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]
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
\override TextScript #'font-family = #'typewriter
\override TextScript #'font-shape = #'upright
c''4-._"c-."
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_^
@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
@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.
@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
@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{~}
+in effect extends the length of a note.
-@lilypond[quote,ragged-right,fragment,verbatim]
-e' ~ e' <c' e' g'> ~ <c' e' g'>
-@end lilypond
+@warning{Ties should not be confused with @emph{slurs}, which
+indicate articulation, or @emph{phrasing slurs}, which indicate
+musical phrasing. A tie is just a way of extending a note
+duration, similar to the augmentation dot.}
-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,
+A tie is entered using the tilde symbol @code{~}
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-<c~ e g~ b> <c e g b>
+@lilypond[quote,ragged-right,fragment,verbatim]
+e' ~ e'
@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
+dots cannot be used to denote the rhythm. Ties should also be
+used when note values cross larger subdivisions of the measure:
@lilypond[fragment,quote,ragged-right]
\relative {
@cindex repeating ties
@cindex volta brackets and ties
+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> ~ <c e g>
+<c~ e g~ b> <c e g b>
+@end lilypond
+
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
+\repeat volta 2 { c g <c e>2 ~ }
+\alternative {{ <c e>2. r4 } {<c e>2\repeatTie d4 c }}
@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},
+@notation{L.v.} ties (@notation{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
+The direction of a tie can be specified with @code{\tieUp} or
+@code{\tieDown} (see example below). @code{\tieNeutral} reverts
+to the default behaviour again.
+
+However, as with other music elements of this kind, there is a
+convenient shorthand for forcing tie directions. By adding
+@code{_} or @code{^} before the tilde, the direction is also set:
+
+@lilypond[relative=2,ragged-right,quote,verbatim,fragment]
+c4_~ c c^~ c)
+@end lilypond
+
+
@seealso
Program reference:
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,
+feature is also useful, for example, to tie a tremolo to a chord,
+but in principle, it can also be used for ordinary, consecutive
+notes:
@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
+\tieUp c8~ a \tieDown \tieDotted g~ c g2
@end lilypond
Ties may be engraved manually by changing the
@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)
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.
c4-\bendAfter #-3
@end lilypond
-
@node Lines
@subsection Lines
c2\glissando c,
@end lilypond
-
@commonprop
+
@lilypond[quote,ragged-right,verbatim]
I = \once \override NoteColumn #'ignore-collision = ##t
Program 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
@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.
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}
+@internalsref{Horizontal_bracket_engraver} to the
+@internalsref{Staff} context. A bracket is started with
+@code{\startGroup} and closed with @code{\stopGroup}.
@lilypond[quote,ragged-right,verbatim]
\score {
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