articulations and ornamentations::
32 @node Articulations and ornamentations
33 @subsubsection Articulations and ornamentations
39 A variety of symbols that denote articulations, ornamentations,
40 and other performance indications can be attached to a note using
47 The possible values for @var{name} are listed in @ref{List of
48 articulations}. For example:
50 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
51 c4\staccato c\mordent b2\turn
63 Some of these articulations have shorthands for easier entry.
64 Shorthands are appended to the note name, and their syntax
65 consists of a dash (@tie{}@code{-}) followed by a symbol
66 signifying the articulation. Predefined shorthands exist for
67 @notation{marcato}, @notation{stopped}, @notation{tenuto},
68 @notation{staccatissimo}, @notation{accent}, @notation{staccato},
69 and @notation{portato}. Their corresponding output appears as
72 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
77 The rules for the default placement of articulations are defined
78 in @file{scm/@/script@/.scm}. Articulations and ornamentations
79 may be manually placed above or below the staff, see
80 @ref{Controlling direction and placement}.
87 @cindex organ pedal marks
100 @cindex thumb marking
108 @c Send these snippets to Valentin for the LSR.
110 The shorthands are defined in @file{ly/@/script@/-init@/.ly},
111 where the variables @code{dashHat}, @code{dashPlus},
112 @code{dashDash}, @code{dashBar}, @code{dashLarger},
113 @code{dashDot}, and @code{dashUnderscore} are assigned default
114 values. The default values for the shorthands can be modified.
115 For example, to associate the @code{-+} (@code{dashPlus})
116 shorthand with the @notation{trill} symbol instead of the default
117 @notation{+} symbol, assign the value @code{trill} to the variable
120 @lilypond[verbatim,quote,ragged-right]
121 \relative c'' { c-+ }
123 \relative c'' { c-+ }
126 The vertical ordering of scripts is controlled with the
127 @code{script-priority} property. The lower this number, the
128 closer it will be put to the note. In this example, the
129 @code{TextScript} (the sharp symbol) first has the lowest
130 priority, so it is put lowest in the first example. In the
131 second, the @notation{prall trill} (the @code{Script}) has the
132 lowest, so it is on the inside. When two objects have the same
133 priority, the order in which they are entered decides which one
136 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
137 \once \override TextScript #'script-priority = #-100
138 a4^\prall^\markup { \sharp }
140 \once \override Script #'script-priority = #-100
141 a4^\prall^\markup { \sharp }
147 Music Glossary: @rglos{tenuto}, @rglos{accent}, @rglos{staccato},
150 Snippets: @lsrdir{Expressive,Expressive-marks}
152 Internals Reference: @internalsref{Script},
153 @internalsref{TextScript}.
158 These signs appear in the printed output but have no effect on the
159 MIDI rendering of the music.
163 @subsubsection Dynamics
184 Absolute dynamic marks are specified using a command after a note,
185 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
186 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
187 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
188 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
189 @code{\sfz}, and @code{\rfz}. The dynamic marks may be manually
190 placed above or below the staff, see @ref{Controlling direction
193 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
196 c_\spp c_\staccato^\ff
206 A @notation{crescendo} mark is started with @code{\<} and
207 terminated with @code{\!} or an absolute dynamic. A
208 @notation{decrescendo} is started with @code{\>} and is also
209 terminated with @code{\!} or an absolute dynamic. @code{\cr} and
210 @code{\decr} may be used instead of @code{\<} and @code{\>}. They
211 can be engraved either using a graphical sign (a
212 @notation{hairpin}), or with textual signs.
214 Because these marks are bound to notes, you must use spacer notes
215 if multiple marks are needed during one note.
217 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
219 << f1 { s4 s4\< s4\! \> s4\! } >>
222 This may give rise to very short hairpins. To lengthen them, the
223 following code can be used, for example:
226 \override Voice.Hairpin #'minimum-length = #5
230 A @notation{hairpin} normally starts at the left edge of the
231 beginning note and ends on the right edge of the ending note. If
232 the ending note falls on the downbeat, the @notation{hairpin} ends
233 on the immediately preceding bar line. The following example
234 illustrates this behavior:
236 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
238 \set hairpinToBarline = ##f
242 @cindex espressivo, articulation
244 In some situations the @code{\espressivo} articulation mark may be
245 suitable to indicate a crescendo and decrescendo on the one note:
247 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
248 c2 b4 a g1\espressivo
254 Hairpins may be printed with a circled tip (al niente notation):
256 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
257 \override Hairpin #'circled-tip = ##t
265 @funindex \setTextCresc
266 @funindex \setTextDim
267 @funindex \setTextDecresc
268 @funindex \setHairpinCresc
269 @funindex \setHairpinDim
270 @funindex \setHairpinDecresc
272 You can use text saying @notation{cresc.}, @notation{decr.}, or
273 @notation{dim.} instead of hairpins with the commands
274 @code{\setTextCresc}, @code{\setTextDim}, and
275 @code{\setTextDecresc}. The corresponding
276 @code{\setHairpinCresc}, @code{\setHairpinDim}, and
277 @code{\setHairpinDecresc} will revert to hairpins again:
279 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
292 You can also supply your own texts and change the style of the
293 spanner line with the properties @code{\crescendoText},
294 @code{\crescendoSpanner}, @code{\decrescendoText}, and
295 @code{\decrescendoSpanner}. Available values for the spanner
296 properties are @code{hairpin}, @code{line}, @code{dashed-line},
297 and @code{dotted-line}. If unset, a hairpin crescendo is used:
299 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
300 \set crescendoText = \markup { \italic "cresc. poco" }
301 \set crescendoSpanner = #'dotted-line
302 a'2\< a a a a a a a\!\mf
305 To create new dynamic marks or text that should be aligned with
306 dynamics, see @ref{New dynamic marks}.
308 Vertical positioning of dynamics is handled by
309 @internalsref{DynamicLineSpanner}.
316 @funindex \dynamicDown
318 @funindex \dynamicNeutral
319 @code{\dynamicNeutral}.
324 Dynamics that occur at, begin on, or end on the same note will be
325 vertically aligned. If you want to ensure that dynamics are
326 aligned when they do not occur on the same note, you can increase
327 the @code{staff-padding} property.
330 \override DynamicLineSpanner #'staff-padding = #4
334 You may also use this property if the dynamics are colliding with
337 @notation{Crescendi} and @notation{decrescendi} that cross a line
338 break will be continued on the second line. If they end on the
339 first note of a new line, nothing will be printed on that line.
340 To change this behavior, use
343 \override Score.Hairpin #'after-line-breaking = ##t
346 Text style dynamic changes (such as @notation{cresc.} and
347 @notation{dim.}) are printed with a dashed line showing their
348 extent. To suppress printing this line, use
351 \override DynamicTextSpanner #'dash-period = #-1.0
357 @c TODO: Add hairpin to glossary.
359 Music Glossary: @rglos{crescendo}, @rglos{decrescendo}.
361 Learning Manual: @rlearning{Articulation and dynamics}.
363 Snippets: @lsrdir{Expressive,Expressive-marks}
365 Internals Reference: @internalsref{DynamicText},
366 @internalsref{Hairpin}. Vertical positioning of these symbols is
367 handled by @internalsref{DynamicLineSpanner}.
370 @node New dynamic marks
371 @subsubsection New dynamic marks
373 It is possible to print new dynamic marks or text that should be
374 aligned with dynamics. Use @code{make-dynamic-script} to create
375 these marks. Note that the dynamic font only contains the
376 characters @code{f,m,p,r,s} and @code{z}.
378 Some situations (such as dynamic marks) have preset font-related
379 properties. If you are creating text in such situations, it is
380 advisable to cancel those properties with @code{normal-text}. See
381 @ref{Text markup commands}, for more details.
383 @cindex make-dynamic-script
385 @lilypond[quote,verbatim,ragged-right]
386 sfzp = #(make-dynamic-script "sfzp")
392 @cindex Dynamics, editorial
393 @cindex Dynamics, parenthesis
395 It is also possible to print dynamics in round parenthesis or
396 square brackets. These are often used for adding editorial
399 @lilypond[quote,verbatim,ragged-right]
400 rndf = \markup{ \center-align {\line { \bold{\italic (}
401 \dynamic f \bold{\italic )} }} }
402 boxf = \markup{ \bracket { \dynamic f } }
403 { c'1_\rndf c'1_\boxf }
408 Snippets: @lsrdir{Expressive,Expressive-marks}
426 A @notation{slur} indicates that notes are to be played bound or
427 @emph{legato}. They are entered using parentheses:
429 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
430 f( g a) a8 b( a4 g2 f4)
434 Just as with ties, the direction of a slur can be specified with
435 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
436 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
437 default). Slurs may be manually placed above or below the staff,
438 see @ref{Controlling direction and placement}.
440 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
444 Using this method, only one slur can be printed at once. To print
445 a long slur over a few small slurs, see @ref{Phrasing slurs}.
454 @funindex \slurNeutral
456 @funindex \slurDashed
458 @funindex \slurDotted
466 Some composers write two slurs when they want legato chords. This
467 can be achieved in LilyPond by setting @code{doubleSlurs},
469 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
470 \set doubleSlurs = ##t
471 <c e>4 ( <d f> <c e> <d f> )
477 Music Glossary: @rglos{slur}
479 Snippets: @lsrdir{Expressive,Expressive-marks}
481 Internals Reference: @internalsref{Slur}.
485 @subsubsection Phrasing slurs
487 @cindex phrasing slurs
488 @cindex phrasing marks
492 A phrasing slur (or phrasing mark) connects notes and is used to
493 indicate a musical sentence. It is written using @code{\(} and
494 @code{\)} respectively:
496 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
497 \time 6/4 c'\( d( e) f( e) d\)
500 Typographically, the phrasing slur behaves almost exactly like a
501 normal slur. However, they are treated as different objects. A
502 @code{\slurUp} will have no effect on a phrasing slur; instead,
503 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
504 @code{\phrasingSlurNeutral}. Phrasing slurs may be manually
505 placed above or below the staff, see @ref{Controlling direction
508 You cannot have simultaneous phrasing slurs.
513 @funindex \phrasingSlurUp
514 @code{\phrasingSlurUp},
515 @funindex \phrasingSlurDown
516 @code{\phrasingSlurDown},
517 @funindex \phrasingSlurNeutral
518 @code{\phrasingSlurNeutral}.
523 Snippets: @lsrdir{Expressive,Expressive-marks}
525 Internals Reference: @internalsref{PhrasingSlur}
529 @subsubsection Breath marks
534 Breath marks are entered using @code{\breathe}:
536 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
543 The glyph of the breath mark can be tuned by overriding the
544 @code{text} property of the @code{BreathingSign} layout object
545 with any markup text. For example,
547 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
549 \override BreathingSign #'text
550 = #(make-musicglyph-markup "scripts.rvarcomma")
558 Snippets: @lsrdir{Expressive,Expressive-marks}
559 @c @lsr{expressive,breathing-sign.ly}.
561 Internals Reference: @internalsref{BreathingSign}
564 @node Falls and doits
565 @subsubsection Falls and doits
571 @notation{Falls} and @notation{doits} can be added to notes using
572 the @code{\bendAfter} command:
574 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
581 The dash (@tie{-}) following the note name is @emph{required} when
582 writing @notation{falls} and @notation{doits}.
587 The @code{shortest-duration-space} property may have to be tweaked
588 to adjust the shape of @notation{falls} and @notation{doits}.
590 @c Fix this snippet. The tweak does not work. -pm
592 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
593 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
601 @c TODO: add falls and doits to glossary.
602 @c Music Glossary: @rglos{falls}, @rglos{doits}.
604 Snippets: @lsrdir{Expressive,Expressive-marks}
617 @subsubsection Glissando
622 A @notation{glissando} is a smooth change in pitch. It is denoted
623 by a line or a wavy line between two notes. A
624 @notation{glissando} is created by attaching @code{\glissando} to
627 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
629 \override Glissando #'style = #'zigzag
636 @lilypond[verbatim,quote,ragged-right]
637 I = \once \override NoteColumn #'ignore-collision = ##t
640 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
641 { \oneVoice \I c2 \glissando \I d, }
648 Music Glossary: @rglos{glissando}
650 Snippets: @lsrdir{Expressive,Expressive-marks}
652 @c FIXME: I need to figure out what's up with these. -gp
653 @c @lsr{expressive,glissando.ly},
654 @c @lsr{expressive,line-styles.ly}
656 Internals Reference: @internalsref{Glissando}
661 Printing text over the line (such as @emph{gliss.}) is not
666 @subsubsection Arpeggio
671 You can specify an @notation{arpeggio} (also known as a
672 @notation{broken chord}) on a chord by attaching an
673 @code{\arpeggio} to the chord:
675 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
679 A square bracket on the left, denoted by @code{\arpeggioBracket},
680 is used to indicate that the chord should @emph{not} be
683 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
688 The direction of the arpeggio can be denoted by adding an
689 arrowhead to the wiggly line. This is done with the commands
690 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
691 reverts to the arrow-less version:
693 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
709 @funindex \arpeggioUp
711 @funindex \arpeggioDown
712 @code{\arpeggioDown},
713 @funindex \arpeggioNeutral
714 @code{\arpeggioNeutral},
715 @funindex \arpeggioBracket
716 @code{\arpeggioBracket}.
721 In a @code{PianoStaff}, it is possible to let an arpeggio cross
722 between the staves by setting the property
723 @code{PianoStaff}.@code{connectArpeggios}.
725 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
727 \set PianoStaff.connectArpeggios = ##t
728 \new Staff { <c' e g c>\arpeggio }
729 \new Staff { \clef bass <c,, e g>\arpeggio }
733 The same can be accomplished in contexts other than
734 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
735 in the Score context.
737 @lilypond[verbatim,quote,ragged-right]
740 \set Score.connectArpeggios = ##t
742 \new Voice \relative c' {
745 \new Voice \relative c {
754 \consists "Span_arpeggio_engraver"
760 Similarly, an arpeggio can be drawn across notes in different
761 voices on the same staff if the @code{Span_arpeggio_engraver} is
762 moved to the Staff context:
764 @lilypond[verbatim,quote,ragged-right]
767 \consists "Span_arpeggio_engraver"
769 \set Staff.connectArpeggios = ##t
771 {<e' g>4\arpeggio <d f> <d f>2 }
773 {<d, f>2\arpeggio <g b>2 }
781 @c TODO: Add 'broken chord' to glossary.
783 Music Glossary: @rglos{arpeggio}
785 Notation Reference: @ref{Ties}, for writing out arpeggios.
787 Snippets: @lsrdir{Expressive,Expressive-marks}
789 Internals Reference: @internalsref{Arpeggio},
790 @internalsref{PianoStaff}.
795 It is not possible to mix connected arpeggios and unconnected
796 arpeggios in one @code{PianoStaff} at the same point in
801 @subsubsection Trills
806 Short @notation{trills} are printed with @code{\trill} like normal
807 articulation; see @ref{Articulations and ornamentations}.
809 Long running @notation{trills} are made with
810 @code{\startTrillSpan} and @code{\stopTrillSpan}. In the
811 following example, a long running @notation{trill} is shown
812 combined with grace notes. To achieve precise control of the
813 placement of the grace notes, see @ref{Grace notes}.
815 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
817 d1\startTrillSpan { c16[\stopTrillSpan d] }
821 @cindex pitched trills
823 @notation{Trills} that should be executed on an explicitly
824 specified pitch can be typeset with the command
825 @code{\pitchedTrill} using the following syntax:
828 @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
829 @var{trillnote} @var{endnote} @code{\stopTrillSpan}
832 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
833 \pitchedTrill e2 \startTrillSpan fis
838 The first argument is the main note. The pitch of the second is
839 printed as a stemless note head in parentheses.
844 @code{\startTrillSpan},
845 @funindex \startTrillSpan
846 @code{\stopTrillSpan}.
847 @funindex \stopTrillSpan
852 Music Glossary: @rglos{trill}
854 Snippets: @lsrdir{Expressive,Expressive-marks}
856 Internals Reference: @internalsref{TrillSpanner}