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.
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 Once revised, add to 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},
151 @rlsr{Expressive marks}.
153 Internals Reference: @rinternals{Script},
154 @rinternals{TextScript}.
159 These signs appear in the printed output but have no effect on the
160 MIDI rendering of the music.
164 @subsubsection Dynamics
186 Absolute dynamic marks are specified using a command after a note,
187 such as @code{c4\ff}. The available dynamic marks are
188 @code{\ppppp}, @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p},
189 @code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, @code{\fff},
190 @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp},
191 @code{\spp}, @code{\sfz}, and @code{\rfz}. The dynamic marks may
192 be manually placed above or below the staff, see @ref{Controlling
193 direction and placement}.
195 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
208 A @notation{crescendo} mark is started with @code{\<} and
209 terminated with @code{\!}, an absolute dynamic, or an additional
210 @notation{crescendo} or @notation{decrescendo} mark. A
211 @notation{decrescendo} mark is started with @code{\>} and is also
212 terminated with @code{\!}, an absolute dynamic, or another
213 @notation{crescendo} or @notation{decrescendo} mark. @code{\cr}
214 and @code{\decr} may be used instead of @code{\<} and @code{\>}.
215 @notation{Hairpins} are engraved by default using this notation.
217 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
227 A @notation{hairpin} normally starts at the left edge of the
228 beginning note and ends on the right edge of the ending note. If
229 the ending note falls on the downbeat, the @notation{hairpin} ends
230 on the immediately preceding bar line. The following example
231 illustrates this behavior:
233 @c This example currently does not work. -pm
234 @c TODO: Add link to new snippet for #'to-barline
236 Spacer notes are needed to engrave multiple marks on one note.
238 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
240 << f1 { s4 s4\< s4\> s4\! } >>
243 If hairpins are too short, they can be lengthened using the
246 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
248 \override Voice.Hairpin #'minimum-length = #5
249 << f1 { s4 s4\< s4\> s4\! } >>
252 @cindex espressivo, articulation
254 In some situations the @code{\espressivo} articulation mark may be
255 the appropriate choice to indicate a crescendo and decrescendo on
258 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
266 Hairpins may be printed with a circled tip (al niente notation):
268 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
269 \override Hairpin #'circled-tip = ##t
277 @funindex \setTextCresc
278 @funindex \setTextDim
279 @funindex \setTextDecr
280 @funindex \setTextDecresc
281 @funindex \setHairpinCresc
282 @funindex \setHairpinDim
283 @funindex \setHairpinDecresc
285 Crescendos and decrescendos can be engraved as @notation{cresc.},
286 @notation{decresc.}, @notation{decr.}, or @notation{dim.} instead
287 of using hairpins with the commands @code{\setTextCresc},
288 @code{\setTextDecresc}, @code{\setTextDecr}, and
289 @code{\setTextDim}. The corresponding @code{\setHairpinCresc},
290 @code{\setHairpinDim}, and @code{\setHairpinDecresc} will revert
293 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
306 You can also supply your own texts and change the style of the
307 spanner line with the properties @code{crescendoText},
308 @code{crescendoSpanner}, @code{decrescendoText}, and
309 @code{decrescendoSpanner}. Available values for the spanner
310 properties are @code{hairpin}, @code{line}, @code{dashed-line},
311 and @code{dotted-line}. If unset, a hairpin crescendo is used:
313 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
314 \set crescendoText = \markup { \italic "cresc. poco" }
315 \set crescendoSpanner = #'dotted-line
316 a'2\< a a a a a a a\!\mf
319 To create new absolute dynamic marks or text that should be
320 aligned with dynamics, see @ref{New dynamic marks}.
322 Vertical positioning of dynamics is handled by
323 @rinternals{DynamicLineSpanner}.
330 @funindex \dynamicDown
332 @funindex \dynamicNeutral
333 @code{\dynamicNeutral}.
338 @c Add LilyPond examples to these snippets. -pm
340 Dynamics that occur at, begin on, or end on the same note will be
341 vertically aligned. If you want to ensure that dynamics are
342 aligned when they do not occur on the same note, you can increase
343 the @code{staff-padding} property.
346 \override DynamicLineSpanner #'staff-padding = #4
350 You may also use this property if the dynamics are colliding with
353 @notation{Crescendi} and @notation{decrescendi} that cross a line
354 break will be continued on the second line. If they end on the
355 first note of a new line, nothing will be printed on that line.
356 To change this behavior, use
359 \override Score.Hairpin #'after-line-breaking = ##t
362 Text style dynamic changes (such as @notation{cresc.} and
363 @notation{dim.}) are printed with a dashed line showing their
364 extent. To suppress printing this line, use
367 \override DynamicTextSpanner #'dash-period = #-1.0
373 @c TODO: Add hairpin to glossary.
380 @rlearning{Articulation and dynamics}.
383 @rlsr{Expressive marks}.
386 @rinternals{DynamicText},
387 @rinternals{Hairpin},
388 @rinternals{DynamicLineSpanner}.
391 @node New dynamic marks
392 @subsubsection New dynamic marks
394 It is possible to print new dynamic marks or text that should be
395 aligned with dynamics. Use @code{make-dynamic-script} to create
396 these marks. Note that the dynamic font only contains the
397 characters @code{f,m,p,r,s} and @code{z}.
399 Some situations (such as dynamic marks) have preset font-related
400 properties. If you are creating text in such situations, it is
401 advisable to cancel those properties with @code{normal-text}. See
402 @ref{Text markup commands}, for more details.
404 @cindex make-dynamic-script
406 @lilypond[quote,verbatim,ragged-right]
407 sfzp = #(make-dynamic-script "sfzp")
413 @cindex Dynamics, editorial
414 @cindex Dynamics, parenthesis
416 It is also possible to print dynamics in round parenthesis or
417 square brackets. These are often used for adding editorial
420 @lilypond[quote,verbatim,ragged-right]
421 rndf = \markup{ \center-align {\line { \bold{\italic (}
422 \dynamic f \bold{\italic )} }} }
423 boxf = \markup{ \bracket { \dynamic f } }
424 { c'1_\rndf c'1_\boxf }
430 @rlsr{Expressive marks}.
448 A @notation{slur} indicates that notes are to be played bound or
449 @emph{legato}. They are entered using parentheses:
451 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
452 f( g a) a8 b( a4 g2 f4)
456 Just as with ties, the direction of a slur can be specified with
457 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
458 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
459 default). Slurs may be manually placed above or below the staff,
460 see @ref{Controlling direction and placement}.
462 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
466 Using this method, only one slur can be printed at once. To print
467 a long slur over a few small slurs, see @ref{Phrasing slurs}.
476 @funindex \slurNeutral
478 @funindex \slurDashed
480 @funindex \slurDotted
488 Some composers write two slurs when they want legato chords. This
489 can be achieved in LilyPond by setting @code{doubleSlurs},
491 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
492 \set doubleSlurs = ##t
493 <c e>4 ( <d f> <c e> <d f> )
499 Music Glossary: @rglos{slur}
502 @rlsr{Expressive marks}.
504 Internals Reference: @rinternals{Slur}.
508 @subsubsection Phrasing slurs
510 @cindex phrasing slurs
511 @cindex phrasing marks
515 A phrasing slur (or phrasing mark) connects notes and is used to
516 indicate a musical sentence. It is written using @code{\(} and
517 @code{\)} respectively:
519 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
520 \time 6/4 c'\( d( e) f( e) d\)
523 Typographically, the phrasing slur behaves almost exactly like a
524 normal slur. However, they are treated as different objects. A
525 @code{\slurUp} will have no effect on a phrasing slur; instead,
526 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
527 @code{\phrasingSlurNeutral}. Phrasing slurs may be manually
528 placed above or below the staff, see @ref{Controlling direction
531 You cannot have simultaneous phrasing slurs.
536 @funindex \phrasingSlurUp
537 @code{\phrasingSlurUp},
538 @funindex \phrasingSlurDown
539 @code{\phrasingSlurDown},
540 @funindex \phrasingSlurNeutral
541 @code{\phrasingSlurNeutral}.
547 @rlsr{Expressive marks}.
549 Internals Reference: @rinternals{PhrasingSlur}
553 @subsubsection Breath marks
558 Breath marks are entered using @code{\breathe}:
560 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
567 The glyph of the breath mark can be tuned by overriding the
568 @code{text} property of the @code{BreathingSign} layout object
569 with any markup text. For example,
571 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
573 \override BreathingSign #'text
574 = #(make-musicglyph-markup "scripts.rvarcomma")
583 @rlsr{Expressive marks}.
584 @c @lsr{expressive,breathing-sign.ly}.
586 Internals Reference: @rinternals{BreathingSign}
589 @node Falls and doits
590 @subsubsection Falls and doits
596 @notation{Falls} and @notation{doits} can be added to notes using
597 the @code{\bendAfter} command:
599 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
606 The dash (@tie{-}) following the note name is @emph{required} when
607 writing @notation{falls} and @notation{doits}.
612 The @code{shortest-duration-space} property may have to be tweaked
613 to adjust the shape of @notation{falls} and @notation{doits}.
615 @c Fix this snippet. The tweak does not work. -pm
617 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
618 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
626 @c TODO: add falls and doits to glossary.
627 @c Music Glossary: @rglos{falls}, @rglos{doits}.
630 @rlsr{Expressive marks}.
643 @subsubsection Glissando
648 A @notation{glissando} is a smooth change in pitch. It is denoted
649 by a line or a wavy line between two notes. A
650 @notation{glissando} is created by attaching @code{\glissando} to
653 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
655 \override Glissando #'style = #'zigzag
662 @lilypond[verbatim,quote,ragged-right]
663 I = \once \override NoteColumn #'ignore-collision = ##t
666 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
667 { \oneVoice \I c2 \glissando \I d, }
674 Music Glossary: @rglos{glissando}
677 @rlsr{Expressive marks}.
679 @c FIXME: I need to figure out what's up with these. -gp
680 @c @lsr{expressive,glissando.ly},
681 @c @lsr{expressive,line-styles.ly}
683 Internals Reference: @rinternals{Glissando}
688 Printing text over the line (such as @emph{gliss.}) is not
693 @subsubsection Arpeggio
698 You can specify an @notation{arpeggio} (also known as a
699 @notation{broken chord}) on a chord by attaching an
700 @code{\arpeggio} to the chord:
702 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
706 A square bracket on the left, denoted by @code{\arpeggioBracket},
707 is used to indicate that the chord should @emph{not} be
710 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
715 The direction of the arpeggio can be denoted by adding an
716 arrowhead to the wiggly line. This is done with the commands
717 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
718 reverts to the arrow-less version:
720 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
736 @funindex \arpeggioUp
738 @funindex \arpeggioDown
739 @code{\arpeggioDown},
740 @funindex \arpeggioNeutral
741 @code{\arpeggioNeutral},
742 @funindex \arpeggioBracket
743 @code{\arpeggioBracket}.
748 In a @code{PianoStaff}, it is possible to let an arpeggio cross
749 between the staves by setting the property
750 @code{PianoStaff}.@code{connectArpeggios}.
752 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
754 \set PianoStaff.connectArpeggios = ##t
755 \new Staff { <c' e g c>\arpeggio }
756 \new Staff { \clef bass <c,, e g>\arpeggio }
760 The same can be accomplished in contexts other than
761 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
762 in the Score context.
764 @lilypond[verbatim,quote,ragged-right]
767 \set Score.connectArpeggios = ##t
769 \new Voice \relative c' {
772 \new Voice \relative c {
781 \consists "Span_arpeggio_engraver"
787 Similarly, an arpeggio can be drawn across notes in different
788 voices on the same staff if the @code{Span_arpeggio_engraver} is
789 moved to the Staff context:
791 @lilypond[verbatim,quote,ragged-right]
794 \consists "Span_arpeggio_engraver"
796 \set Staff.connectArpeggios = ##t
798 {<e' g>4\arpeggio <d f> <d f>2 }
800 {<d, f>2\arpeggio <g b>2 }
808 @c TODO: Add 'broken chord' to glossary.
810 Music Glossary: @rglos{arpeggio}
812 Notation Reference: @ref{Ties}, for writing out arpeggios.
815 @rlsr{Expressive marks}.
817 Internals Reference: @rinternals{Arpeggio},
818 @rinternals{PianoStaff}.
823 It is not possible to mix connected arpeggios and unconnected
824 arpeggios in one @code{PianoStaff} at the same point in
829 @subsubsection Trills
834 Short @notation{trills} are printed with @code{\trill} like normal
835 articulation; see @ref{Articulations and ornamentations}.
837 Long running @notation{trills} are made with
838 @code{\startTrillSpan} and @code{\stopTrillSpan}. In the
839 following example, a long running @notation{trill} is shown
840 combined with grace notes. To achieve precise control of the
841 placement of the grace notes, see @ref{Grace notes}.
843 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
845 d1\startTrillSpan { c16[\stopTrillSpan d] }
849 @cindex pitched trills
851 @notation{Trills} that should be executed on an explicitly
852 specified pitch can be typeset with the command
853 @code{\pitchedTrill} using the following syntax:
856 @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
857 @var{trillnote} @var{endnote} @code{\stopTrillSpan}
860 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
861 \pitchedTrill e2 \startTrillSpan fis
866 The first argument is the main note. The pitch of the second is
867 printed as a stemless note head in parentheses.
872 @code{\startTrillSpan},
873 @funindex \startTrillSpan
874 @code{\stopTrillSpan}.
875 @funindex \stopTrillSpan
880 Music Glossary: @rglos{trill}
883 @rlsr{Expressive marks}.
885 Internals Reference: @rinternals{TrillSpanner}