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
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
53 @lilypond[quote,ragged-right,fragment]
54 \override TextScript #'font-family = #'typewriter
55 \override TextScript #'font-shape = #'upright
65 The marks are automatically placed, but the direction can be
66 forced as well. Like other pieces of LilyPond code, @code{_} will
67 place them below the staff, and @code{^} will place them above.
68 This applies both to the shorthands and the fully named
69 articulations. For the shorthands, @code{_} and @code{^} replace
72 @lilypond[quote,ragged-right,fragment,verbatim]
74 c\fermata c^\fermata c_\fermata
90 @cindex organ pedal marks
103 @cindex thumb marking
111 The meanings of the shorthands can be changed. They are defined
112 in @file{ly/@/script@/-init@/.ly}, where the variables
113 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
114 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
115 are associated with the default articulation marks. If you want,
116 e.g., @code{-+} to produce a trill instead of a "+", you can
117 redefine the variable in your document:
119 @lilypond[quote,ragged-right,verbatim,fragment]
120 \relative c'' { c-+ }
122 \relative c'' { c-+ }
125 The vertical ordering of scripts is controlled with the
126 @code{script-priority} property. The lower this number, the
127 closer it will be put to the note. In this example, the
128 @internalsref{TextScript} (the sharp symbol) first has the lowest
129 priority, so it is put lowest in the first example. In the
130 second, the prall trill (the @internalsref{Script}) has the
131 lowest, so it is on the inside. When two objects have the same
132 priority, the order in which they are entered decides which one
135 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
136 \once \override TextScript #'script-priority = #-100
137 a4^\prall^\markup { \sharp }
139 \once \override Script #'script-priority = #-100
140 a4^\prall^\markup { \sharp }
146 Program reference: @internalsref{Script}.
151 These signs appear in the printed output but have no effect on the
152 MIDI rendering of the music.
156 @unnumberedsubsubsec Dynamics
177 Absolute dynamic marks are specified using a command after a note
178 @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 with @code{_} and @code{^}, just like
186 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
189 c_\spp c_\staccato^\ff
196 A crescendo mark is started with @code{\<} and terminated with
197 @code{\!} or an absolute dynamic. A decrescendo is started with
198 @code{\>} and is also terminated with @code{\!} or an absolute
199 dynamic. @code{\cr} and @code{\decr} may be used instead of
200 @code{\<} and @code{\>}.
202 Because these marks are bound to notes, you must use spacer notes
203 if multiple marks are needed during one note.
205 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
207 << f1 { s4 s4\< s4\! \> s4\! } >>
210 This may give rise to very short hairpins. Use
211 @code{minimum-length} in
212 @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
216 \override Voice.Hairpin #'minimum-length = #5
220 A hairpin normally starts at the left edge of the beginning note
221 and ends on the right edge of the ending note. If the ending note
222 falls on the downbeat, the hairpin ends on the immediately
223 preceding barline. This may be modified by setting the
224 @code{hairpinToBarline} property,
227 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
229 \set hairpinToBarline = ##f
233 In some situations the @code{\espressivo} articulation mark may be
234 suitable to indicate a crescendo and decrescendo on the one note:
235 @cindex{espressivo, articulation}
237 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
238 c2 b4 a g1\espressivo
244 Hairpins may be printed with a circled tip (al niente notation) by
245 setting the @code{circled-tip} property:
247 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
248 \override Hairpin #'circled-tip = ##t
258 You can use text saying @emph{cresc.} instead of hairpins with the
259 commands \setTextCresc, \setTextDim, and \setTextDecresc. The
260 corresponding \setHairpinCresc, \setHairpinDim, and
261 \setHairpinDecresc will revert to hairpins again:
263 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
274 You can also supply your own texts and change the style of the
275 spanner line with the properties @code{\crescendoText},
276 @code{\crescendoSpanner}, @code{\decrescendoText}, and
277 @code{\decrescendoSpanner}. Available values for the spanner
278 properties are @code{hairpin}, @code{line}, @code{dashed-line},
279 and @code{dotted-line}. If unset, a hairpin crescendo is used:
281 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
282 \set crescendoText = \markup { \italic "cresc. poco" }
283 \set crescendoSpanner = #'dotted-line
284 a'2\< a a a a a a a\!\mf
288 To create new dynamic marks or text that should be aligned with
289 dynamics, see @ref{New dynamic marks}.
291 Vertical positioning of dynamics is handled by
292 @internalsref{DynamicLineSpanner}.
297 Dynamics that occur at, begin on, or end on the same note will be
298 vertically aligned. If you want to ensure that dynamics are
299 aligned when they do not occur on the same note, you can increase
300 the @code{staff-padding} property.
303 \override DynamicLineSpanner #'staff-padding = #4
306 You may also use this property if the dynamics are colliding with
309 Crescendi and decrescendi that cross a line break will be
310 continued on the second line. If they end on the first note of a
311 new line, nothing will be printed on that line. To change this
315 \override Score.Hairpin #'after-line-breaking = ##t
318 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
319 are printed with a dashed line showing their extent. To surpress
320 printing this line, use
323 \override DynamicTextSpanner #'dash-period = #-1.0
331 @funindex \dynamicDown
333 @funindex \dynamicNeutral
334 @code{\dynamicNeutral}.
339 Program reference: @internalsref{DynamicText},
340 @internalsref{Hairpin}. Vertical positioning of these symbols is
341 handled by @internalsref{DynamicLineSpanner}.
342 Glossary: @rglos{Hairpin}, @rglos{crescendo}, @rglos{decrescendo}
357 @unnumberedsubsubsec Ties
362 A tie connects two adjacent note heads of the same pitch. The tie
363 in effect extends the length of a note. Ties should not be
364 confused with slurs, which indicate articulation, or phrasing
365 slurs, which indicate musical phrasing. A tie is entered using
366 the tilde symbol @samp{~}
368 @lilypond[quote,ragged-right,fragment,verbatim]
369 e' ~ e' <c' e' g'> ~ <c' e' g'>
372 When a tie is applied to a chord, all note heads whose pitches
373 match are connected. When no note heads match, no ties will be
374 created. Chords may be partially tied by placing the tie inside
377 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
378 <c~ e g~ b> <c e g b>
381 A tie is just a way of extending a note duration, similar to the
382 augmentation dot. The following example shows two ways of
383 notating exactly the same concept
385 @lilypond[quote,fragment,ragged-right]
386 \time 3/4 c'2. c'2 ~ c'4
390 Ties are used either when the note crosses a bar line, or when
391 dots cannot be used to denote the rhythm. When using ties, larger
392 note values should be aligned to subdivisions of the measure, such
395 @lilypond[fragment,quote,ragged-right]
397 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
401 If you need to tie a lot of notes over bars, it may be easier to
402 use automatic note splitting (see @ref{Automatic note splitting}).
403 This mechanism automatically splits long notes, and ties them
407 @cindex repeating ties
408 @cindex volta brackets and ties
410 When a second alternative of a repeat starts with a tied note, you
411 have to repeat the tie. This can be achieved with
414 @lilypond[fragment,quote,ragged-right,relative=2]
418 @cindex Laissez vibrer
419 @cindex Ties, laissez vibrer
421 L.v. ties (laissez vibrer) indicate that notes must not be damped
422 at the end. It is used in notation for piano, harp and other
423 string and percussion instruments. They can be entered using
424 @code{\laissezVibrer},
426 @lilypond[fragment,ragged-right,verbatim,relative=1]
427 <c f g>\laissezVibrer
433 @internalsref{LaissezVibrerTie}
434 @internalsref{LaissezVibrerTieColumn}
437 @lsr{connecting,laissez-vibrer-ties.ly}
442 Ties are sometimes used to write out arpeggios. In this case, two
443 tied notes need not be consecutive. This can be achieved by
444 setting the @code{tieWaitForNote} property to true. The same
445 feature is also useful, for example, to tie a tremolo to a chord.
448 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
449 \set tieWaitForNote = ##t
450 \grace { c16[~ e~ g]~ } <c, e g>2
451 \repeat tremolo 8 { c32~ c'~ } <c c,>1
452 e8~ c~ a~ f~ <e' c a f>2
455 Ties may be engraved manually by changing the
456 @code{tie-configuration} property. The first number indicates the
457 distance from the center of the staff in staff-spaces, and the
458 second number indicates the direction (1=up, -1=down).
460 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
462 \override TieColumn #'tie-configuration =
463 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
475 @funindex \tieNeutral
487 In this manual: @ref{Automatic note splitting}.
489 Program reference: @internalsref{Tie}.
494 Switching staves when a tie is active will not produce a slanted
497 Changing clefs or octavations during a tie is not really
498 well-defined. In these cases, a slur may be preferable.
502 @unnumberedsubsubsec Slurs
506 A slur indicates that notes are to be played bound or
507 @emph{legato}. They are entered using parentheses
509 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
510 f( g a) a8 b( a4 g2 f4)
514 The direction of a slur can be specified with
515 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
516 @code{Up}, @code{Down}, or @code{Neutral} (automatically
519 However, there is a convenient shorthand for forcing slur
520 directions. By adding @code{_} or @code{^} before the opening
521 parentheses, the direction is also set. For example,
523 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
527 Only one slur can be printed at once. If you need to print a long
528 slur over a few small slurs, please see @ref{Phrasing slurs}.
533 Some composers write two slurs when they want legato chords. This
534 can be achieved in LilyPond by setting @code{doubleSlurs},
536 @lilypond[verbatim,ragged-right,relative,fragment,quote]
537 \set doubleSlurs = ##t
538 <c e>4 ( <d f> <c e> <d f> )
548 @funindex \slurNeutral
550 @funindex \slurDashed
552 @funindex \slurDotted
559 Program reference: @internalsref{Slur}.
563 @unnumberedsubsubsec Phrasing slurs
565 @cindex phrasing slurs
566 @cindex phrasing marks
568 A phrasing slur (or phrasing mark) connects notes and is used to
569 indicate a musical sentence. It is written using @code{\(} and
570 @code{\)} respectively
572 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
573 \time 6/4 c'\( d( e) f( e) d\)
576 Typographically, the phrasing slur behaves almost exactly like a
577 normal slur. However, they are treated as different objects. A
578 @code{\slurUp} will have no effect on a phrasing slur; instead,
579 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
580 @code{\phrasingSlurNeutral}.
582 You cannot have simultaneous phrasing slurs.
587 @funindex \phrasingSlurUp
588 @code{\phrasingSlurUp},
589 @funindex \phrasingSlurDown
590 @code{\phrasingSlurDown},
591 @funindex \phrasingSlurNeutral
592 @code{\phrasingSlurNeutral}.
597 Program reference: @internalsref{PhrasingSlur}.
601 @unnumberedsubsubsec Breath marks
603 Breath marks are entered using @code{\breathe}
605 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
612 The glyph of the breath mark can be tuned by overriding the
613 @code{text} property of the @code{BreathingSign} layout object
614 with any markup text. For example,
616 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
618 \override BreathingSign #'text
619 = #(make-musicglyph-markup "scripts.rvarcomma")
626 Program reference: @internalsref{BreathingSign}.
628 Examples: @lsr{expressive,breathing-sign.ly}
631 @node Falls and doits
632 @unnumberedsubsubsec Falls and doits
634 Falls and doits can be added to notes using the @code{\bendAfter}
637 @lilypond[fragment,ragged-right,relative=2]
638 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
651 * Analysis brackets::
655 @unnumberedsubsubsec Glissando
660 A glissando is a smooth change in pitch. It is denoted by a line
661 or a wavy line between two notes. It is requested by attaching
662 @code{\glissando} to a note
664 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
666 \override Glissando #'style = #'zigzag
673 @lilypond[quote,ragged-right,verbatim]
674 I = \once \override NoteColumn #'ignore-collision = ##t
677 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
678 { \oneVoice \I c2 \glissando \I d, }
686 Program reference: @internalsref{Glissando}.
689 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
694 Printing text over the line (such as @emph{gliss.}) is not
699 @unnumberedsubsubsec Arpeggio
705 You can specify an arpeggio sign (also known as broken chord) on a
706 chord by attaching an @code{\arpeggio} to a chord
708 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
712 A square bracket on the left indicates that the player should not
715 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
720 The direction of the arpeggio is sometimes denoted by adding an
721 arrowhead to the wiggly line
723 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
735 When an arpeggio crosses staves, you may attach an arpeggio to the
736 chords in both staves and set
737 @internalsref{PianoStaff}.@code{connectArpeggios}
739 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
741 \set PianoStaff.connectArpeggios = ##t
742 \new Staff { <c' e g c>\arpeggio }
743 \new Staff { \clef bass <c,, e g>\arpeggio }
747 @c TODO: cross-voice arpeggio example?
748 @c such an example is already in LSR -J.Mandereau
753 @funindex \arpeggioUp
755 @funindex \arpeggioDown
756 @code{\arpeggioDown},
757 @funindex \arpeggioNeutral
758 @code{\arpeggioNeutral},
759 @funindex \arpeggioBracket
760 @code{\arpeggioBracket}.
765 Notation manual: @ref{Ties}, for writing out arpeggios.
767 Program reference: @internalsref{Arpeggio}.
772 It is not possible to mix connected arpeggios and unconnected
773 arpeggios in one @internalsref{PianoStaff} at the same point in
778 @unnumberedsubsubsec Trills
780 Short trills are printed like normal articulation; see
783 Long running trills are made with @code{\startTrillSpan} and
784 @code{\stopTrillSpan},
786 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
788 << { c1 \startTrillSpan }
789 { s2. \grace { d16[\stopTrillSpan e] } } >>
793 @cindex Pitched trills
795 Trills that should be executed on an explicitly specified pitch
796 can be typeset with the command @code{pitchedTrill},
798 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
799 \pitchedTrill c4\startTrillSpan fis
804 The first argument is the main note. The pitch of the second is
805 printed as a stemless note head in parentheses.
810 @code{\startTrillSpan},
811 @funindex \startTrillSpan
812 @code{\stopTrillSpan}.
813 @funindex \stopTrillSpan
818 Program reference: @internalsref{TrillSpanner}.
821 @node Analysis brackets
822 @unnumberedsubsubsec Analysis brackets
825 @cindex phrasing brackets
826 @cindex musicological analysis
827 @cindex note grouping bracket
829 Brackets are used in musical analysis to indicate structure in
830 musical pieces. LilyPond supports a simple form of nested
831 horizontal brackets. To use this, add the
832 @internalsref{Horizontal_bracket_engraver} to @internalsref{Staff}
833 context. A bracket is started with @code{\startGroup} and closed
834 with @code{\stopGroup}
836 @lilypond[quote,ragged-right,verbatim]
839 c4\startGroup\startGroup
842 c4\stopGroup\stopGroup
846 \Staff \consists "Horizontal_bracket_engraver"
852 Program reference: @internalsref{HorizontalBracket}.