the articulation to the note name. The available shorthands and
their output are:
-@example
-\relative c'' @{
-c-. c-- c-+ c-|
-c-> c-^ c-_ @}
-@end example
-
-@lilypond[quote,ragged-right,fragment]
-\override TextScript #'font-family = #'typewriter
-\override TextScript #'font-shape = #'upright
-c''4-._"c-."
-c''4--_"c--"
-c''4-+_"c-+"
-c''4-|_"c-|"
-c''4->_"c->"
-c''4-^_"c-^"
-c''4-__"c-_"
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c4-. c-- c-+ c-|
+c-> c-^ c-_
@end lilypond
The marks are automatically placed, but the direction can be
forced as well. Like other pieces of LilyPond code, @code{_} will
place them below the staff, and @code{^} will place them above.
This applies both to the shorthands and the fully named
-articulations. For the shorthands, @code{_} and @code{^} replace
-the dash:
+articulations. For the shorthands, the dash itself should be
+omitted; the shorthand signs replace it:
-@lilypond[quote,ragged-right,fragment,verbatim]
-c''4^^ c''4_^
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+c4^^ c4_^
c\fermata c^\fermata c_\fermata
@end lilypond
@cindex varcoda
+@commonprop
+
+The meanings of the shorthands can be changed. They are defined
+in @file{ly/@/script@/-init@/.ly}, where the variables
+@code{DashDot}, @code{DashDash}, @code{DashPlus}, @code{DashBar},
+@code{DashLarger}, @code{DashHat}, and @code{DashUnderscore}
+are associated with the default articulation marks. If you want,
+e.g., @code{-+} to produce a trill instead of a "+", you can
+redefine the variable in your document:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' { c-+ }
+dashPlus = "trill"
+\relative c'' { c-+ }
+@end lilypond
+
+The vertical ordering of scripts is controlled with the
+@code{script-priority} property. The lower this number, the
+closer it will be put to the note. In this example, the
+@internalsref{TextScript} (the sharp symbol) first has the lowest
+priority, so it is put lowest in the first example. In the
+second, the prall trill (the @internalsref{Script}) has the
+lowest, so it is on the inside. When two objects have the same
+priority, the order in which they are entered decides which one
+comes first.
+
+
@commonprop
The meanings of the shorthands can be changed. They are defined
@seealso
-Program reference: @internalsref{Script}.
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{Script}.
@refbugs
@code{\!} or an absolute dynamic. A decrescendo is started with
@code{\>} and is also terminated with @code{\!} or an absolute
dynamic. @code{\cr} and @code{\decr} may be used instead of
-@code{\<} and @code{\>}.
+@code{\<} and @code{\>}. They can be engraved either using a
+graphical sign (a @q{hairpin}), or with textual signs.
Because these marks are bound to notes, you must use spacer notes
if multiple marks are needed during one note.
A hairpin normally starts at the left edge of the beginning note
and ends on the right edge of the ending note. If the ending note
falls on the downbeat, the hairpin ends on the immediately
-preceding barline. This may be modified by setting the
-@code{hairpinToBarline} property,
+preceding bar line. This may be modified by setting the
+@code{hairpinToBar line} property,
@cindex Hairpin
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
@cindex decrescendo
@cindex diminuendo
-You can use text saying @emph{cresc.} instead of hairpins with the
-commands \setTextCresc, \setTextDim, and \setTextDecresc. The
-corresponding \setHairpinCresc, \setHairpinDim, and
-\setHairpinDecresc will revert to hairpins again:
+You can use text saying @emph{cresc.}, @emph{decr.}, or
+@emph{dim.} instead of hairpins with the commands \setTextCresc,
+\setTextDim, and \setTextDecresc. The corresponding
+\setHairpinCresc, \setHairpinDim, and \setHairpinDecresc will
+revert to hairpins again:
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\setTextCresc
@seealso
-Program reference: @internalsref{DynamicText},
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{DynamicText},
@internalsref{Hairpin}. Vertical positioning of these symbols is
handled by @internalsref{DynamicLineSpanner}.
Glossary: @rglos{Hairpin}, @rglos{crescendo}, @rglos{decrescendo}
+@c TODO: add link to LM directions
+
@node Curves
@subsection Curves
@menu
-* Ties::
* Slurs::
* Phrasing slurs::
* Breath marks::
* Falls and doits::
@end menu
-@node Ties
-@unnumberedsubsubsec Ties
-
-@cindex tie
-@funindex ~
-
-A tie connects two adjacent note heads of the same pitch. The tie
-in effect extends the length of a note. Ties should not be
-confused with slurs, which indicate articulation, or phrasing
-slurs, which indicate musical phrasing. A tie is entered using
-the tilde symbol @samp{~}
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
-
-When a tie is applied to a chord, all note heads whose pitches
-match are connected. When no note heads match, no ties will be
-created. Chords may be partially tied by placing the tie inside
-the chord,
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-<c~ e g~ b> <c e g b>
-@end lilypond
-
-A tie is just a way of extending a note duration, similar to the
-augmentation dot. The following example shows two ways of
-notating exactly the same concept
-
-@lilypond[quote,fragment,ragged-right]
-\time 3/4 c'2. c'2 ~ c'4
-@end lilypond
-
-@noindent
-Ties are used either when the note crosses a bar line, or when
-dots cannot be used to denote the rhythm. When using ties, larger
-note values should be aligned to subdivisions of the measure, such
-as
-
-@lilypond[fragment,quote,ragged-right]
-\relative {
- r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
-}
-@end lilypond
-
-If you need to tie a lot of notes over bars, it may be easier to
-use automatic note splitting (see @ref{Automatic note splitting}).
-This mechanism automatically splits long notes, and ties them
-across bar lines.
-
-@funindex \repeatTie
-@cindex repeating ties
-@cindex volta brackets and ties
-
-When a second alternative of a repeat starts with a tied note, you
-have to repeat the tie. This can be achieved with
-@code{\repeatTie},
-
-@lilypond[fragment,quote,ragged-right,relative=2]
-r <c e g>\repeatTie
-@end lilypond
-
-@cindex Laissez vibrer
-@cindex Ties, laissez vibrer
-
-L.v. ties (laissez vibrer) indicate that notes must not be damped
-at the end. It is used in notation for piano, harp and other
-string and percussion instruments. They can be entered using
-@code{\laissezVibrer},
-
-@lilypond[fragment,ragged-right,verbatim,relative=1]
-<c f g>\laissezVibrer
-@end lilypond
-
-@seealso
-
-Program reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
-
-Example files:
-@lsr{connecting,laissez-vibrer-ties.ly}
-
-
-@commonprop
-
-Ties are sometimes used to write out arpeggios. In this case, two
-tied notes need not be consecutive. This can be achieved by
-setting the @code{tieWaitForNote} property to true. The same
-feature is also useful, for example, to tie a tremolo to a chord.
-For example,
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-\set tieWaitForNote = ##t
-\grace { c16[~ e~ g]~ } <c, e g>2
-\repeat tremolo 8 { c32~ c'~ } <c c,>1
-e8~ c~ a~ f~ <e' c a f>2
-@end lilypond
-
-Ties may be engraved manually by changing the
-@code{tie-configuration} property. The first number indicates the
-distance from the center of the staff in staff-spaces, and the
-second number indicates the direction (1=up, -1=down).
-
-@lilypond[fragment,verbatim,relative=1,ragged-right,quote]
-<c e g>2~ <c e g> |
-\override TieColumn #'tie-configuration =
- #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
-<c e g>~ <c e g> |
-@end lilypond
-
-
-@refcommands
-
-
-@funindex \tieUp
-@code{\tieUp},
-@funindex \tieDown
-@code{\tieDown},
-@funindex \tieNeutral
-@code{\tieNeutral},
-@funindex \tieDotted
-@code{\tieDotted},
-@funindex \tieDashed
-@code{\tieDashed},
-@funindex \tieSolid
-@code{\tieSolid}.
-
-
-@seealso
-
-In this manual: @ref{Automatic note splitting}.
-
-Program reference: @internalsref{Tie}.
-
-
-@refbugs
-
-Switching staves when a tie is active will not produce a slanted
-tie.
-
-Changing clefs or octavations during a tie is not really
-well-defined. In these cases, a slur may be preferable.
-
-
@node Slurs
@unnumberedsubsubsec Slurs
@cindex Slurs
A slur indicates that notes are to be played bound or
-@emph{legato}. They are entered using parentheses
+@emph{legato}. They are entered using parentheses:
@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
f( g a) a8 b( a4 g2 f4)
<c e>2( <b d>2)
@end lilypond
-The direction of a slur can be specified with
+Just as with ties, the direction of a slur can be specified with
@code{\slur@emph{DIR}}, where @code{@emph{DIR}} is either
@code{Up}, @code{Down}, or @code{Neutral} (automatically
-selected).
-
-However, there is a convenient shorthand for forcing slur
-directions. By adding @code{_} or @code{^} before the opening
-parentheses, the direction is also set. For example,
+selected). The shorthands are also available: by adding
+@code{_} or @code{^} before the opening parentheses, the direction
+is also set.
@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
c4_( c) c^( c)
@seealso
-Program reference: @internalsref{Slur}.
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{Slur}.
@node Phrasing slurs
A phrasing slur (or phrasing mark) connects notes and is used to
indicate a musical sentence. It is written using @code{\(} and
-@code{\)} respectively
+@code{\)} respectively:
@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
\time 6/4 c'\( d( e) f( e) d\)
normal slur. However, they are treated as different objects. A
@code{\slurUp} will have no effect on a phrasing slur; instead,
use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
-@code{\phrasingSlurNeutral}.
+@code{\phrasingSlurNeutral}, or use the shorthands @code{_} and
+@code{^}.
You cannot have simultaneous phrasing slurs.
@seealso
-Program reference: @internalsref{PhrasingSlur}.
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{PhrasingSlur}.
@node Breath marks
@seealso
-Program reference: @internalsref{BreathingSign}.
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{BreathingSign}.
Examples: @lsr{expressive,breathing-sign.ly}
c4-\bendAfter #-3
@end lilypond
-
@node Lines
@subsection Lines
* Glissando::
* Arpeggio::
* Trills::
-* Analysis brackets::
@end menu
@node Glissando
c2\glissando c,
@end lilypond
-
@commonprop
+
@lilypond[quote,ragged-right,verbatim]
I = \once \override NoteColumn #'ignore-collision = ##t
@seealso
-Program reference: @internalsref{Glissando}.
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{Glissando}.
+Glossary: @rglos{falls}, @rglos{doits}
Example files:
@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
@funindex \arpeggio
You can specify an arpeggio sign (also known as broken chord) on a
-chord by attaching an @code{\arpeggio} to a chord
+chord by attaching an @code{\arpeggio} to the chord:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
<c e g c>\arpeggio
@end lilypond
-A square bracket on the left indicates that the player should not
-arpeggiate the chord
+A square bracket on the left is used to indicate that the chord should
+@emph{not} be arpeggiated:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\arpeggioBracket
<c' e g c>\arpeggio
@end lilypond
-The direction of the arpeggio is sometimes denoted by adding an
-arrowhead to the wiggly line
+The direction of the arpeggio can be denoted by adding an
+arrowhead to the wiggly line. This is done with the commands
+@code{arpeggioUp} and @code{arpeggioDown}. @code{arpeggioNeutral}
+reverts to the arrow-less version:
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\new Voice {
<c e g c>\arpeggio
\arpeggioDown
<c e g c>\arpeggio
+ \arpeggioNeutral
+ <c e g c>\arpeggio
}
@end lilypond
@commonprop
-When an arpeggio crosses staves, you may attach an arpeggio to the
-chords in both staves and set
-@internalsref{PianoStaff}.@code{connectArpeggios}
+In a @code{PianoStaff}, it is possible to let an arpeggio cross
+between the staves by setting the property
+@internalsref{PianoStaff}.@code{connectArpeggios}.
@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
\new PianoStaff <<
>>
@end lilypond
-@c TODO: cross-voice arpeggio example?
-@c such an example is already in LSR -J.Mandereau
+The same can be accomplished in contexts other than
+@code{PianoStaff} if the @code{Span_arpeggio_engraver} is included
+in the Score context.
+
+@lilypond[quote,ragged-right,verbatim]
+\score {
+ \new StaffGroup {
+ \set Score.connectArpeggios = ##t
+ <<
+ \new Voice \relative c' {
+ <e g>4\arpeggio
+ }
+ \new Voice \relative c {
+ \clef bass
+ <c e>4\arpeggio
+ }
+ >>
+ }
+ \layout {
+ \context {
+ \Score
+ \consists "Span_arpeggio_engraver"
+ }
+ }
+}
+@end lilypond
+
+Similarly, an arpeggio can be drawn across notes in
+different voices on the same staff if the Span_arpeggio_engraver
+is moved to the Staff context:
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff
+\with {
+ \consists "Span_arpeggio_engraver"
+} \relative c' {
+ \set Staff.connectArpeggios = ##t
+ <<
+ {<e' g>4\arpeggio <d f> <d f>2 }
+ \\
+ {<d, f>2\arpeggio <g b>2 }
+ >>
+}
+@end lilypond
+
+
@refcommands
Notation manual: @ref{Ties}, for writing out arpeggios.
-Program reference: @internalsref{Arpeggio}.
+Snippets: @lsrdir{expressive}
+
+Internals Reference: @internalsref{Arpeggio}.
@refbugs
@node Trills
@unnumberedsubsubsec Trills
-Short trills are printed like normal articulation; see
-@ref{Articulations and ornamentations}.
+Short trills are printed with @code{\trill} like normal
+articulation; see @ref{Articulations and ornamentations}.
Long running trills are made with @code{\startTrillSpan} and
-@code{\stopTrillSpan},
+@code{\stopTrillSpan}. In the following example, it is shown in
+the common combination with grace notes. If a more precise
+control of the placement of the grace notes is needed, see
+@ref{Grace notes}.
@lilypond[verbatim,ragged-right,relative=2,quote,fragment]
-\new Voice {
- << { c1 \startTrillSpan }
- { s2. \grace { d16[\stopTrillSpan e] } } >>
- c4 }
+\relative c''
+{c1 \afterGrace
+d1\startTrillSpan { c16[\stopTrillSpan d] }
+c4 }
@end lilypond
@cindex Pitched trills
Trills that should be executed on an explicitly specified pitch
-can be typeset with the command @code{pitchedTrill},
+can be typeset with the command @code{pitchedTrill}, and the
+syntax @code{\pitchedTrill} @var{mainnote}@code{\startTrillSpan}
+@var{trillnote} @var{endnote} @code{\stopTrillSpan}.
@lilypond[ragged-right,verbatim,fragment,relative=1,quote]
-\pitchedTrill c4\startTrillSpan fis
-f\stopTrillSpan
+\pitchedTrill e2 \startTrillSpan fis
+d\stopTrillSpan
@end lilypond
+
@noindent
The first argument is the main note. The pitch of the second is
printed as a stemless note head in parentheses.
@seealso
-Program reference: @internalsref{TrillSpanner}.
-
-
-@node Analysis brackets
-@unnumberedsubsubsec Analysis brackets
-
-@cindex brackets
-@cindex phrasing brackets
-@cindex musicological analysis
-@cindex note grouping bracket
-
-Brackets are used in musical analysis to indicate structure in
-musical pieces. LilyPond supports a simple form of nested
-horizontal brackets. To use this, add the
-@internalsref{Horizontal_bracket_engraver} to @internalsref{Staff}
-context. A bracket is started with @code{\startGroup} and closed
-with @code{\stopGroup}
+Snippets: @lsrdir{expressive}
-@lilypond[quote,ragged-right,verbatim]
-\score {
- \relative c'' {
- c4\startGroup\startGroup
- c4\stopGroup
- c4\startGroup
- c4\stopGroup\stopGroup
- }
- \layout {
- \context {
- \Staff \consists "Horizontal_bracket_engraver"
-}}}
-@end lilypond
-
-@seealso
+Internals Reference: @internalsref{TrillSpanner}.
-Program reference: @internalsref{HorizontalBracket}.
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