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]
297 You can also supply your own texts and change the style of the
298 spanner line with the properties @code{\crescendoText},
299 @code{\crescendoSpanner}, @code{\decrescendoText}, and
300 @code{\decrescendoSpanner}. Available values for the spanner
301 properties are @code{hairpin}, @code{line}, @code{dashed-line},
302 and @code{dotted-line}. If unset, a hairpin crescendo is used:
304 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
305 \set crescendoText = \markup { \italic "cresc. poco" }
306 \set crescendoSpanner = #'dotted-line
307 a'2\< a a a a a a a\!\mf
311 To create new dynamic marks or text that should be aligned with
312 dynamics, see @ref{New dynamic marks}.
314 Vertical positioning of dynamics is handled by
315 @internalsref{DynamicLineSpanner}.
320 Dynamics that occur at, begin on, or end on the same note will be
321 vertically aligned. If you want to ensure that dynamics are
322 aligned when they do not occur on the same note, you can increase
323 the @code{staff-padding} property.
326 \override DynamicLineSpanner #'staff-padding = #4
329 You may also use this property if the dynamics are colliding with
332 Crescendi and decrescendi that cross a line break will be
333 continued on the second line. If they end on the first note of a
334 new line, nothing will be printed on that line. To change this
338 \override Score.Hairpin #'after-line-breaking = ##t
341 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
342 are printed with a dashed line showing their extent. To surpress
343 printing this line, use
346 \override DynamicTextSpanner #'dash-period = #-1.0
354 @funindex \dynamicDown
356 @funindex \dynamicNeutral
357 @code{\dynamicNeutral}.
362 Snippets: @lsrdir{expressive}
364 Internals Reference: @internalsref{DynamicText},
365 @internalsref{Hairpin}. Vertical positioning of these symbols is
366 handled by @internalsref{DynamicLineSpanner}.
367 Glossary: @rglos{Hairpin}, @rglos{crescendo}, @rglos{decrescendo}
369 @c TODO: add link to LM directions
383 @unnumberedsubsubsec Slurs
387 A slur indicates that notes are to be played bound or
388 @emph{legato}. They are entered using parentheses:
390 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
391 f( g a) a8 b( a4 g2 f4)
395 Just as with ties, the direction of a slur can be specified with
396 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
397 @code{Up}, @code{Down}, or @code{Neutral} (automatically
398 selected). The shorthands are also available: by adding
399 @code{_} or @code{^} before the opening parentheses, the direction
402 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
406 Only one slur can be printed at once. If you need to print a long
407 slur over a few small slurs, please see @ref{Phrasing slurs}.
412 Some composers write two slurs when they want legato chords. This
413 can be achieved in LilyPond by setting @code{doubleSlurs},
415 @lilypond[verbatim,ragged-right,relative,fragment,quote]
416 \set doubleSlurs = ##t
417 <c e>4 ( <d f> <c e> <d f> )
427 @funindex \slurNeutral
429 @funindex \slurDashed
431 @funindex \slurDotted
438 Snippets: @lsrdir{expressive}
440 Internals Reference: @internalsref{Slur}.
444 @unnumberedsubsubsec Phrasing slurs
446 @cindex phrasing slurs
447 @cindex phrasing marks
449 A phrasing slur (or phrasing mark) connects notes and is used to
450 indicate a musical sentence. It is written using @code{\(} and
451 @code{\)} respectively:
453 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
454 \time 6/4 c'\( d( e) f( e) d\)
457 Typographically, the phrasing slur behaves almost exactly like a
458 normal slur. However, they are treated as different objects. A
459 @code{\slurUp} will have no effect on a phrasing slur; instead,
460 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
461 @code{\phrasingSlurNeutral}, or use the shorthands @code{_} and
464 You cannot have simultaneous phrasing slurs.
469 @funindex \phrasingSlurUp
470 @code{\phrasingSlurUp},
471 @funindex \phrasingSlurDown
472 @code{\phrasingSlurDown},
473 @funindex \phrasingSlurNeutral
474 @code{\phrasingSlurNeutral}.
479 Snippets: @lsrdir{expressive}
481 Internals Reference: @internalsref{PhrasingSlur}.
485 @unnumberedsubsubsec Breath marks
487 Breath marks are entered using @code{\breathe}
489 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
496 The glyph of the breath mark can be tuned by overriding the
497 @code{text} property of the @code{BreathingSign} layout object
498 with any markup text. For example,
500 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
502 \override BreathingSign #'text
503 = #(make-musicglyph-markup "scripts.rvarcomma")
510 Snippets: @lsrdir{expressive}
512 Internals Reference: @internalsref{BreathingSign}.
514 Examples: @lsr{expressive,breathing-sign.ly}
517 @node Falls and doits
518 @unnumberedsubsubsec Falls and doits
520 Falls and doits can be added to notes using the @code{\bendAfter}
523 @lilypond[fragment,ragged-right,relative=2]
524 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
539 @unnumberedsubsubsec Glissando
544 A glissando is a smooth change in pitch. It is denoted by a line
545 or a wavy line between two notes. It is requested by attaching
546 @code{\glissando} to a note
548 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
550 \override Glissando #'style = #'zigzag
557 @lilypond[quote,ragged-right,verbatim]
558 I = \once \override NoteColumn #'ignore-collision = ##t
561 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
562 { \oneVoice \I c2 \glissando \I d, }
570 Snippets: @lsrdir{expressive}
572 Internals Reference: @internalsref{Glissando}.
574 Glossary: @rglos{falls}, @rglos{doits}
576 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
581 Printing text over the line (such as @emph{gliss.}) is not
586 @unnumberedsubsubsec Arpeggio
592 You can specify an arpeggio sign (also known as broken chord) on a
593 chord by attaching an @code{\arpeggio} to the chord:
595 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
599 A square bracket on the left is used to indicate that the chord should
600 @emph{not} be arpeggiated:
602 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
607 The direction of the arpeggio can be denoted by adding an
608 arrowhead to the wiggly line. This is done with the commands
609 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
610 reverts to the arrow-less version:
612 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
626 In a @code{PianoStaff}, it is possible to let an arpeggio cross
627 between the staves by setting the property
628 @internalsref{PianoStaff}.@code{connectArpeggios}.
630 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
632 \set PianoStaff.connectArpeggios = ##t
633 \new Staff { <c' e g c>\arpeggio }
634 \new Staff { \clef bass <c,, e g>\arpeggio }
638 The same can be accomplished in contexts other than
639 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
640 in the Score context.
642 @lilypond[quote,ragged-right,verbatim]
645 \set Score.connectArpeggios = ##t
647 \new Voice \relative c' {
650 \new Voice \relative c {
659 \consists "Span_arpeggio_engraver"
665 Similarly, an arpeggio can be drawn across notes in
666 different voices on the same staff if the Span_arpeggio_engraver
667 is moved to the Staff context:
669 @lilypond[quote,ragged-right,verbatim]
672 \consists "Span_arpeggio_engraver"
674 \set Staff.connectArpeggios = ##t
676 {<e' g>4\arpeggio <d f> <d f>2 }
678 {<d, f>2\arpeggio <g b>2 }
688 @funindex \arpeggioUp
690 @funindex \arpeggioDown
691 @code{\arpeggioDown},
692 @funindex \arpeggioNeutral
693 @code{\arpeggioNeutral},
694 @funindex \arpeggioBracket
695 @code{\arpeggioBracket}.
700 Notation manual: @ref{Ties}, for writing out arpeggios.
702 Snippets: @lsrdir{expressive}
704 Internals Reference: @internalsref{Arpeggio}.
709 It is not possible to mix connected arpeggios and unconnected
710 arpeggios in one @internalsref{PianoStaff} at the same point in
715 @unnumberedsubsubsec Trills
717 Short trills are printed with @code{\trill} like normal
718 articulation; see @ref{Articulations and ornamentations}.
720 Long running trills are made with @code{\startTrillSpan} and
721 @code{\stopTrillSpan}. In the following example, it is shown in
722 the common combination with grace notes. If a more precise
723 control of the placement of the grace notes is needed, see
726 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
729 d1\startTrillSpan { c16[\stopTrillSpan d] }
733 @cindex Pitched trills
735 Trills that should be executed on an explicitly specified pitch
736 can be typeset with the command @code{pitchedTrill}, and the
737 syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
738 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
740 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
741 \pitchedTrill e2 \startTrillSpan fis
747 The first argument is the main note. The pitch of the second is
748 printed as a stemless note head in parentheses.
753 @code{\startTrillSpan},
754 @funindex \startTrillSpan
755 @code{\stopTrillSpan}.
756 @funindex \stopTrillSpan
761 Snippets: @lsrdir{expressive}
763 Internals Reference: @internalsref{TrillSpanner}.