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,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 @unnumberedsubsubsec 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 @var{note}@code{\}@var{name}.
42 The possible values for @var{name} are listed in @ref{List of
45 Some of these articulations have shorthands for easier entry. They
46 are used by adding a dash and the character signifying
47 the articulation to the note name. The available shorthands and
50 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
55 The marks are automatically placed, but the direction can be
56 forced as well. Like other pieces of LilyPond code, @code{_} will
57 place them below the staff, and @code{^} will place them above.
58 This applies both to the shorthands and the fully named
59 articulations. For the shorthands, the dash itself should be
60 omitted; the shorthand signs replace it:
62 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
64 c\fermata c^\fermata c_\fermata
80 @cindex organ pedal marks
101 The meanings of the shorthands can be changed. They are defined
102 in @file{ly/@/script@/-init@/.ly}, where the variables
103 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
104 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
105 are associated with the default articulation marks. If you want,
106 e.g., @code{-+} to produce a trill instead of a "+", you can
107 redefine the variable in your document:
109 @lilypond[quote,ragged-right,verbatim]
110 \relative c'' { c-+ }
112 \relative c'' { c-+ }
115 The vertical ordering of scripts is controlled with the
116 @code{script-priority} property. The lower this number, the
117 closer it will be put to the note. In this example, the
118 @internalsref{TextScript} (the sharp symbol) first has the lowest
119 priority, so it is put lowest in the first example. In the
120 second, the prall trill (the @internalsref{Script}) has the
121 lowest, so it is on the inside. When two objects have the same
122 priority, the order in which they are entered decides which one
128 The meanings of the shorthands can be changed. They are defined
129 in @file{ly/@/script@/-init@/.ly}, where the variables
130 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
131 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
132 are associated with the default articulation marks. If you want,
133 e.g., @code{-+} to produce a trill instead of a "+", you can
134 redefine the variable in your document:
136 @lilypond[quote,ragged-right,verbatim]
137 \relative c'' { c-+ }
139 \relative c'' { c-+ }
142 The vertical ordering of scripts is controlled with the
143 @code{script-priority} property. The lower this number, the
144 closer it will be put to the note. In this example, the
145 @internalsref{TextScript} (the sharp symbol) first has the lowest
146 priority, so it is put lowest in the first example. In the
147 second, the prall trill (the @internalsref{Script}) has the
148 lowest, so it is on the inside. When two objects have the same
149 priority, the order in which they are entered decides which one
152 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
153 \once \override TextScript #'script-priority = #-100
154 a4^\prall^\markup { \sharp }
156 \once \override Script #'script-priority = #-100
157 a4^\prall^\markup { \sharp }
163 Snippets: @lsrdir{expressive}
165 Internals Reference: @internalsref{Script}.
170 These signs appear in the printed output but have no effect on the
171 MIDI rendering of the music.
175 @unnumberedsubsubsec Dynamics
196 Absolute dynamic marks are specified using a command after a note
197 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
198 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
199 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
200 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
201 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
202 above or below the staff with @code{_} and @code{^}, just like
205 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
208 c_\spp c_\staccato^\ff
215 A crescendo mark is started with @code{\<} and terminated with
216 @code{\!} or an absolute dynamic. A decrescendo is started with
217 @code{\>} and is also terminated with @code{\!} or an absolute
218 dynamic. @code{\cr} and @code{\decr} may be used instead of
219 @code{\<} and @code{\>}. They can be engraved either using a
220 graphical sign (a @q{hairpin}), or with textual signs.
222 Because these marks are bound to notes, you must use spacer notes
223 if multiple marks are needed during one note.
225 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
227 << f1 { s4 s4\< s4\! \> s4\! } >>
230 This may give rise to very short hairpins. Use
231 @code{minimum-length} in
232 @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
236 \override Voice.Hairpin #'minimum-length = #5
240 A hairpin normally starts at the left edge of the beginning note
241 and ends on the right edge of the ending note. If the ending note
242 falls on the downbeat, the hairpin ends on the immediately
243 preceding bar line. This may be modified by setting the
244 @code{hairpinToBar line} property,
247 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
249 \set hairpinToBarline = ##f
253 @cindex espressivo, articulation
254 In some situations the @code{\espressivo} articulation mark may be
255 suitable to indicate a crescendo and decrescendo on the one note:
257 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
258 c2 b4 a g1\espressivo
264 Hairpins may be printed with a circled tip (al niente notation) by
265 setting the @code{circled-tip} property:
267 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
268 \override Hairpin #'circled-tip = ##t
278 You can use text saying @emph{cresc.}, @emph{decr.}, or
279 @emph{dim.} instead of hairpins with the commands \setTextCresc,
280 \setTextDim, and \setTextDecresc. The corresponding
281 \setHairpinCresc, \setHairpinDim, and \setHairpinDecresc will
282 revert to hairpins again:
284 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
295 You can also supply your own texts and change the style of the
296 spanner line with the properties @code{\crescendoText},
297 @code{\crescendoSpanner}, @code{\decrescendoText}, and
298 @code{\decrescendoSpanner}. Available values for the spanner
299 properties are @code{hairpin}, @code{line}, @code{dashed-line},
300 and @code{dotted-line}. If unset, a hairpin crescendo is used:
302 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
303 \set crescendoText = \markup { \italic "cresc. poco" }
304 \set crescendoSpanner = #'dotted-line
305 a'2\< a a a a a a a\!\mf
309 To create new dynamic marks or text that should be aligned with
310 dynamics, see @ref{New dynamic marks}.
312 Vertical positioning of dynamics is handled by
313 @internalsref{DynamicLineSpanner}.
318 Dynamics that occur at, begin on, or end on the same note will be
319 vertically aligned. If you want to ensure that dynamics are
320 aligned when they do not occur on the same note, you can increase
321 the @code{staff-padding} property.
324 \override DynamicLineSpanner #'staff-padding = #4
327 You may also use this property if the dynamics are colliding with
330 Crescendi and decrescendi that cross a line break will be
331 continued on the second line. If they end on the first note of a
332 new line, nothing will be printed on that line. To change this
336 \override Score.Hairpin #'after-line-breaking = ##t
339 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
340 are printed with a dashed line showing their extent. To surpress
341 printing this line, use
344 \override DynamicTextSpanner #'dash-period = #-1.0
352 @funindex \dynamicDown
354 @funindex \dynamicNeutral
355 @code{\dynamicNeutral}.
360 Snippets: @lsrdir{expressive}
362 Internals Reference: @internalsref{DynamicText},
363 @internalsref{Hairpin}. Vertical positioning of these symbols is
364 handled by @internalsref{DynamicLineSpanner}.
365 Glossary: @rglos{Hairpin}, @rglos{crescendo}, @rglos{decrescendo}
367 @c TODO: add link to LM directions
381 @unnumberedsubsubsec Slurs
385 A slur indicates that notes are to be played bound or
386 @emph{legato}. They are entered using parentheses:
388 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
389 f( g a) a8 b( a4 g2 f4)
393 Just as with ties, the direction of a slur can be specified with
394 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
395 @code{Up}, @code{Down}, or @code{Neutral} (automatically
396 selected). The shorthands are also available: by adding
397 @code{_} or @code{^} before the opening parentheses, the direction
400 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
404 Only one slur can be printed at once. If you need to print a long
405 slur over a few small slurs, please see @ref{Phrasing slurs}.
410 Some composers write two slurs when they want legato chords. This
411 can be achieved in LilyPond by setting @code{doubleSlurs},
413 @lilypond[verbatim,ragged-right,relative,fragment,quote]
414 \set doubleSlurs = ##t
415 <c e>4 ( <d f> <c e> <d f> )
425 @funindex \slurNeutral
427 @funindex \slurDashed
429 @funindex \slurDotted
436 Snippets: @lsrdir{expressive}
438 Internals Reference: @internalsref{Slur}.
442 @unnumberedsubsubsec Phrasing slurs
444 @cindex phrasing slurs
445 @cindex phrasing marks
447 A phrasing slur (or phrasing mark) connects notes and is used to
448 indicate a musical sentence. It is written using @code{\(} and
449 @code{\)} respectively:
451 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
452 \time 6/4 c'\( d( e) f( e) d\)
455 Typographically, the phrasing slur behaves almost exactly like a
456 normal slur. However, they are treated as different objects. A
457 @code{\slurUp} will have no effect on a phrasing slur; instead,
458 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
459 @code{\phrasingSlurNeutral}, or use the shorthands @code{_} and
462 You cannot have simultaneous phrasing slurs.
467 @funindex \phrasingSlurUp
468 @code{\phrasingSlurUp},
469 @funindex \phrasingSlurDown
470 @code{\phrasingSlurDown},
471 @funindex \phrasingSlurNeutral
472 @code{\phrasingSlurNeutral}.
477 Snippets: @lsrdir{expressive}
479 Internals Reference: @internalsref{PhrasingSlur}.
483 @unnumberedsubsubsec Breath marks
485 Breath marks are entered using @code{\breathe}
487 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
494 The glyph of the breath mark can be tuned by overriding the
495 @code{text} property of the @code{BreathingSign} layout object
496 with any markup text. For example,
498 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
500 \override BreathingSign #'text
501 = #(make-musicglyph-markup "scripts.rvarcomma")
508 Snippets: @lsrdir{expressive}
510 Internals Reference: @internalsref{BreathingSign}.
512 Examples: @lsr{expressive,breathing-sign.ly}
515 @node Falls and doits
516 @unnumberedsubsubsec Falls and doits
518 Falls and doits can be added to notes using the @code{\bendAfter}
521 @lilypond[fragment,ragged-right,relative=2]
522 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
537 @unnumberedsubsubsec Glissando
542 A glissando is a smooth change in pitch. It is denoted by a line
543 or a wavy line between two notes. It is requested by attaching
544 @code{\glissando} to a note
546 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
548 \override Glissando #'style = #'zigzag
555 @lilypond[quote,ragged-right,verbatim]
556 I = \once \override NoteColumn #'ignore-collision = ##t
559 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
560 { \oneVoice \I c2 \glissando \I d, }
568 Snippets: @lsrdir{expressive}
570 Internals Reference: @internalsref{Glissando}.
572 Glossary: @rglos{falls}, @rglos{doits}
574 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
579 Printing text over the line (such as @emph{gliss.}) is not
584 @unnumberedsubsubsec Arpeggio
590 You can specify an arpeggio sign (also known as broken chord) on a
591 chord by attaching an @code{\arpeggio} to the chord:
593 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
597 A square bracket on the left is used to indicate that the chord should
598 @emph{not} be arpeggiated:
600 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
605 The direction of the arpeggio can be denoted by adding an
606 arrowhead to the wiggly line. This is done with the commands
607 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
608 reverts to the arrow-less version:
610 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
624 In a @code{PianoStaff}, it is possible to let an arpeggio cross
625 between the staves by setting the property
626 @internalsref{PianoStaff}.@code{connectArpeggios}.
628 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
630 \set PianoStaff.connectArpeggios = ##t
631 \new Staff { <c' e g c>\arpeggio }
632 \new Staff { \clef bass <c,, e g>\arpeggio }
636 The same can be accomplished in contexts other than
637 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
638 in the Score context.
640 @lilypond[quote,ragged-right,verbatim]
643 \set Score.connectArpeggios = ##t
645 \new Voice \relative c' {
648 \new Voice \relative c {
657 \consists "Span_arpeggio_engraver"
663 Similarly, an arpeggio can be drawn across notes in
664 different voices on the same staff if the Span_arpeggio_engraver
665 is moved to the Staff context:
667 @lilypond[quote,ragged-right,verbatim]
670 \consists "Span_arpeggio_engraver"
672 \set Staff.connectArpeggios = ##t
674 {<e' g>4\arpeggio <d f> <d f>2 }
676 {<d, f>2\arpeggio <g b>2 }
686 @funindex \arpeggioUp
688 @funindex \arpeggioDown
689 @code{\arpeggioDown},
690 @funindex \arpeggioNeutral
691 @code{\arpeggioNeutral},
692 @funindex \arpeggioBracket
693 @code{\arpeggioBracket}.
698 Notation manual: @ref{Ties}, for writing out arpeggios.
700 Snippets: @lsrdir{expressive}
702 Internals Reference: @internalsref{Arpeggio}.
707 It is not possible to mix connected arpeggios and unconnected
708 arpeggios in one @internalsref{PianoStaff} at the same point in
713 @unnumberedsubsubsec Trills
715 Short trills are printed with @code{\trill} like normal
716 articulation; see @ref{Articulations and ornamentations}.
718 Long running trills are made with @code{\startTrillSpan} and
719 @code{\stopTrillSpan}. In the following example, it is shown in
720 the common combination with grace notes. If a more precise
721 control of the placement of the grace notes is needed, see
724 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
727 d1\startTrillSpan { c16[\stopTrillSpan d] }
731 @cindex Pitched trills
733 Trills that should be executed on an explicitly specified pitch
734 can be typeset with the command @code{pitchedTrill}, and the
735 syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
736 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
738 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
739 \pitchedTrill e2 \startTrillSpan fis
745 The first argument is the main note. The pitch of the second is
746 printed as a stemless note head in parentheses.
751 @code{\startTrillSpan},
752 @funindex \startTrillSpan
753 @code{\stopTrillSpan}.
754 @funindex \stopTrillSpan
759 Snippets: @lsrdir{expressive}
761 Internals Reference: @internalsref{TrillSpanner}.