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 @lsrdir{Expressive,Expressive-marks}.
153 Internals Reference: @internalsref{Script},
154 @internalsref{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
235 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
237 \set hairpinToBarline = ##f
241 Spacer notes are needed to engrave multiple marks on one note.
243 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
245 << f1 { s4 s4\< s4\> s4\! } >>
248 If hairpins are too short, they can be lengthened using the
251 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
253 \override Voice.Hairpin #'minimum-length = #5
254 << f1 { s4 s4\< s4\> s4\! } >>
257 @cindex espressivo, articulation
259 In some situations the @code{\espressivo} articulation mark may be
260 the appropriate choice to indicate a crescendo and decrescendo on
263 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
271 Hairpins may be printed with a circled tip (al niente notation):
273 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
274 \override Hairpin #'circled-tip = ##t
282 @funindex \setTextCresc
283 @funindex \setTextDim
284 @funindex \setTextDecr
285 @funindex \setTextDecresc
286 @funindex \setHairpinCresc
287 @funindex \setHairpinDim
288 @funindex \setHairpinDecresc
290 Crescendos and decrescendos can be engraved as @notation{cresc.},
291 @notation{decresc.}, @notation{decr.}, or @notation{dim.} instead
292 of using hairpins with the commands @code{\setTextCresc},
293 @code{\setTextDecresc}, @code{\setTextDecr}, and
294 @code{\setTextDim}. The corresponding @code{\setHairpinCresc},
295 @code{\setHairpinDim}, and @code{\setHairpinDecresc} will revert
298 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
311 You can also supply your own texts and change the style of the
312 spanner line with the properties @code{crescendoText},
313 @code{crescendoSpanner}, @code{decrescendoText}, and
314 @code{decrescendoSpanner}. Available values for the spanner
315 properties are @code{hairpin}, @code{line}, @code{dashed-line},
316 and @code{dotted-line}. If unset, a hairpin crescendo is used:
318 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
319 \set crescendoText = \markup { \italic "cresc. poco" }
320 \set crescendoSpanner = #'dotted-line
321 a'2\< a a a a a a a\!\mf
324 To create new absolute dynamic marks or text that should be
325 aligned with dynamics, see @ref{New dynamic marks}.
327 Vertical positioning of dynamics is handled by
328 @internalsref{DynamicLineSpanner}.
335 @funindex \dynamicDown
337 @funindex \dynamicNeutral
338 @code{\dynamicNeutral}.
343 @c Add LilyPond examples to these snippets. -pm
345 Dynamics that occur at, begin on, or end on the same note will be
346 vertically aligned. If you want to ensure that dynamics are
347 aligned when they do not occur on the same note, you can increase
348 the @code{staff-padding} property.
351 \override DynamicLineSpanner #'staff-padding = #4
355 You may also use this property if the dynamics are colliding with
358 @notation{Crescendi} and @notation{decrescendi} that cross a line
359 break will be continued on the second line. If they end on the
360 first note of a new line, nothing will be printed on that line.
361 To change this behavior, use
364 \override Score.Hairpin #'after-line-breaking = ##t
367 Text style dynamic changes (such as @notation{cresc.} and
368 @notation{dim.}) are printed with a dashed line showing their
369 extent. To suppress printing this line, use
372 \override DynamicTextSpanner #'dash-period = #-1.0
378 @c TODO: Add hairpin to glossary.
385 @rlearning{Articulation and dynamics}.
388 @lsrdir{Expressive,Expressive-marks}.
391 @internalsref{DynamicText},
392 @internalsref{Hairpin},
393 @internalsref{DynamicLineSpanner}.
396 @node New dynamic marks
397 @subsubsection New dynamic marks
399 It is possible to print new dynamic marks or text that should be
400 aligned with dynamics. Use @code{make-dynamic-script} to create
401 these marks. Note that the dynamic font only contains the
402 characters @code{f,m,p,r,s} and @code{z}.
404 Some situations (such as dynamic marks) have preset font-related
405 properties. If you are creating text in such situations, it is
406 advisable to cancel those properties with @code{normal-text}. See
407 @ref{Text markup commands}, for more details.
409 @cindex make-dynamic-script
411 @lilypond[quote,verbatim,ragged-right]
412 sfzp = #(make-dynamic-script "sfzp")
418 @cindex Dynamics, editorial
419 @cindex Dynamics, parenthesis
421 It is also possible to print dynamics in round parenthesis or
422 square brackets. These are often used for adding editorial
425 @lilypond[quote,verbatim,ragged-right]
426 rndf = \markup{ \center-align {\line { \bold{\italic (}
427 \dynamic f \bold{\italic )} }} }
428 boxf = \markup{ \bracket { \dynamic f } }
429 { c'1_\rndf c'1_\boxf }
435 @lsrdir{Expressive,Expressive-marks}.
453 A @notation{slur} indicates that notes are to be played bound or
454 @emph{legato}. They are entered using parentheses:
456 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
457 f( g a) a8 b( a4 g2 f4)
461 Just as with ties, the direction of a slur can be specified with
462 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
463 @code{Up}, @code{Down}, or @code{Neutral} (@code{Neutral} is the
464 default). Slurs may be manually placed above or below the staff,
465 see @ref{Controlling direction and placement}.
467 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
471 Using this method, only one slur can be printed at once. To print
472 a long slur over a few small slurs, see @ref{Phrasing slurs}.
481 @funindex \slurNeutral
483 @funindex \slurDashed
485 @funindex \slurDotted
493 Some composers write two slurs when they want legato chords. This
494 can be achieved in LilyPond by setting @code{doubleSlurs},
496 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
497 \set doubleSlurs = ##t
498 <c e>4 ( <d f> <c e> <d f> )
504 Music Glossary: @rglos{slur}
507 @lsrdir{Expressive,Expressive-marks}.
509 Internals Reference: @internalsref{Slur}.
513 @subsubsection Phrasing slurs
515 @cindex phrasing slurs
516 @cindex phrasing marks
520 A phrasing slur (or phrasing mark) connects notes and is used to
521 indicate a musical sentence. It is written using @code{\(} and
522 @code{\)} respectively:
524 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
525 \time 6/4 c'\( d( e) f( e) d\)
528 Typographically, the phrasing slur behaves almost exactly like a
529 normal slur. However, they are treated as different objects. A
530 @code{\slurUp} will have no effect on a phrasing slur; instead,
531 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
532 @code{\phrasingSlurNeutral}. Phrasing slurs may be manually
533 placed above or below the staff, see @ref{Controlling direction
536 You cannot have simultaneous phrasing slurs.
541 @funindex \phrasingSlurUp
542 @code{\phrasingSlurUp},
543 @funindex \phrasingSlurDown
544 @code{\phrasingSlurDown},
545 @funindex \phrasingSlurNeutral
546 @code{\phrasingSlurNeutral}.
552 @lsrdir{Expressive,Expressive-marks}.
554 Internals Reference: @internalsref{PhrasingSlur}
558 @subsubsection Breath marks
563 Breath marks are entered using @code{\breathe}:
565 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
572 The glyph of the breath mark can be tuned by overriding the
573 @code{text} property of the @code{BreathingSign} layout object
574 with any markup text. For example,
576 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
578 \override BreathingSign #'text
579 = #(make-musicglyph-markup "scripts.rvarcomma")
588 @lsrdir{Expressive,Expressive-marks}.
589 @c @lsr{expressive,breathing-sign.ly}.
591 Internals Reference: @internalsref{BreathingSign}
594 @node Falls and doits
595 @subsubsection Falls and doits
601 @notation{Falls} and @notation{doits} can be added to notes using
602 the @code{\bendAfter} command:
604 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
611 The dash (@tie{-}) following the note name is @emph{required} when
612 writing @notation{falls} and @notation{doits}.
617 The @code{shortest-duration-space} property may have to be tweaked
618 to adjust the shape of @notation{falls} and @notation{doits}.
620 @c Fix this snippet. The tweak does not work. -pm
622 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
623 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
631 @c TODO: add falls and doits to glossary.
632 @c Music Glossary: @rglos{falls}, @rglos{doits}.
635 @lsrdir{Expressive,Expressive-marks}.
648 @subsubsection Glissando
653 A @notation{glissando} is a smooth change in pitch. It is denoted
654 by a line or a wavy line between two notes. A
655 @notation{glissando} is created by attaching @code{\glissando} to
658 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
660 \override Glissando #'style = #'zigzag
667 @lilypond[verbatim,quote,ragged-right]
668 I = \once \override NoteColumn #'ignore-collision = ##t
671 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
672 { \oneVoice \I c2 \glissando \I d, }
679 Music Glossary: @rglos{glissando}
682 @lsrdir{Expressive,Expressive-marks}.
684 @c FIXME: I need to figure out what's up with these. -gp
685 @c @lsr{expressive,glissando.ly},
686 @c @lsr{expressive,line-styles.ly}
688 Internals Reference: @internalsref{Glissando}
693 Printing text over the line (such as @emph{gliss.}) is not
698 @subsubsection Arpeggio
703 You can specify an @notation{arpeggio} (also known as a
704 @notation{broken chord}) on a chord by attaching an
705 @code{\arpeggio} to the chord:
707 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
711 A square bracket on the left, denoted by @code{\arpeggioBracket},
712 is used to indicate that the chord should @emph{not} be
715 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
720 The direction of the arpeggio can be denoted by adding an
721 arrowhead to the wiggly line. This is done with the commands
722 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
723 reverts to the arrow-less version:
725 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
741 @funindex \arpeggioUp
743 @funindex \arpeggioDown
744 @code{\arpeggioDown},
745 @funindex \arpeggioNeutral
746 @code{\arpeggioNeutral},
747 @funindex \arpeggioBracket
748 @code{\arpeggioBracket}.
753 In a @code{PianoStaff}, it is possible to let an arpeggio cross
754 between the staves by setting the property
755 @code{PianoStaff}.@code{connectArpeggios}.
757 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
759 \set PianoStaff.connectArpeggios = ##t
760 \new Staff { <c' e g c>\arpeggio }
761 \new Staff { \clef bass <c,, e g>\arpeggio }
765 The same can be accomplished in contexts other than
766 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
767 in the Score context.
769 @lilypond[verbatim,quote,ragged-right]
772 \set Score.connectArpeggios = ##t
774 \new Voice \relative c' {
777 \new Voice \relative c {
786 \consists "Span_arpeggio_engraver"
792 Similarly, an arpeggio can be drawn across notes in different
793 voices on the same staff if the @code{Span_arpeggio_engraver} is
794 moved to the Staff context:
796 @lilypond[verbatim,quote,ragged-right]
799 \consists "Span_arpeggio_engraver"
801 \set Staff.connectArpeggios = ##t
803 {<e' g>4\arpeggio <d f> <d f>2 }
805 {<d, f>2\arpeggio <g b>2 }
813 @c TODO: Add 'broken chord' to glossary.
815 Music Glossary: @rglos{arpeggio}
817 Notation Reference: @ref{Ties}, for writing out arpeggios.
820 @lsrdir{Expressive,Expressive-marks}.
822 Internals Reference: @internalsref{Arpeggio},
823 @internalsref{PianoStaff}.
828 It is not possible to mix connected arpeggios and unconnected
829 arpeggios in one @code{PianoStaff} at the same point in
834 @subsubsection Trills
839 Short @notation{trills} are printed with @code{\trill} like normal
840 articulation; see @ref{Articulations and ornamentations}.
842 Long running @notation{trills} are made with
843 @code{\startTrillSpan} and @code{\stopTrillSpan}. In the
844 following example, a long running @notation{trill} is shown
845 combined with grace notes. To achieve precise control of the
846 placement of the grace notes, see @ref{Grace notes}.
848 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
850 d1\startTrillSpan { c16[\stopTrillSpan d] }
854 @cindex pitched trills
856 @notation{Trills} that should be executed on an explicitly
857 specified pitch can be typeset with the command
858 @code{\pitchedTrill} using the following syntax:
861 @code{\pitchedTrill} @var{mainnote} @code{\startTrillSpan}
862 @var{trillnote} @var{endnote} @code{\stopTrillSpan}
865 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
866 \pitchedTrill e2 \startTrillSpan fis
871 The first argument is the main note. The pitch of the second is
872 printed as a stemless note head in parentheses.
877 @code{\startTrillSpan},
878 @funindex \startTrillSpan
879 @code{\stopTrillSpan}.
880 @funindex \stopTrillSpan
885 Music Glossary: @rglos{trill}
888 @lsrdir{Expressive,Expressive-marks}.
890 Internals Reference: @internalsref{TrillSpanner}