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 @subsubsection 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
41 @var{note}@code{\}@var{name}.
43 The possible values for @var{name} are listed in @ref{List of
46 Some of these articulations have shorthands for easier entry.
47 Shorthands are appended to the note name, and their syntax
48 consists of a dash (@code{-}) followed by a symbol signifying the
49 articulation. The available shorthands are:
53 @code{-^} (@notation{marcato})
56 @code{-+} (@notation{stopped})
59 @code{--} (@notation{tenuto})
62 @code{-|} (@notation{staccatissimo})
65 @code{->} (@notation{accent})
68 @code{-.} (@notation{staccato})
71 @code{-_} (@notation{portato})
75 and their corresponding output:
77 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
82 The marks are automatically placed, but the direction can be
83 forced as well. Like other pieces of LilyPond code,
84 @code{_}@tie{}will place them below the staff, and@tie{}@code{^}
85 will place them above. This applies both to the shorthands and
86 the fully named articulations. For the shorthands, the dash
87 itself should be omitted; the direction signs replace it:
89 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
91 c\fermata c^\fermata c_\fermata
107 @cindex organ pedal marks
120 @cindex thumb marking
128 The shorthands are defined in @file{ly/@/script@/-init@/.ly},
129 where the variables @code{dashHat}, @code{dashPlus},
130 @code{dashDash}, @code{dashBar}, @code{dashLarger},
131 @code{dashDot}, and @code{dashUnderscore} are assigned default
132 values. The default values for the shorthands can be modified.
133 For example, to associate the @code{-+} (@code{dashPlus})
134 shorthand with the @notation{trill} symbol instead of the default
135 @notation{+} symbol, assign the value @code{trill} to the variable
138 @lilypond[verbatim,quote,ragged-right]
139 \relative c'' { c-+ }
141 \relative c'' { c-+ }
144 The vertical ordering of scripts is controlled with the
145 @code{script-priority} property. The lower this number, the
146 closer it will be put to the note. In this example, the
147 @code{TextScript} (the sharp symbol) first has the lowest
148 priority, so it is put lowest in the first example. In the
149 second, the @notation{prall trill} (the @code{Script}) has the
150 lowest, so it is on the inside. When two objects have the same
151 priority, the order in which they are entered decides which one
154 @lilypond[verbatim,quote,ragged-right,fragment,relative=3]
155 \once \override TextScript #'script-priority = #-100
156 a4^\prall^\markup { \sharp }
158 \once \override Script #'script-priority = #-100
159 a4^\prall^\markup { \sharp }
165 Snippets: @lsrdir{Expressive,Expressive-marks}
167 Internals Reference: @internalsref{Script},
168 @internalsref{TextScript}.
173 These signs appear in the printed output but have no effect on the
174 MIDI rendering of the music.
178 @subsubsection Dynamics
199 Absolute dynamic marks are specified using a command after a note,
200 like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
201 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
202 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
203 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
204 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
205 above or below the staff with@tie{}@code{_} and@tie{}@code{^},
206 just like articulation marks.
208 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
211 c_\spp c_\staccato^\ff
218 A @notation{crescendo} mark is started with @code{\<} and
219 terminated with @code{\!} or an absolute dynamic. A
220 @notation{decrescendo} is started with @code{\>} and is also
221 terminated with @code{\!} or an absolute dynamic. @code{\cr} and
222 @code{\decr} may be used instead of @code{\<} and @code{\>}. They
223 can be engraved either using a graphical sign (a @q{hairpin}), or
226 Because these marks are bound to notes, you must use spacer notes
227 if multiple marks are needed during one note.
229 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
231 << f1 { s4 s4\< s4\! \> s4\! } >>
234 This may give rise to very short hairpins. To lengthen them, use
235 for example @code{minimum-length} in
236 @internalsref{Voice}.@internalsref{Hairpin}:
239 \override Voice.Hairpin #'minimum-length = #5
243 A hairpin normally starts at the left edge of the beginning note
244 and ends on the right edge of the ending note. If the ending note
245 falls on the downbeat, the hairpin ends on the immediately
246 preceding bar line. This may be modified by setting the
247 @code{hairpinToBarline} property:
250 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
252 \set hairpinToBarline = ##f
256 @cindex espressivo, articulation
257 In some situations the @code{\espressivo} articulation mark may be
258 suitable to indicate a crescendo and decrescendo on the one note:
260 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
261 c2 b4 a g1\espressivo
267 Hairpins may be printed with a circled tip (al niente notation) by
268 setting the @code{circled-tip} property:
270 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
271 \override Hairpin #'circled-tip = ##t
280 You can use text saying @emph{cresc.}, @emph{decr.}, or
281 @emph{dim.} instead of hairpins with the commands \setTextCresc,
282 \setTextDim, and \setTextDecresc. The corresponding
283 \setHairpinCresc, \setHairpinDim, and \setHairpinDecresc will
284 revert to hairpins again:
286 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
299 You can also supply your own texts and change the style of the
300 spanner line with the properties @code{\crescendoText},
301 @code{\crescendoSpanner}, @code{\decrescendoText}, and
302 @code{\decrescendoSpanner}. Available values for the spanner
303 properties are @code{hairpin}, @code{line}, @code{dashed-line},
304 and @code{dotted-line}. If unset, a hairpin crescendo is used:
306 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
307 \set crescendoText = \markup { \italic "cresc. poco" }
308 \set crescendoSpanner = #'dotted-line
309 a'2\< a a a a a a a\!\mf
312 To create new dynamic marks or text that should be aligned with
313 dynamics, see @ref{New dynamic marks}.
315 Vertical positioning of dynamics is handled by
316 @internalsref{DynamicLineSpanner}.
323 @funindex \dynamicDown
325 @funindex \dynamicNeutral
326 @code{\dynamicNeutral}.
331 Dynamics that occur at, begin on, or end on the same note will be
332 vertically aligned. If you want to ensure that dynamics are
333 aligned when they do not occur on the same note, you can increase
334 the @code{staff-padding} property.
337 \override DynamicLineSpanner #'staff-padding = #4
341 You may also use this property if the dynamics are colliding with
344 Crescendi and decrescendi that cross a line break will be
345 continued on the second line. If they end on the first note of a
346 new line, nothing will be printed on that line. To change this
350 \override Score.Hairpin #'after-line-breaking = ##t
353 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
354 are printed with a dashed line showing their extent. To surpress
355 printing this line, use
358 \override DynamicTextSpanner #'dash-period = #-1.0
364 Music Glossary: @rglos{hairpin}, @rglos{crescendo},
367 Learning Manual: @rlearning{Articulation and dynamics}.
369 Snippets: @lsrdir{Expressive,Expressive-marks}
371 Internals Reference: @internalsref{DynamicText},
372 @internalsref{Hairpin}. Vertical positioning of these symbols is
373 handled by @internalsref{DynamicLineSpanner}.
391 A slur indicates that notes are to be played bound or
392 @emph{legato}. They are entered using parentheses:
394 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
395 f( g a) a8 b( a4 g2 f4)
399 Just as with ties, the direction of a slur can be specified with
400 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
401 @code{Up}, @code{Down}, or @code{Neutral} (automatically
402 selected). The shorthands are also available: by
403 adding@tie{}@code{_} or@tie{}@code{^} before the opening
404 parentheses, the direction is also set.
406 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
410 Only one slur can be printed at once. If you need to print a long
411 slur over a few small slurs, please see @ref{Phrasing slurs}.
420 @funindex \slurNeutral
422 @funindex \slurDashed
424 @funindex \slurDotted
432 Some composers write two slurs when they want legato chords. This
433 can be achieved in LilyPond by setting @code{doubleSlurs},
435 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
436 \set doubleSlurs = ##t
437 <c e>4 ( <d f> <c e> <d f> )
443 Snippets: @lsrdir{Expressive,Expressive-marks}
445 Internals Reference: @internalsref{Slur}.
449 @subsubsection Phrasing slurs
451 @cindex phrasing slurs
452 @cindex phrasing marks
454 A phrasing slur (or phrasing mark) connects notes and is used to
455 indicate a musical sentence. It is written using @code{\(} and
456 @code{\)} respectively:
458 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
459 \time 6/4 c'\( d( e) f( e) d\)
462 Typographically, the phrasing slur behaves almost exactly like a
463 normal slur. However, they are treated as different objects. A
464 @code{\slurUp} will have no effect on a phrasing slur; instead,
465 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
466 @code{\phrasingSlurNeutral}, or use the shorthands@tie{}@code{_}
469 You cannot have simultaneous phrasing slurs.
474 @funindex \phrasingSlurUp
475 @code{\phrasingSlurUp},
476 @funindex \phrasingSlurDown
477 @code{\phrasingSlurDown},
478 @funindex \phrasingSlurNeutral
479 @code{\phrasingSlurNeutral}.
484 Snippets: @lsrdir{Expressive,Expressive-marks}
486 Internals Reference: @internalsref{PhrasingSlur}.
490 @subsubsection Breath marks
492 Breath marks are entered using @code{\breathe}:
494 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
501 The glyph of the breath mark can be tuned by overriding the
502 @code{text} property of the @code{BreathingSign} layout object
503 with any markup text. For example,
505 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
507 \override BreathingSign #'text
508 = #(make-musicglyph-markup "scripts.rvarcomma")
515 Snippets: @lsrdir{Expressive,Expressive-marks},
516 @c @lsr{expressive,breathing-sign.ly}.
518 Internals Reference: @internalsref{BreathingSign}.
521 @node Falls and doits
522 @subsubsection Falls and doits
524 Falls and doits can be added to notes using the @code{\bendAfter}
527 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
528 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
543 @subsubsection Glissando
548 A glissando is a smooth change in pitch. It is denoted by a line
549 or a wavy line between two notes. It is requested by attaching
550 @code{\glissando} to a note:
552 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
554 \override Glissando #'style = #'zigzag
561 @lilypond[verbatim,quote,ragged-right]
562 I = \once \override NoteColumn #'ignore-collision = ##t
565 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
566 { \oneVoice \I c2 \glissando \I d, }
574 Music Glossary: @rglos{falls}, @rglos{doits}.
576 Snippets: @lsrdir{Expressive,Expressive-marks}.
578 @c FIXME: I need to figure out what's up with these. -gp
579 @c @lsr{expressive,glissando.ly},
580 @c @lsr{expressive,line-styles.ly}
582 Internals Reference: @internalsref{Glissando}.
587 Printing text over the line (such as @emph{gliss.}) is not
592 @subsubsection Arpeggio
598 You can specify an arpeggio sign (also known as broken chord) on a
599 chord by attaching an @code{\arpeggio} to the chord:
601 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
605 A square bracket on the left is used to indicate that the chord
606 should @emph{not} be arpeggiated:
608 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
613 The direction of the arpeggio can be denoted by adding an
614 arrowhead to the wiggly line. This is done with the commands
615 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
616 reverts to the arrow-less version:
618 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
633 @funindex \arpeggioUp
635 @funindex \arpeggioDown
636 @code{\arpeggioDown},
637 @funindex \arpeggioNeutral
638 @code{\arpeggioNeutral},
639 @funindex \arpeggioBracket
640 @code{\arpeggioBracket}.
645 In a @code{PianoStaff}, it is possible to let an arpeggio cross
646 between the staves by setting the property
647 @code{PianoStaff}.@code{connectArpeggios}.
649 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
651 \set PianoStaff.connectArpeggios = ##t
652 \new Staff { <c' e g c>\arpeggio }
653 \new Staff { \clef bass <c,, e g>\arpeggio }
657 The same can be accomplished in contexts other than
658 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
659 in the Score context.
661 @lilypond[verbatim,quote,ragged-right]
664 \set Score.connectArpeggios = ##t
666 \new Voice \relative c' {
669 \new Voice \relative c {
678 \consists "Span_arpeggio_engraver"
684 Similarly, an arpeggio can be drawn across notes in different
685 voices on the same staff if the @code{Span_arpeggio_engraver} is
686 moved to the Staff context:
688 @lilypond[verbatim,quote,ragged-right]
691 \consists "Span_arpeggio_engraver"
693 \set Staff.connectArpeggios = ##t
695 {<e' g>4\arpeggio <d f> <d f>2 }
697 {<d, f>2\arpeggio <g b>2 }
705 Notation Reference: @ref{Ties}, for writing out arpeggios.
707 Snippets: @lsrdir{Expressive,Expressive-marks}
709 Internals Reference: @internalsref{Arpeggio},
710 @internalsref{PianoStaff}.
715 It is not possible to mix connected arpeggios and unconnected
716 arpeggios in one @code{PianoStaff} at the same point in
721 @subsubsection Trills
723 Short trills are printed with @code{\trill} like normal
724 articulation; see @ref{Articulations and ornamentations}.
726 Long running trills are made with @code{\startTrillSpan} and
727 @code{\stopTrillSpan}. In the following example, it is shown in
728 the common combination with grace notes. If a more precise
729 control of the placement of the grace notes is needed, see
732 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
734 d1\startTrillSpan { c16[\stopTrillSpan d] }
738 @cindex pitched trills
740 Trills that should be executed on an explicitly specified pitch
741 can be typeset with the command @code{pitchedTrill}, and the
742 syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
743 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
745 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
746 \pitchedTrill e2 \startTrillSpan fis
751 The first argument is the main note. The pitch of the second is
752 printed as a stemless note head in parentheses.
757 @code{\startTrillSpan},
758 @funindex \startTrillSpan
759 @code{\stopTrillSpan}.
760 @funindex \stopTrillSpan
765 Snippets: @lsrdir{Expressive,Expressive-marks}
767 Internals Reference: @internalsref{TrillSpanner}.