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
25 * Articulations and ornamentations::
30 @node Articulations and ornamentations
31 @subsubsection Articulations and ornamentations
37 A variety of symbols that denote articulations, ornamentations,
38 and other performance indications can be attached to a note using
45 The possible values for @var{name} are listed in @ref{List of
46 articulations}. For example:
48 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
49 c4\staccato c\mordent b2\turn
61 Some of these articulations have shorthands for easier entry.
62 Shorthands are appended to the note name, and their syntax
63 consists of a dash (@tie{}@code{-}) followed by a symbol
64 signifying the articulation. Predefined shorthands exist for
65 @notation{marcato}, @notation{stopped}, @notation{tenuto},
66 @notation{staccatissimo}, @notation{accent}, @notation{staccato},
67 and @notation{portato}. Their corresponding output appears as
70 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
75 The rules for the default placement of articulations are defined
76 in @file{scm/@/script@/.scm}. Articulations and ornamentations
77 may be manually placed above or below the staff, see
78 @ref{Controlling direction and placement}.
85 @cindex organ pedal marks
106 @c Send these snippets to Valentin for the LSR.
108 The shorthands are defined in @file{ly/@/script@/-init@/.ly},
109 where the variables @code{dashHat}, @code{dashPlus},
110 @code{dashDash}, @code{dashBar}, @code{dashLarger},
111 @code{dashDot}, and @code{dashUnderscore} are assigned default
112 values. The default values for the shorthands can be modified.
113 For example, to associate the @code{-+} (@code{dashPlus})
114 shorthand with the @notation{trill} symbol instead of the default
115 @notation{+} symbol, assign the value @code{trill} to the variable
118 @lilypond[verbatim,quote,ragged-right]
119 \relative c'' { c-+ }
121 \relative c'' { c-+ }
124 The vertical ordering of scripts is controlled with the
125 @code{script-priority} property. The lower this number, the
126 closer it will be put to the note. In this example, the
127 @code{TextScript} (the sharp symbol) first has the lowest
128 priority, so it is put lowest in the first example. In the
129 second, the @notation{prall trill} (the @code{Script}) has the
130 lowest, so it is on the inside. When two objects have the same
131 priority, the order in which they are entered decides which one
134 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
135 \once \override TextScript #'script-priority = #-100
136 a4^\prall^\markup { \sharp }
138 \once \override Script #'script-priority = #-100
139 a4^\prall^\markup { \sharp }
145 Music Glossary: @rglos{tenuto}, @rglos{accent}, @rglos{staccato},
148 Snippets: @lsrdir{Expressive,Expressive-marks}
150 Internals Reference: @internalsref{Script},
151 @internalsref{TextScript}.
156 These signs appear in the printed output but have no effect on the
157 MIDI rendering of the music.
161 @subsubsection Dynamics
182 Absolute dynamic marks are specified using a command after a note,
183 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
184 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
185 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
186 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
187 @code{\sfz}, and @code{\rfz}. The dynamic marks may be manually
188 placed above or below the staff, see @ref{Controlling direction
191 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
194 c_\spp c_\staccato^\ff
204 A @notation{crescendo} mark is started with @code{\<} and
205 terminated with @code{\!} or an absolute dynamic. A
206 @notation{decrescendo} is started with @code{\>} and is also
207 terminated with @code{\!} or an absolute dynamic. @code{\cr} and
208 @code{\decr} may be used instead of @code{\<} and @code{\>}. They
209 can be engraved either using a graphical sign (a
210 @notation{hairpin}), or with textual signs.
212 Because these marks are bound to notes, you must use spacer notes
213 if multiple marks are needed during one note.
215 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
217 << f1 { s4 s4\< s4\! \> s4\! } >>
220 This may give rise to very short hairpins. To lengthen them, the
221 following code can be used, for example:
224 \override Voice.Hairpin #'minimum-length = #5
228 A @notation{hairpin} normally starts at the left edge of the
229 beginning note and ends on the right edge of the ending note. If
230 the ending note falls on the downbeat, the @notation{hairpin} ends
231 on the immediately preceding bar line. The following example
232 illustrates this behavior:
234 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
236 \set hairpinToBarline = ##f
240 @cindex espressivo, articulation
242 In some situations the @code{\espressivo} articulation mark may be
243 suitable to indicate a crescendo and decrescendo on the one note:
245 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
246 c2 b4 a g1\espressivo
252 Hairpins may be printed with a circled tip (al niente notation):
254 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
255 \override Hairpin #'circled-tip = ##t
263 @funindex \setTextCresc
264 @funindex \setTextDim
265 @funindex \setTextDecresc
266 @funindex \setHairpinCresc
267 @funindex \setHairpinDim
268 @funindex \setHairpinDecresc
270 You can use text saying @notation{cresc.}, @notation{decr.}, or
271 @notation{dim.} instead of hairpins with the commands
272 @code{\setTextCresc}, @code{\setTextDim}, and
273 @code{\setTextDecresc}. The corresponding
274 @code{\setHairpinCresc}, @code{\setHairpinDim}, and
275 @code{\setHairpinDecresc} will revert to hairpins again:
277 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
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[verbatim,quote,ragged-right,fragment,relative=1]
298 \set crescendoText = \markup { \italic "cresc. poco" }
299 \set crescendoSpanner = #'dotted-line
300 a'2\< a a a a a a a\!\mf
303 To create new dynamic marks or text that should be aligned with
304 dynamics, see @ref{New dynamic marks}.
306 Vertical positioning of dynamics is handled by
307 @internalsref{DynamicLineSpanner}.
314 @funindex \dynamicDown
316 @funindex \dynamicNeutral
317 @code{\dynamicNeutral}.
322 Dynamics that occur at, begin on, or end on the same note will be
323 vertically aligned. If you want to ensure that dynamics are
324 aligned when they do not occur on the same note, you can increase
325 the @code{staff-padding} property.
328 \override DynamicLineSpanner #'staff-padding = #4
332 You may also use this property if the dynamics are colliding with
335 @notation{Crescendi} and @notation{decrescendi} that cross a line
336 break will be continued on the second line. If they end on the
337 first note of a new line, nothing will be printed on that line.
338 To change this behavior, use
341 \override Score.Hairpin #'after-line-breaking = ##t
344 Text style dynamic changes (such as @notation{cresc.} and
345 @notation{dim.}) are printed with a dashed line showing their
346 extent. To suppress printing this line, use
349 \override DynamicTextSpanner #'dash-period = #-1.0
355 @c TODO: Add hairpin to glossary.
357 Music Glossary: @rglos{crescendo}, @rglos{decrescendo}.
359 Learning Manual: @rlearning{Articulation and dynamics}.
361 Snippets: @lsrdir{Expressive,Expressive-marks}
363 Internals Reference: @internalsref{DynamicText},
364 @internalsref{Hairpin}. Vertical positioning of these symbols is
365 handled by @internalsref{DynamicLineSpanner}.
368 @node New dynamic marks
369 @subsubsection New dynamic marks
371 It is possible to print new dynamic marks or text that should be
372 aligned with dynamics. Use @code{make-dynamic-script} to create
373 these marks. Note that the dynamic font only contains the
374 characters @code{f,m,p,r,s} and @code{z}.
376 Some situations (such as dynamic marks) have preset font-related
377 properties. If you are creating text in such situations, it is
378 advisable to cancel those properties with @code{normal-text}. See
379 @ref{Text markup commands}, for more details.
381 @cindex make-dynamic-script
383 @lilypond[quote,verbatim,ragged-right]
384 sfzp = #(make-dynamic-script "sfzp")
390 @cindex Dynamics, editorial
391 @cindex Dynamics, parenthesis
393 It is also possible to print dynamics in round parenthesis or
394 square brackets. These are often used for adding editorial
397 @lilypond[quote,verbatim,ragged-right]
398 rndf = \markup{ \center-align {\line { \bold{\italic (}
399 \dynamic f \bold{\italic )} }} }
400 boxf = \markup{ \bracket { \dynamic f } }
401 { c'1_\rndf c'1_\boxf }
406 Snippets: @lsrdir{Expressive,Expressive-marks}
424 A @notation{slur} indicates that notes are to be played bound or
425 @emph{legato}. They are entered using parentheses:
427 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
428 f( g a) a8 b( a4 g2 f4)
432 Just as with ties, the direction of a slur can be specified with
433 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
434 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
435 default). Slurs may be manually placed above or below the staff,
436 see @ref{Controlling direction and placement}.
438 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
442 Using this method, only one slur can be printed at once. To print
443 a long slur over a few small slurs, see @ref{Phrasing slurs}.
452 @funindex \slurNeutral
454 @funindex \slurDashed
456 @funindex \slurDotted
464 Some composers write two slurs when they want legato chords. This
465 can be achieved in LilyPond by setting @code{doubleSlurs},
467 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
468 \set doubleSlurs = ##t
469 <c e>4 ( <d f> <c e> <d f> )
475 Music Glossary: @rglos{slur}
477 Snippets: @lsrdir{Expressive,Expressive-marks}
479 Internals Reference: @internalsref{Slur}.
483 @subsubsection Phrasing slurs
485 @cindex phrasing slurs
486 @cindex phrasing marks
490 A phrasing slur (or phrasing mark) connects notes and is used to
491 indicate a musical sentence. It is written using @code{\(} and
492 @code{\)} respectively:
494 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
495 \time 6/4 c'\( d( e) f( e) d\)
498 Typographically, the phrasing slur behaves almost exactly like a
499 normal slur. However, they are treated as different objects. A
500 @code{\slurUp} will have no effect on a phrasing slur; instead,
501 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
502 @code{\phrasingSlurNeutral}. Phrasing slurs may be manually
503 placed above or below the staff, see @ref{Controlling direction
506 You cannot have simultaneous phrasing slurs.
511 @funindex \phrasingSlurUp
512 @code{\phrasingSlurUp},
513 @funindex \phrasingSlurDown
514 @code{\phrasingSlurDown},
515 @funindex \phrasingSlurNeutral
516 @code{\phrasingSlurNeutral}.
521 Snippets: @lsrdir{Expressive,Expressive-marks}
523 Internals Reference: @internalsref{PhrasingSlur}
527 @subsubsection Breath marks
532 Breath marks are entered using @code{\breathe}:
534 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
541 The glyph of the breath mark can be tuned by overriding the
542 @code{text} property of the @code{BreathingSign} layout object
543 with any markup text. For example,
545 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
547 \override BreathingSign #'text
548 = #(make-musicglyph-markup "scripts.rvarcomma")
556 Snippets: @lsrdir{Expressive,Expressive-marks}
557 @c @lsr{expressive,breathing-sign.ly}.
559 Internals Reference: @internalsref{BreathingSign}
562 @node Falls and doits
563 @subsubsection Falls and doits
569 @notation{Falls} and @notation{doits} can be added to notes using
570 the @code{\bendAfter} command:
572 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
579 The dash (@tie{-}) following the note name is @emph{required} when
580 writing @notation{falls} and @notation{doits}.
585 The @code{shortest-duration-space} property may have to be tweaked
586 to adjust the shape of @notation{falls} and @notation{doits}.
588 @c Fix this snippet. The tweak does not work. -pm
590 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
591 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
599 @c TODO: add falls and doits to glossary.
600 @c Music Glossary: @rglos{falls}, @rglos{doits}.
602 Snippets: @lsrdir{Expressive,Expressive-marks}
615 @subsubsection Glissando
620 A @notation{glissando} is a smooth change in pitch. It is denoted
621 by a line or a wavy line between two notes. A
622 @notation{glissando} is created by attaching @code{\glissando} to
625 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
627 \override Glissando #'style = #'zigzag
634 @lilypond[verbatim,quote,ragged-right]
635 I = \once \override NoteColumn #'ignore-collision = ##t
638 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
639 { \oneVoice \I c2 \glissando \I d, }
646 Music Glossary: @rglos{glissando}
648 Snippets: @lsrdir{Expressive,Expressive-marks}
650 @c FIXME: I need to figure out what's up with these. -gp
651 @c @lsr{expressive,glissando.ly},
652 @c @lsr{expressive,line-styles.ly}
654 Internals Reference: @internalsref{Glissando}
659 Printing text over the line (such as @emph{gliss.}) is not
664 @subsubsection Arpeggio
669 You can specify an @notation{arpeggio} (also known as a
670 @notation{broken chord}) on a chord by attaching an
671 @code{\arpeggio} to the chord:
673 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
677 A square bracket on the left, denoted by @code{\arpeggioBracket},
678 is used to indicate that the chord should @emph{not} be
681 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
686 The direction of the arpeggio can be denoted by adding an
687 arrowhead to the wiggly line. This is done with the commands
688 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
689 reverts to the arrow-less version:
691 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
707 @funindex \arpeggioUp
709 @funindex \arpeggioDown
710 @code{\arpeggioDown},
711 @funindex \arpeggioNeutral
712 @code{\arpeggioNeutral},
713 @funindex \arpeggioBracket
714 @code{\arpeggioBracket}.
719 In a @code{PianoStaff}, it is possible to let an arpeggio cross
720 between the staves by setting the property
721 @code{PianoStaff}.@code{connectArpeggios}.
723 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
725 \set PianoStaff.connectArpeggios = ##t
726 \new Staff { <c' e g c>\arpeggio }
727 \new Staff { \clef bass <c,, e g>\arpeggio }
731 The same can be accomplished in contexts other than
732 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
733 in the Score context.
735 @lilypond[verbatim,quote,ragged-right]
738 \set Score.connectArpeggios = ##t
740 \new Voice \relative c' {
743 \new Voice \relative c {
752 \consists "Span_arpeggio_engraver"
758 Similarly, an arpeggio can be drawn across notes in different
759 voices on the same staff if the @code{Span_arpeggio_engraver} is
760 moved to the Staff context:
762 @lilypond[verbatim,quote,ragged-right]
765 \consists "Span_arpeggio_engraver"
767 \set Staff.connectArpeggios = ##t
769 {<e' g>4\arpeggio <d f> <d f>2 }
771 {<d, f>2\arpeggio <g b>2 }
779 @c TODO: Add 'broken chord' to glossary.
781 Music Glossary: @rglos{arpeggio}
783 Notation Reference: @ref{Ties}, for writing out arpeggios.
785 Snippets: @lsrdir{Expressive,Expressive-marks}
787 Internals Reference: @internalsref{Arpeggio},
788 @internalsref{PianoStaff}.
793 It is not possible to mix connected arpeggios and unconnected
794 arpeggios in one @code{PianoStaff} at the same point in
799 @subsubsection Trills
804 Short @notation{trills} are printed with @code{\trill} like normal
805 articulation; see @ref{Articulations and ornamentations}.
807 Long running @notation{trills} are made with
808 @code{\startTrillSpan} and @code{\stopTrillSpan}. In the
809 following example, a long running @notation{trill} is shown
810 combined with grace notes. To achieve precise control of the
811 placement of the grace notes, see @ref{Grace notes}.
813 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
815 d1\startTrillSpan { c16[\stopTrillSpan d] }
819 @cindex pitched trills
821 @notation{Trills} that should be executed on an explicitly
822 specified pitch can be typeset with the command
823 @code{\pitchedTrill} using the following syntax:
826 @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
827 @var{trillnote} @var{endnote} @code{\stopTrillSpan}
830 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
831 \pitchedTrill e2 \startTrillSpan fis
836 The first argument is the main note. The pitch of the second is
837 printed as a stemless note head in parentheses.
842 @code{\startTrillSpan},
843 @funindex \startTrillSpan
844 @code{\stopTrillSpan}.
845 @funindex \stopTrillSpan
850 Music Glossary: @rglos{trill}
852 Snippets: @lsrdir{Expressive,Expressive-marks}
854 Internals Reference: @internalsref{TrillSpanner}