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
24 * Articulations and ornamentations::
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
47 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
52 The marks are automatically placed, but the direction can be
53 forced as well. Like other pieces of LilyPond code, @code{_} will
54 place them below the staff, and @code{^} will place them above.
55 This applies both to the shorthands and the fully named
56 articulations. For the shorthands, the dash itself should be
57 omitted; the shorthand signs replace it:
59 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
61 c\fermata c^\fermata c_\fermata
77 @cindex organ pedal marks
98 The meanings of the shorthands can be changed. They are defined
99 in @file{ly/@/script@/-init@/.ly}, where the variables
100 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
101 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
102 are associated with the default articulation marks. If you want,
103 e.g., @code{-+} to produce a trill instead of a "+", you can
104 redefine the variable in your document:
106 @lilypond[quote,ragged-right,verbatim]
107 \relative c'' { c-+ }
109 \relative c'' { c-+ }
112 The vertical ordering of scripts is controlled with the
113 @code{script-priority} property. The lower this number, the
114 closer it will be put to the note. In this example, the
115 @internalsref{TextScript} (the sharp symbol) first has the lowest
116 priority, so it is put lowest in the first example. In the
117 second, the prall trill (the @internalsref{Script}) has the
118 lowest, so it is on the inside. When two objects have the same
119 priority, the order in which they are entered decides which one
125 The meanings of the shorthands can be changed. They are defined
126 in @file{ly/@/script@/-init@/.ly}, where the variables
127 @code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
128 @code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
129 are associated with the default articulation marks. If you want,
130 e.g., @code{-+} to produce a trill instead of a "+", you can
131 redefine the variable in your document:
133 @lilypond[quote,ragged-right,verbatim]
134 \relative c'' { c-+ }
136 \relative c'' { c-+ }
139 The vertical ordering of scripts is controlled with the
140 @code{script-priority} property. The lower this number, the
141 closer it will be put to the note. In this example, the
142 @internalsref{TextScript} (the sharp symbol) first has the lowest
143 priority, so it is put lowest in the first example. In the
144 second, the prall trill (the @internalsref{Script}) has the
145 lowest, so it is on the inside. When two objects have the same
146 priority, the order in which they are entered decides which one
149 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
150 \once \override TextScript #'script-priority = #-100
151 a4^\prall^\markup { \sharp }
153 \once \override Script #'script-priority = #-100
154 a4^\prall^\markup { \sharp }
160 Snippets: @lsrdir{expressive}
162 Internals Reference: @internalsref{Script}.
167 These signs appear in the printed output but have no effect on the
168 MIDI rendering of the music.
172 @unnumberedsubsubsec Dynamics
193 Absolute dynamic marks are specified using a command after a note
194 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
195 @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
196 @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
197 @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
198 @code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
199 above or below the staff with @code{_} and @code{^}, just like
202 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
205 c_\spp c_\staccato^\ff
212 A crescendo mark is started with @code{\<} and terminated with
213 @code{\!} or an absolute dynamic. A decrescendo is started with
214 @code{\>} and is also terminated with @code{\!} or an absolute
215 dynamic. @code{\cr} and @code{\decr} may be used instead of
216 @code{\<} and @code{\>}. They can be engraved either using a
217 graphical sign (a @q{hairpin}), or with textual signs.
219 Because these marks are bound to notes, you must use spacer notes
220 if multiple marks are needed during one note.
222 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
224 << f1 { s4 s4\< s4\! \> s4\! } >>
227 This may give rise to very short hairpins. Use
228 @code{minimum-length} in
229 @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
233 \override Voice.Hairpin #'minimum-length = #5
237 A hairpin normally starts at the left edge of the beginning note
238 and ends on the right edge of the ending note. If the ending note
239 falls on the downbeat, the hairpin ends on the immediately
240 preceding bar line. This may be modified by setting the
241 @code{hairpinToBar line} property,
244 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
246 \set hairpinToBarline = ##f
250 @cindex espressivo, articulation
251 In some situations the @code{\espressivo} articulation mark may be
252 suitable to indicate a crescendo and decrescendo on the one note:
254 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
255 c2 b4 a g1\espressivo
261 Hairpins may be printed with a circled tip (al niente notation) by
262 setting the @code{circled-tip} property:
264 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
265 \override Hairpin #'circled-tip = ##t
275 You can use text saying @emph{cresc.}, @emph{decr.}, or
276 @emph{dim.} instead of hairpins with the commands \setTextCresc,
277 \setTextDim, and \setTextDecresc. The corresponding
278 \setHairpinCresc, \setHairpinDim, and \setHairpinDecresc will
279 revert to hairpins again:
281 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
292 You can also supply your own texts and change the style of the
293 spanner line with the properties @code{\crescendoText},
294 @code{\crescendoSpanner}, @code{\decrescendoText}, and
295 @code{\decrescendoSpanner}. Available values for the spanner
296 properties are @code{hairpin}, @code{line}, @code{dashed-line},
297 and @code{dotted-line}. If unset, a hairpin crescendo is used:
299 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
300 \set crescendoText = \markup { \italic "cresc. poco" }
301 \set crescendoSpanner = #'dotted-line
302 a'2\< a a a a a a a\!\mf
306 To create new dynamic marks or text that should be aligned with
307 dynamics, see @ref{New dynamic marks}.
309 Vertical positioning of dynamics is handled by
310 @internalsref{DynamicLineSpanner}.
315 Dynamics that occur at, begin on, or end on the same note will be
316 vertically aligned. If you want to ensure that dynamics are
317 aligned when they do not occur on the same note, you can increase
318 the @code{staff-padding} property.
321 \override DynamicLineSpanner #'staff-padding = #4
324 You may also use this property if the dynamics are colliding with
327 Crescendi and decrescendi that cross a line break will be
328 continued on the second line. If they end on the first note of a
329 new line, nothing will be printed on that line. To change this
333 \override Score.Hairpin #'after-line-breaking = ##t
336 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
337 are printed with a dashed line showing their extent. To surpress
338 printing this line, use
341 \override DynamicTextSpanner #'dash-period = #-1.0
349 @funindex \dynamicDown
351 @funindex \dynamicNeutral
352 @code{\dynamicNeutral}.
357 Snippets: @lsrdir{expressive}
359 Internals Reference: @internalsref{DynamicText},
360 @internalsref{Hairpin}. Vertical positioning of these symbols is
361 handled by @internalsref{DynamicLineSpanner}.
362 Glossary: @rglos{Hairpin}, @rglos{crescendo}, @rglos{decrescendo}
364 @c TODO: add link to LM directions
378 @unnumberedsubsubsec Slurs
382 A slur indicates that notes are to be played bound or
383 @emph{legato}. They are entered using parentheses:
385 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
386 f( g a) a8 b( a4 g2 f4)
390 Just as with ties, the direction of a slur can be specified with
391 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
392 @code{Up}, @code{Down}, or @code{Neutral} (automatically
393 selected). The shorthands are also available: by adding
394 @code{_} or @code{^} before the opening parentheses, the direction
397 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
401 Only one slur can be printed at once. If you need to print a long
402 slur over a few small slurs, please see @ref{Phrasing slurs}.
407 Some composers write two slurs when they want legato chords. This
408 can be achieved in LilyPond by setting @code{doubleSlurs},
410 @lilypond[verbatim,ragged-right,relative,fragment,quote]
411 \set doubleSlurs = ##t
412 <c e>4 ( <d f> <c e> <d f> )
422 @funindex \slurNeutral
424 @funindex \slurDashed
426 @funindex \slurDotted
433 Snippets: @lsrdir{expressive}
435 Internals Reference: @internalsref{Slur}.
439 @unnumberedsubsubsec Phrasing slurs
441 @cindex phrasing slurs
442 @cindex phrasing marks
444 A phrasing slur (or phrasing mark) connects notes and is used to
445 indicate a musical sentence. It is written using @code{\(} and
446 @code{\)} respectively:
448 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
449 \time 6/4 c'\( d( e) f( e) d\)
452 Typographically, the phrasing slur behaves almost exactly like a
453 normal slur. However, they are treated as different objects. A
454 @code{\slurUp} will have no effect on a phrasing slur; instead,
455 use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
456 @code{\phrasingSlurNeutral}, or use the shorthands @code{_} and
459 You cannot have simultaneous phrasing slurs.
464 @funindex \phrasingSlurUp
465 @code{\phrasingSlurUp},
466 @funindex \phrasingSlurDown
467 @code{\phrasingSlurDown},
468 @funindex \phrasingSlurNeutral
469 @code{\phrasingSlurNeutral}.
474 Snippets: @lsrdir{expressive}
476 Internals Reference: @internalsref{PhrasingSlur}.
480 @unnumberedsubsubsec Breath marks
482 Breath marks are entered using @code{\breathe}
484 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
491 The glyph of the breath mark can be tuned by overriding the
492 @code{text} property of the @code{BreathingSign} layout object
493 with any markup text. For example,
495 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
497 \override BreathingSign #'text
498 = #(make-musicglyph-markup "scripts.rvarcomma")
505 Snippets: @lsrdir{expressive}
507 Internals Reference: @internalsref{BreathingSign}.
509 Examples: @lsr{expressive,breathing-sign.ly}
512 @node Falls and doits
513 @unnumberedsubsubsec Falls and doits
515 Falls and doits can be added to notes using the @code{\bendAfter}
518 @lilypond[fragment,ragged-right,relative=2]
519 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
534 @unnumberedsubsubsec Glissando
539 A glissando is a smooth change in pitch. It is denoted by a line
540 or a wavy line between two notes. It is requested by attaching
541 @code{\glissando} to a note
543 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
545 \override Glissando #'style = #'zigzag
552 @lilypond[quote,ragged-right,verbatim]
553 I = \once \override NoteColumn #'ignore-collision = ##t
556 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
557 { \oneVoice \I c2 \glissando \I d, }
565 Snippets: @lsrdir{expressive}
567 Internals Reference: @internalsref{Glissando}.
569 Glossary: @rglos{falls}, @rglos{doits}
571 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
576 Printing text over the line (such as @emph{gliss.}) is not
581 @unnumberedsubsubsec Arpeggio
587 You can specify an arpeggio sign (also known as broken chord) on a
588 chord by attaching an @code{\arpeggio} to the chord:
590 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
594 A square bracket on the left is used to indicate that the chord should
595 @emph{not} be arpeggiated:
597 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
602 The direction of the arpeggio can be denoted by adding an
603 arrowhead to the wiggly line. This is done with the commands
604 @code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
605 reverts to the arrow-less version:
607 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
621 In a @code{PianoStaff}, it is possible to let an arpeggio cross
622 between the staves by setting the property
623 @internalsref{PianoStaff}.@code{connectArpeggios}.
625 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
627 \set PianoStaff.connectArpeggios = ##t
628 \new Staff { <c' e g c>\arpeggio }
629 \new Staff { \clef bass <c,, e g>\arpeggio }
633 The same can be accomplished in contexts other than
634 @code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
635 in the Score context.
637 @lilypond[quote,ragged-right,verbatim]
640 \set Score.connectArpeggios = ##t
642 \new Voice \relative c' {
645 \new Voice \relative c {
654 \consists "Span_arpeggio_engraver"
660 Similarly, an arpeggio can be drawn across notes in
661 different voices on the same staff if the Span_arpeggio_engraver
662 is moved to the Staff context:
664 @lilypond[quote,ragged-right,verbatim]
667 \consists "Span_arpeggio_engraver"
669 \set Staff.connectArpeggios = ##t
671 {<e' g>4\arpeggio <d f> <d f>2 }
673 {<d, f>2\arpeggio <g b>2 }
683 @funindex \arpeggioUp
685 @funindex \arpeggioDown
686 @code{\arpeggioDown},
687 @funindex \arpeggioNeutral
688 @code{\arpeggioNeutral},
689 @funindex \arpeggioBracket
690 @code{\arpeggioBracket}.
695 Notation manual: @ref{Ties}, for writing out arpeggios.
697 Snippets: @lsrdir{expressive}
699 Internals Reference: @internalsref{Arpeggio}.
704 It is not possible to mix connected arpeggios and unconnected
705 arpeggios in one @internalsref{PianoStaff} at the same point in
710 @unnumberedsubsubsec Trills
712 Short trills are printed with @code{\trill} like normal
713 articulation; see @ref{Articulations and ornamentations}.
715 Long running trills are made with @code{\startTrillSpan} and
716 @code{\stopTrillSpan}. In the following example, it is shown in
717 the common combination with grace notes. If a more precise
718 control of the placement of the grace notes is needed, see
721 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
724 d1\startTrillSpan { c16[\stopTrillSpan d] }
728 @cindex Pitched trills
730 Trills that should be executed on an explicitly specified pitch
731 can be typeset with the command @code{pitchedTrill}, and the
732 syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
733 @var{trillnote} @var{endnote} @code{\stopTrillSpan}.
735 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
736 \pitchedTrill e2 \startTrillSpan fis
742 The first argument is the main note. The pitch of the second is
743 printed as a stemless note head in parentheses.
748 @code{\startTrillSpan},
749 @funindex \startTrillSpan
750 @code{\stopTrillSpan}.
751 @funindex \stopTrillSpan
756 Snippets: @lsrdir{expressive}
758 Internals Reference: @internalsref{TrillSpanner}.