@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
@node Expressive marks
@section Expressive marks
+@lilypondfile[quote]{expressive-headword.ly}
+
@menu
* Attached to notes::
* Curves::
@subsection Attached to notes
-@anchor{Articulations}
-@unnumberedsubsubsec Articulations
+@menu
+* Articulations and ornamentations::
+* Dynamics::
+@end menu
+
+@node Articulations and ornamentations
+@subsubsection Articulations and ornamentations
-@cindex Articulations
+@cindex articulations
@cindex scripts
@cindex ornaments
A variety of symbols can appear above and below notes to indicate
-different characteristics of the performance. They are added to a note
-by adding a dash and the character signifying the
-articulation. They are demonstrated here
-
-@lilypondfile[quote,ragged-right]{script-abbreviations.ly}
+different characteristics of the performance. All these symbols
+can be attached to a note using the syntax
+@var{note}@tie{}@code{\}@var{name}.
-The meanings of these shorthands can be changed. See
-@file{ly/@/script@/-init@/.ly} for examples.
+@c Add a LilyPond example here soon. -pm
-The script is 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.
+The possible values for @var{name} are listed in @ref{List of
+articulations}.
-@lilypond[quote,ragged-right,fragment,verbatim]
-c''4^^ c''4_^
-@end lilypond
+@cindex marcato
+@cindex stopped
+@cindex tenuto
+@cindex staccatissimo
+@cindex accent
+@cindex staccato
+@cindex portato
-Other symbols can be added using the syntax
-@var{note}@code{\}@var{name}. Again, they
-can be forced up or down using @code{^} and @code{_},
-e.g.,
+Some of these articulations have shorthands for easier entry.
+Shorthands are appended to the note name, and their syntax
+consists of a dash (@tie{}@code{-}) followed by a symbol
+signifying the articulation. Predefined shorthands exist for
+@notation{marcato}, @notation{stopped}, @notation{tenuto},
+@notation{staccatissimo}, @notation{accent}, @notation{staccato},
+and @notation{portato}. Their corresponding output appears as
+follows:
-@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-c\fermata c^\fermata c_\fermata
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c4-^ c-+ c-- c-|
+c-> c-. c-_
@end lilypond
-@cindex accent
-@cindex marcato
-@cindex staccatissimo
+The marks are placed automatically by default (either above or
+below the note), but their positions can be manually @q{forced}
+above or below notes as well. For details, see
+@ref{Controlling direction and placement}.
+
@cindex espressivo
@cindex fermata
-@cindex stopped
-@cindex staccato
-@cindex portato
-@cindex tenuto
@cindex upbow
@cindex downbow
@cindex foot marks
@cindex coda
@cindex varcoda
-Here is a chart showing all scripts available,
-@lilypondfile[ragged-right,quote]{script-chart.ly}
+@snippets
+
+@c Send these snippets to Valentin for the LSR.
+The shorthands are defined in @file{ly/@/script@/-init@/.ly},
+where the variables @code{dashHat}, @code{dashPlus},
+@code{dashDash}, @code{dashBar}, @code{dashLarger},
+@code{dashDot}, and @code{dashUnderscore} are assigned default
+values. The default values for the shorthands can be modified.
+For example, to associate the @code{-+} (@code{dashPlus})
+shorthand with the @notation{trill} symbol instead of the default
+@notation{+} symbol, assign the value @code{trill} to the variable
+@code{dashPlus}:
-@commonprop
+@lilypond[verbatim,quote,ragged-right]
+\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.
-
-@lilypond[verbatim,relative=3,ragged-right,fragment,quote]
+@code{script-priority} property. The lower this number, the
+closer it will be put to the note. In this example, the
+@code{TextScript} (the sharp symbol) first has the lowest
+priority, so it is put lowest in the first example. In the
+second, the @notation{prall trill} (the @code{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.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=3]
\once \override TextScript #'script-priority = #-100
a4^\prall^\markup { \sharp }
@seealso
-Program reference: @internalsref{Script}.
+Music Glossary: @rglos{marcato}, @rglos{stopped}, @rglos{tenuto},
+@rglos{staccatissimo}, @rglos{accent}, @rglos{staccato},
+@rglos{portato}.
+Snippets: @lsrdir{Expressive,Expressive-marks}
-@refbugs
+Internals Reference: @internalsref{Script},
+@internalsref{TextScript}.
+
+
+@knownissues
These signs appear in the printed output but have no effect on the
MIDI rendering of the music.
-@anchor{Dynamics}
-@unnumberedsubsubsec Dynamics
+@node Dynamics
+@subsubsection Dynamics
-@cindex Dynamics
+@cindex dynamics
@funindex \pppp
@funindex \ppp
@funindex \pp
@funindex \sfz
@funindex \rfz
-Absolute dynamic marks are specified using a command after a note
-@code{c4\ff}. The available dynamic marks are @code{\ppppp},
-@code{\pppp}, @code{\ppp},
-@code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
-@code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
-@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+Absolute dynamic marks are specified using a command after a note,
+like @code{c4\ff}. The available dynamic marks are @code{\ppppp},
+@code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, @code{\mp},
+@code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, @code{\ffff},
+@code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, @code{\spp},
+@code{\sfz}, and @code{\rfz}. The dynamic marks can be placed
+above or below the staff: For details, see
+@ref{Controlling direction and placement}.
-@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
-c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
-c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c2\ppp c\mp
+c\rfz c^\mf
+c_\spp c_\staccato^\ff
@end lilypond
+@cindex hairpin
@funindex \<
@funindex \>
@funindex \!
+@funindex \cr
+@funindex \decr
+
+A @notation{crescendo} mark is started with @code{\<} and
+terminated with @code{\!} or an absolute dynamic. A
+@notation{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{\>}. They
+can be engraved either using a graphical sign (a
+@notation{hairpin}), or with textual signs.
-A crescendo mark is started with @code{\<} and terminated with
-@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{\>}. Because these marks are bound to notes, you must
-use spacer notes if multiple marks are needed during one note
+Because these marks are bound to notes, you must use spacer notes
+if multiple marks are needed during one note.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c\< c\! d\> e\!
<< f1 { s4 s4\< s4\! \> s4\! } >>
@end lilypond
-@noindent
-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,
+This may give rise to very short hairpins. To lengthen them, use
+for example @code{minimum-length} in
+@internalsref{Voice}.@internalsref{Hairpin}:
+
+@example
+\override Voice.Hairpin #'minimum-length = #5
+@end example
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+@noindent
+A @notation{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 @notation{hairpin} ends
+on the immediately preceding bar line. This may be modified by
+setting the @code{hairpinToBarline} property:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+e4\< e2. e1\!
\set hairpinToBarline = ##f
-c4\< c2. c4\!
+e4\< e2. e1\!
@end lilypond
-In some situations the @code{\espressivo} articulation mark may
-be suitable to indicate a crescendo and decrescendo on the one note,
+@cindex espressivo, articulation
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+In some situations the @code{\espressivo} articulation mark may be
+suitable to indicate a crescendo and decrescendo on the one note:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2 b4 a g1\espressivo
@end lilypond
-This may give rise to very short hairpins. Use @code{minimum-length}
-in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
-example
-
-@example
-\override Voice.Hairpin #'minimum-length = #5
-@end example
-
@cindex al niente
@cindex niente, al
Hairpins may be printed with a circled tip (al niente notation) by
-setting the @code{circled-tip} property,
+setting the @code{circled-tip} property:
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\override Hairpin #'circled-tip = ##t
c2\< c\!
c4\> c\< c2\!
@end lilypond
-
@cindex crescendo
@cindex decrescendo
@cindex diminuendo
-
-You can also use text saying @emph{cresc.} instead of hairpins
-
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@funindex \setTextCresc
+@funindex \setTextDim
+@funindex \setTextDecresc
+@funindex \setHairpinCresc
+@funindex \setHairpinDim
+@funindex \setHairpinDecresc
+
+You can use text saying @emph{cresc.}, @emph{decr.}, or
+@emph{dim.} instead of hairpins with the commands
+@code{\setTextCresc}, @code{\setTextDim}, and
+@code{\setTextDecresc}. The corresponding
+@code{\setHairpinCresc}, @code{\setHairpinDim}, and
+@code{\setHairpinDecresc} will revert to hairpins again:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\setTextCresc
c\< d e f\!
\setHairpinCresc
e\> d c b\!
\setTextDecresc
+e\> d e f\!
+\setTextDecr
c\> d e f\!
\setTextDim
e\> d c b\!
@end lilypond
-You can also supply your own texts
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+You can also supply your own texts and change the style of the
+spanner line with the properties @code{\crescendoText},
+@code{\crescendoSpanner}, @code{\decrescendoText}, and
+@code{\decrescendoSpanner}. Available values for the spanner
+properties are @code{hairpin}, @code{line}, @code{dashed-line},
+and @code{dotted-line}. If unset, a hairpin crescendo is used:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\set crescendoText = \markup { \italic "cresc. poco" }
-\set crescendoSpanner = #'dashed-line
-a'2\< a a a\!\mf
+\set crescendoSpanner = #'dotted-line
+a'2\< a a a a a a a\!\mf
@end lilypond
-To create new dynamic marks or text that should be aligned
-with dynamics, see @ref{New dynamic marks}.
+To create new dynamic marks or text that should be aligned with
+dynamics, see @ref{New dynamic marks}.
Vertical positioning of dynamics is handled by
@internalsref{DynamicLineSpanner}.
-@commonprop
+@predefined
+
+@funindex \dynamicUp
+@code{\dynamicUp},
+@funindex \dynamicDown
+@code{\dynamicDown},
+@funindex \dynamicNeutral
+@code{\dynamicNeutral}.
+
+
+@snippets
-Dynamics that occur at, begin on, or end on, the same note
-will be vertically aligned. If you want to ensure that dynamics
-are aligned when they do not occur on the same note, you can
-increase the @code{staff-padding} property.
+Dynamics that occur at, begin on, or end on the same note will be
+vertically aligned. If you want to ensure that dynamics are
+aligned when they do not occur on the same note, you can increase
+the @code{staff-padding} property.
@example
\override DynamicLineSpanner #'staff-padding = #4
@end example
-You may also use this property if the dynamics are colliding
-with other notation.
+@noindent
+You may also use this property if the dynamics are colliding with
+other notation.
-Crescendi and decrescendi that end on the first note of a
-new line are not printed. To change this behavior, use
+Crescendi and decrescendi that cross a line break will be
+continued on the second line. If they end on the first note of a
+new line, nothing will be printed on that line. To change this
+behavior, use
@example
\override Score.Hairpin #'after-line-breaking = ##t
@end example
Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
-are printed with a
-dashed line showing their extent. To surpress printing this line, use
+are printed with a dashed line showing their extent. To surpress
+printing this line, use
@example
\override DynamicTextSpanner #'dash-period = #-1.0
@end example
-@refcommands
+@seealso
-@funindex \dynamicUp
-@code{\dynamicUp},
-@funindex \dynamicDown
-@code{\dynamicDown},
-@funindex \dynamicNeutral
-@code{\dynamicNeutral}.
+Music Glossary: @rglos{hairpin}, @rglos{crescendo},
+@rglos{decrescendo}.
+Learning Manual: @rlearning{Articulation and dynamics}.
-@seealso
+Snippets: @lsrdir{Expressive,Expressive-marks}
-Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
-Vertical positioning of these symbols is handled by
-@internalsref{DynamicLineSpanner}.
+Internals Reference: @internalsref{DynamicText},
+@internalsref{Hairpin}. Vertical positioning of these symbols is
+handled by @internalsref{DynamicLineSpanner}.
@node Curves
@subsection Curves
-@anchor{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
-
-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 repeating ties
-@cindex volta brackets and ties
-
-@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.
-
+@menu
+* Slurs::
+* Phrasing slurs::
+* Breath marks::
+* Falls and doits::
+@end menu
-@anchor{Slurs}
-@unnumberedsubsubsec Slurs
+@node Slurs
+@subsubsection Slurs
-@cindex Slurs
+@cindex slurs
-A slur indicates that notes are to be played bound or
-@emph{legato}. They are entered using parentheses
+A @notation{slur} indicates that notes are to be played bound or
+@emph{legato}. They are entered using parentheses:
-@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
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
-@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,
+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} (@code{Neutral} is the
+default). The shorthands are also available: For details, see
+@ref{Controlling direction and placement}.
-@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c4_( c) c^( c)
@end lilypond
-Only one slur can be printed at once. If you need to print a long
-slur over a few small slurs, please see @ref{Phrasing slurs}.
-
+Using this method, only one slur can be printed at once. To print
+a long slur over a few small slurs, see @ref{Phrasing slurs}.
-@commonprop
-Some composers write two slurs when they want legato chords. This can
-be achieved in LilyPond by setting @code{doubleSlurs},
-
-@lilypond[verbatim,ragged-right,relative,fragment,quote]
-\set doubleSlurs = ##t
-<c e>4 ( <d f> <c e> <d f> )
-@end lilypond
-
-
-@refcommands
+@predefined
@funindex \slurUp
@code{\slurUp},
@funindex \slurSolid
@code{\slurSolid}.
+
+@snippets
+
+Some composers write two slurs when they want legato chords. This
+can be achieved in LilyPond by setting @code{doubleSlurs},
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\set doubleSlurs = ##t
+<c e>4 ( <d f> <c e> <d f> )
+@end lilypond
+
+
@seealso
-Program reference: @internalsref{Slur}.
+Music Glossary: @rglos{slur}
+
+Snippets: @lsrdir{Expressive,Expressive-marks}
+Internals Reference: @internalsref{Slur}.
-@anchor{Phrasing slurs}
-@unnumberedsubsubsec Phrasing slurs
+
+@node Phrasing slurs
+@subsubsection Phrasing slurs
@cindex phrasing slurs
@cindex phrasing marks
+@funindex \(
+@funindex \)
A phrasing slur (or phrasing mark) connects notes and is used to
-indicate a musical sentence. It is written using @code{\(} and @code{\)}
-respectively
+indicate a musical sentence. It is written using @code{\(} and
+@code{\)} respectively:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\time 6/4 c'\( d( e) f( e) d\)
@end lilypond
Typographically, the phrasing slur behaves almost exactly like a
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{\slurUp} will have no effect on a phrasing slur; instead,
+use @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
+@code{\phrasingSlurNeutral}. The shorthands work for phrasing
+slurs as well: For details, see @ref{Controlling direction and placement}.
You cannot have simultaneous phrasing slurs.
-@refcommands
+@predefined
@funindex \phrasingSlurUp
@code{\phrasingSlurUp},
@seealso
-Program reference: @internalsref{PhrasingSlur}.
-
-
-@anchor{Laissez vibrer ties}
-@unnumberedsubsubsec Laissez vibrer ties
-@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
+Snippets: @lsrdir{Expressive,Expressive-marks}
-Program reference:
-@internalsref{LaissezVibrerTie}
-@internalsref{LaissezVibrerTieColumn}
+Internals Reference: @internalsref{PhrasingSlur}
-Example files:
-@lsr{connecting,laissez-vibrer-ties.ly}
+@node Breath marks
+@subsubsection Breath marks
-@anchor{Breath marks}
-@unnumberedsubsubsec Breath marks
+@cindex breath marks
+@funindex \breathe
-Breath marks are entered using @code{\breathe}
+Breath marks are entered using @code{\breathe}:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
c'4 \breathe d4
@end lilypond
-@commonprop
+@snippets
The glyph of the breath mark can be tuned by overriding the
-@code{text} property of the @code{BreathingSign} layout object with
-any markup text. For example,
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@code{text} property of the @code{BreathingSign} layout object
+with any markup text. For example,
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
c'4
\override BreathingSign #'text
= #(make-musicglyph-markup "scripts.rvarcomma")
@seealso
-Program reference: @internalsref{BreathingSign}.
+Snippets: @lsrdir{Expressive,Expressive-marks}
+@c @lsr{expressive,breathing-sign.ly}.
+
+Internals Reference: @internalsref{BreathingSign}
-Examples: @lsr{expressive,breathing-sign.ly}
+@node Falls and doits
+@subsubsection Falls and doits
-@anchor{Falls and doits}
-@unnumberedsubsubsec Falls and doits
+@cindex falls
+@cindex doits
+@funindex \bendAfter
-Falls and doits can be added to notes using the @code{\bendAfter}
-command,
+@notation{Falls} and @notation{doits} can be added to notes using
+the @code{\bendAfter} command,
-@lilypond[fragment,ragged-right,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\override Score.SpacingSpanner #'shortest-duration-space = #3.0
c4-\bendAfter #+5
c4-\bendAfter #-3
@end lilypond
+@seealso
+
+Music Glossary: @rglos{falls}, @rglos{doits}.
+
+Snippets: @lsrdir{Expressive,Expressive-marks}
+
+
@node Lines
@subsection Lines
-@anchor{Glissando}
-@unnumberedsubsubsec Glissando
+@menu
+* Glissando::
+* Arpeggio::
+* Trills::
+@end menu
+
+@node Glissando
+@subsubsection Glissando
-@cindex Glissando
+@cindex glissando
@funindex \glissando
-A glissando is a smooth change in pitch. It is denoted by a line or a
-wavy line between two notes. It is requested by attaching
-@code{\glissando} to a note
+A @notation{glissando} is a smooth change in pitch. It is denoted
+by a line or a wavy line between two notes. A
+@notation{glissando} is created by attaching @code{\glissando} to
+a note:
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2\glissando c'
\override Glissando #'style = #'zigzag
c2\glissando c,
@end lilypond
-@commonprop
+@snippets
-@lilypond[quote,ragged-right,verbatim]
+@lilypond[verbatim,quote,ragged-right]
I = \once \override NoteColumn #'ignore-collision = ##t
-\relative <<
+\relative c' <<
{ \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
{ \oneVoice \I c2 \glissando \I d, }
>>
@end lilypond
-
@seealso
-Program reference: @internalsref{Glissando}.
+Music Glossary: @rglos{glissando}
+
+Snippets: @lsrdir{Expressive,Expressive-marks}
-Example files:
-@lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
+@c FIXME: I need to figure out what's up with these. -gp
+@c @lsr{expressive,glissando.ly},
+@c @lsr{expressive,line-styles.ly}
+Internals Reference: @internalsref{Glissando}
-@refbugs
-Printing text over the line (such as @emph{gliss.}) is not supported.
+@knownissues
+Printing text over the line (such as @emph{gliss.}) is not
+supported.
-@anchor{Arpeggio}
-@unnumberedsubsubsec Arpeggio
-@cindex Arpeggio
+@node Arpeggio
+@subsubsection Arpeggio
+
+@cindex arpeggio
@cindex broken chord
@funindex \arpeggio
-You can specify an arpeggio sign (also known as broken chord) on a
-chord by attaching an @code{\arpeggio} to a chord
+You can specify an @notation{arpeggio} (also known as a
+@notation{broken chord}) on a chord by attaching an
+@code{\arpeggio} to the chord:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
<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, denoted by @code{\arpeggioBracket},
+is used to indicate that the chord should @emph{not} be
+arpeggiated:
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\arpeggioBracket
-<c' e g c>\arpeggio
+<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]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\new Voice {
\arpeggioUp
<c e g c>\arpeggio
\arpeggioDown
<c e g c>\arpeggio
+ \arpeggioNeutral
+ <c e g c>\arpeggio
}
@end lilypond
-@commonprop
+@predefined
+
+@funindex \arpeggioUp
+@code{\arpeggioUp},
+@funindex \arpeggioDown
+@code{\arpeggioDown},
+@funindex \arpeggioNeutral
+@code{\arpeggioNeutral},
+@funindex \arpeggioBracket
+@code{\arpeggioBracket}.
+
+
+@snippets
-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
+@code{PianoStaff}.@code{connectArpeggios}.
-@lilypond[quote,ragged-right,fragment,relative=1,verbatim]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\new PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\new Staff { <c' e g c>\arpeggio }
>>
@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.
-@refcommands
+@lilypond[verbatim,quote,ragged-right]
+\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
-@code{\arpeggio},
-@funindex \arpeggioUp
-@code{\arpeggioUp},
-@funindex \arpeggioDown
-@code{\arpeggioDown},
-@funindex \arpeggioNeutral
-@code{\arpeggioNeutral},
-@funindex \arpeggioBracket
-@code{\arpeggioBracket}.
+Similarly, an arpeggio can be drawn across notes in different
+voices on the same staff if the @code{Span_arpeggio_engraver} is
+moved to the Staff context:
+
+@lilypond[verbatim,quote,ragged-right]
+\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
@seealso
-Notation manual: @ref{Ties}, for writing out arpeggios.
+Music Glossary: @rglos{arpeggio}, @rglos{broken chord}.
+
+Notation Reference: @ref{Ties}, for writing out arpeggios.
+
+Snippets: @lsrdir{Expressive,Expressive-marks}
-Program reference: @internalsref{Arpeggio}.
+Internals Reference: @internalsref{Arpeggio},
+@internalsref{PianoStaff}.
-@refbugs
+@knownissues
It is not possible to mix connected arpeggios and unconnected
-arpeggios in one @internalsref{PianoStaff} at the same point in time.
+arpeggios in one @code{PianoStaff} at the same point in
+time.
-@anchor{Trills}
-@unnumberedsubsubsec Trills
+@node Trills
+@subsubsection Trills
-Short trills are printed like normal articulation; see @ref{Articulations}.
+@cindex trills
+@funindex \trill
+
+Short @notation{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 }
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c1 \afterGrace
+d1\startTrillSpan { c16[\stopTrillSpan d] }
+c4
@end lilypond
-@cindex Pitched trills
+@cindex pitched trills
-Trills that should be executed on an explicitly specified pitch can be
-typeset with the command @code{pitchedTrill},
+Trills that should be executed on an explicitly specified pitch
+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
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\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.
+The first argument is the main note. The pitch of the second is
+printed as a stemless note head in parentheses.
-@refcommands
+@predefined
@code{\startTrillSpan},
@funindex \startTrillSpan
@seealso
-Program reference: @internalsref{TrillSpanner}.
-
-
-@anchor{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}
-
-@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
-
-Program reference: @internalsref{HorizontalBracket}.
-
+Music Glossary: @rglos{trill}
+Snippets: @lsrdir{Expressive,Expressive-marks}
+Internals Reference: @internalsref{TrillSpanner}
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