[ << Rhythms ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Using ties with arpeggios ] | [ Up : Top ] | [ > ] |
Expressive marks
These snippets illustrate the Notation Reference, section Expressive marks.
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Expressive marks ] | [ Up : Expressive marks ] | [ Adding parentheses around an expressive mark or chordal note > ] |
Adding beams, slurs, ties etc. when using tuplet and non-tuplet rhythms
LilyPond syntax can involve many unusual placements for parentheses, brackets etc., which might sometimes have to be interleaved. For example, when entering a manual beam, the left square bracket has to be placed after the starting note and its duration, not before. Similarly, the right square bracket should directly follow the note which is to be at the end of the requested beaming, even if this note happens to be inside a tuplet section. This snippet demonstrates how to combine manual beaming, manual slurs, ties and phrasing slurs with tuplet sections (enclosed within curly braces).
{ r16[ g16 \times 2/3 { r16 e'8] } g16( a \times 2/3 { b d e') } g8[( a \times 2/3 { b d') e'] ~ } \time 2/4 \times 4/5 { e'32\( a b d' e' } a'4.\) }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < ] | [ Up : Expressive marks ] | [ Adjusting the shape of falls and doits > ] |
Adding parentheses around an expressive mark or chordal note
The \parenthesize
function is a special tweak that encloses
objects in parentheses. The associated grob is
Score.ParenthesesItem
.
\relative c' { c2-\parenthesize -> \override ParenthesesItem #'padding = #0.1 \override ParenthesesItem #'font-size = #-4 <d \parenthesize f a>2 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Adding parentheses around an expressive mark or chordal note ] | [ Up : Expressive marks ] | [ Breathing signs > ] |
Adjusting the shape of falls and doits
The shortest-duration-space
property may have to be tweaked to
adjust the shape of falls and doits.
\relative c'' { \override Score.SpacingSpanner #'shortest-duration-space = #4.0 c2-\bendAfter #+5 c2-\bendAfter #-3 c2-\bendAfter #+8 c2-\bendAfter #-6 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Adjusting the shape of falls and doits ] | [ Up : Expressive marks ] | [ Broken Crescendo Hairpin > ] |
Breathing signs
Breathing signs are available in different tastes: commas (default), ticks, vees and "railroad tracks" (caesura).
\new Staff \relative c'' { \key es \major \time 3/4 % this bar contains no \breathe << { g4 as g } \\ { es4 bes es } >> | % Modern notation: % by default, \breathe uses the rcomma, just as if saying: % \override BreathingSign #'text = #(make-musicglyph-markup "scripts.rcomma") << { g4 as g } \\ { es4 \breathe bes es } >> | % rvarcomma and lvarcomma are variations of the default rcomma and lcomma % N.B.: must use Staff context here, since we start a Voice below \override Staff.BreathingSign #'text = \markup { \musicglyph #"scripts.rvarcomma" } << { g4 as g } \\ { es4 \breathe bes es } >> | % vee \override BreathingSign #'text = \markup { \musicglyph #"scripts.upbow" } es8[ d es f g] \breathe f | % caesura \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.curved" } es8[ d] \breathe es[ f g f] | es2 r4 \bar "||" }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Breathing signs ] | [ Up : Expressive marks ] | [ Caesura ("railtracks") with fermata > ] |
Broken Crescendo Hairpin
In order to make parts of a crescendo hairpin invisible, the following method is used: A white rectangle is drawn on top of the respective part of the crescendo hairpin, making it invisible. The rectangle is defined as postscript code within a text markup.
To fine-tune the position and size of the markup, the number preceding
setgray
in the postscript definition can be set to a value less
than one, making it grey. The two numbers before scale
in the
postscript code are responsible for the width and height of the
rectangle, the two numbers before translate
change the x- and
y-origin of the rectangle.
Make sure to put the hairpin in a lower layer than the text markup to draw the rectangle over the hairpin.
\relative c' { << { \dynamicUp \override DynamicLineSpanner #'staff-padding = #4 r2 r16 c'8.\pp r4 } \\ { \override DynamicLineSpanner #'layer = #0 des,2\mf\< ~ \override TextScript #'layer = #2 des16_\markup { \postscript #" 1.9 -8 translate 5 4 scale 1 setgray 0 0 moveto 0 1 lineto 1 1 lineto 1 0 lineto 0 0 lineto fill" } r8. des4 ~ des16->\sff } >> }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Broken Crescendo Hairpin ] | [ Up : Expressive marks ] | [ Center text below hairpin dynamics > ] |
Caesura ("railtracks") with fermata
A caesura is sometimes denoted by a double "railtracks" breath mark with a fermata sign positioned above. This snippet should present an optically pleasing combination of railtracks and fermata.
\relative c'' { c2. % construct the symbol \override BreathingSign #'text = \markup { \line { \musicglyph #"scripts.caesura.curved" \translate #'(-1.75 . 1.6) \musicglyph #"scripts.ufermata" } } \breathe c4 % set the breathe mark back to normal \revert BreathingSign #'text c2. \breathe c4 \bar "|." }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Caesura ("railtracks") with fermata ] | [ Up : Expressive marks ] | [ Changing \flageolet mark size > ] |
Center text below hairpin dynamics
This example provides a function to typeset a hairpin (de)crescendo with some additional text below it, such as "molto" or "poco". The example also illustrates how to modify the way an object is normally printed, using some Scheme code.
hairpinWithCenteredText = #(define-music-function (parser location text) (markup?) #{ \override Voice.Hairpin #'stencil = #(lambda (grob) (ly:stencil-aligned-to (ly:stencil-combine-at-edge (ly:stencil-aligned-to (ly:hairpin::print grob) X CENTER) Y DOWN (ly:stencil-aligned-to (grob-interpret-markup grob $text) X CENTER)) X LEFT)) #}) hairpinMolto = \hairpinWithCenteredText \markup { \italic molto } hairpinMore = \hairpinWithCenteredText \markup { \larger moltissimo } \layout { ragged-right = ##f } \relative c' { \hairpinMolto c2\< c\f \hairpinMore c2\< c\f }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Center text below hairpin dynamics ] | [ Up : Expressive marks ] | [ Changing text and spanner styles for text dynamics > ] |
Changing \flageolet mark size
To make the \flageolet
circle smaller use the following Scheme
function.
smallFlageolet = #(let ((m (make-music 'ArticulationEvent 'articulation-type "flageolet"))) (ly:music-set-property! m 'tweaks (acons 'font-size -3 (ly:music-property m 'tweaks))) m) \layout { ragged-right = ##f } \relative c'' { d4^\flageolet_\markup { default size } d_\flageolet c4^\smallFlageolet_\markup { smaller } c_\smallFlageolet }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Changing \flageolet mark size ] | [ Up : Expressive marks ] | [ Changing the appearance of a slur from solid to dotted or dashed > ] |
Changing text and spanner styles for text dynamics
The text used for crescendos and decrescendos can be changed by
modifying the context properties crescendoText
and
decrescendoText
. The style of the spanner line can be changed by
modifying the 'style
property of DynamicTextSpanner
. The
default value is 'hairpin
, and other possible values include
'line
, 'dashed-line
and 'dotted-line
.
\relative c'' { \set crescendoText = \markup { \italic { cresc. poco } } \set crescendoSpanner = #'text \override DynamicTextSpanner #'style = #'dotted-line a2\< a a2 a a2 a a2 a\mf }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Changing text and spanner styles for text dynamics ] | [ Up : Expressive marks ] | [ Changing the breath mark symbol > ] |
Changing the appearance of a slur from solid to dotted or dashed
The appearance of slurs may be changed from solid to dotted or dashed.
\relative c' { c4( d e c) \slurDotted c4( d e c) \slurSolid c4( d e c) \slurDashed c4( d e c) \slurSolid c4( d e c) }
Changing the breath mark symbol
The glyph of the breath mark can be tuned by overriding the text
property of the BreathingSign
layout object with any markup
text.
\relative c'' { c2 \override BreathingSign #'text = \markup { \musicglyph #"scripts.rvarcomma" } \breathe d2 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Changing the breath mark symbol ] | [ Up : Expressive marks ] | [ Contemporary glissando > ] |
Combining dynamics with markup texts
Some dynamics may involve text indications (such as "più forte" or
"piano subito"). They can be produced using a \markup
block.
piuF = \markup { \italic più \dynamic f } \layout { ragged-right = ##f } \relative c'' { c2\f c-\piuF }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Combining dynamics with markup texts ] | [ Up : Expressive marks ] | [ Controlling the vertical ordering of scripts > ] |
Contemporary glissando
A contemporary glissando without a final note can be typeset using a hidden note and cadenza timing.
\relative c'' { \time 3/4 \override Glissando #'style = #'zigzag c4 c \cadenzaOn c4\glissando \hideNotes c,,4 \unHideNotes \cadenzaOff \bar "|" }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Contemporary glissando ] | [ Up : Expressive marks ] | [ Creating a delayed turn > ] |
Controlling the vertical ordering of scripts
The vertical ordering of scripts is controlled with the
'script-priority
property. The lower this number, the closer it
will be put to the note. In this example, the 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 Script
) has
the lowest, so it is on the inside. When two objects have the same
priority, the order in which they are entered determines which one
comes first.
\relative c''' { \once \override TextScript #'script-priority = #-100 a2^\prall^\markup { \sharp } \once \override Script #'script-priority = #-100 a2^\prall^\markup { \sharp } }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Controlling the vertical ordering of scripts ] | [ Up : Expressive marks ] | [ Creating arpeggios across notes in different voices > ] |
Creating a delayed turn
Creating a delayed turn, where the lower note of the turn uses the
accidental, requires several overrides. The
outside-staff-priority
property must be set to #f
, as
otherwise this would take precedence over the avoid-slur
property
. The value of halign
is used to position the turn
horizontally.
\relative c'' { \once \override TextScript #'avoid-slur = #'inside \once \override TextScript #'outside-staff-priority = ##f c2(^\markup \tiny \override #'(baseline-skip . 1) { \halign #-4 \center-column { \sharp \musicglyph #"scripts.turn" } } d4.) c8 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating a delayed turn ] | [ Up : Expressive marks ] | [ Creating cross-staff arpeggios in a piano staff > ] |
Creating arpeggios across notes in different voices
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:
\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 } >> }
Creating cross-staff arpeggios in a piano staff
In a PianoStaff
, it is possible to let an arpeggio cross between
the staves by setting the property PianoStaff.connectArpeggios
.
\new PianoStaff \relative c'' << \set PianoStaff.connectArpeggios = ##t \new Staff { <c e g c>4\arpeggio <g c e g>4\arpeggio <e g c e>4\arpeggio <c e g c>4\arpeggio } \new Staff { \clef bass \repeat unfold 4 { <c,, e g c>4\arpeggio } } >>
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating cross-staff arpeggios in a piano staff ] | [ Up : Expressive marks ] | [ Creating "real" parenthesized dynamics > ] |
Creating cross-staff arpeggios in other contexts
Cross-staff arpeggios can be created in contexts other than
PianoStaff
if the Span_arpeggio_engraver
is included in
the Score
context.
\score { \new StaffGroup { \set Score.connectArpeggios = ##t << \new Voice \relative c' { <c e>2\arpeggio <d f>2\arpeggio <c e>1\arpeggio } \new Voice \relative c { \clef bass <c g'>2\arpeggio <b g'>2\arpeggio <c g'>1\arpeggio } >> } \layout { \context { \Score \consists "Span_arpeggio_engraver" } } }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating cross-staff arpeggios in other contexts ] | [ Up : Expressive marks ] | [ Creating simultaneous rehearsal marks > ] |
Creating "real" parenthesized dynamics
Although the easiest way to add parentheses to a dynamic mark is to use
a \markup
block, this method has a downside: the created
objects will behave like text markups, and not like dynamics.
However, it is possible to create a similar object using the equivalent
Scheme code (as described in "Markup programmer interface"), combined
with the make-dynamic-script
function. This way, the markup will
be regarded as a dynamic, and therefore will remain compatible with
commands such as \dynamicUp
or \dynamicDown
.
parenF = #(make-dynamic-script (markup #:line (#:normal-text #:italic #:fontsize 2 "(" #:hspace -0.8 #:dynamic "f" #:normal-text #:italic #:fontsize 2 ")"))) \relative c'' { c4\parenF c c \dynamicUp c\parenF }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating "real" parenthesized dynamics ] | [ Up : Expressive marks ] | [ Creating slurs across voices > ] |
Creating simultaneous rehearsal marks
Unlike text scripts, rehearsal marks cannot be stacked at a particular
point in a score: only one RehearsalMark
object is created.
Using an invisible measure and bar line, an extra rehearsal mark can be
added, giving the appearance of two marks in the same column. This
method may also prove useful for placing rehearsal marks at both the
end of one system and the start of the following system.
{ \key a \major \set Score.markFormatter = #format-mark-box-letters \once \override Score.RehearsalMark #'outside-staff-priority = #5000 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(key-signature) \mark \markup { \bold { Senza denti } } % the hidden measure and bar line \once \override Score.TimeSignature #'stencil = ##f \time 1/16 s16 \bar "" \time 4/4 \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \mark \markup { \box \bold Intro } d'1 \mark \default d'1 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating simultaneous rehearsal marks ] | [ Up : Expressive marks ] | [ Creating text spanners > ] |
Creating slurs across voices
In some situations, it may be necessary to create slurs between notes from different voices.
The solution is to add invisible notes to one of the voices, using
\hideNotes
.
This example is measure 235 of the Ciaconna from Bach’s 2nd Partita for solo violin, BWV 1004.
\relative c' { << { d16( a') s a s a[ s a] s a[ s a] } \\ { \slurUp bes,16[ s e]( \hideNotes a) \unHideNotes f[( \hideNotes a) \unHideNotes fis]( \hideNotes a) \unHideNotes g[( \hideNotes a) \unHideNotes gis]( \hideNotes a) } >> }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating slurs across voices ] | [ Up : Expressive marks ] | [ Double glissando > ] |
Creating text spanners
The \startTextSpan
and \stopTextSpan
commands allow the
creation of text spanners as easily as pedal indications or
octavations. Override some properties of the TextSpanner
object
to modify its output.
\paper { ragged-right = ##f } \relative c'' { \override TextSpanner #'(bound-details left text) = #"bla" \override TextSpanner #'(bound-details right text) = #"blu" a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'line \once \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER a4 \startTextSpan b4 c a4 \stopTextSpan \override TextSpanner #'style = #'dashed-line \override TextSpanner #'(bound-details left text) = \markup { \draw-line #'(0 . 1) } \override TextSpanner #'(bound-details right text) = \markup { \draw-line #'(0 . -2) } \once \override TextSpanner #'(bound-details right padding) = #-2 a4 \startTextSpan b4 c a4 \stopTextSpan \set Staff.middleCPosition = #-13 \override TextSpanner #'dash-period = #10 \override TextSpanner #'dash-fraction = #0.5 \override TextSpanner #'thickness = #10 a4 \startTextSpan b4 c a4 \stopTextSpan }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Creating text spanners ] | [ Up : Expressive marks ] | [ Hiding the extender line for text dynamics > ] |
Double glissando
To connect chords with glissando lines, attach a second glissando to a hidden voice.
\relative c { \clef bass << { % new voice ( = \voiceOne), hidden \hideNotes % attach glissando to note heads e2\glissando g } \\ { % original voice with chords rearranged so that % glissando is attached to a & c <e a,>2\glissando <g c,> } >> }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Double glissando ] | [ Up : Expressive marks ] | [ Horizontally aligning custom dynamics (e.g. "sempre pp" > ] |
Hiding the extender line for text dynamics
Text style dynamic changes (such as cresc. and dim.) are printed with a dashed line showing their extent. This line can be suppressed in the following way:
\relative c'' { \override DynamicTextSpanner #'dash-period = #-1.0 \crescTextCresc c1\< | d | b | c\! }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Hiding the extender line for text dynamics ] | [ Up : Expressive marks ] | [ Inserting a caesura > ] |
Horizontally aligning custom dynamics (e.g. "sempre pp", "piu f", "subito p")
Some dynamic expressions involve additional text, like "sempre pp". Since lilypond aligns all dynamics centered on the note, the \pp would be displayed way after the note it applies to.
To correctly align the "sempre \pp" horizontally, so that it is aligned as if it were only the \pp, there are several approaches:
* Simply use \once\override DynamicText #'X-offset = #-9.2
before the note with the dynamics to manually shift it to the correct
position. Drawback: This has to be done manually each time you use that
dynamic markup... * Add some padding (#:hspace 7.1
) into the
definition of your custom dynamic mark, so that after lilypond
center-aligns it, it is already correctly aligned. Drawback: The
padding really takes up that space and does not allow any other markup
or dynamics to be shown in that position.
* Shift the dynamic script \once\override ... #'X-offset = ..
.
Drawback: \once\override
is needed for every invocation!
* Set the dimensions of the additional text to 0 (using
#:with-dimensions '(0 . 0) '(0 . 0)
). Drawback: To lilypond
"sempre" has no extent, so it might put other stuff there and create
collisions (which are not detected by the collision dection!). Also,
there seems to be some spacing, so it’s not exactly the same alignment
as without the additional text
* Add an explicit shifting directly inside the scheme function for the dynamic-script.
* Set an explicit alignment inside the dynamic-script. By default, this
won’t have any effect, only if one sets X-offset! Drawback: One needs
to set DynamicText #'X-offset
, which will apply to all dynamic
texts! Also, it is aligned at the right edge of the additional text,
not at the center of pp.
\header { title = "Horizontally aligning custom dynamics" } \paper { ragged-right = ##f } % Solution 1: Using a simple markup with a particular halign value % Drawback: It's a markup, not a dynamic command, so \dynamicDown % etc. will have no effect semppMarkup = \markup { \halign #1.4 \italic "sempre" \dynamic "pp" } % Solution 2: Using a dynamic script & shifting with % \once \override ... #'X-offset = .. % Drawback: \once \override needed for every invocation semppK = #(make-dynamic-script (markup #:line (#:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 3: Padding the dynamic script so the center-alignment % puts it at the correct position % Drawback: the padding really reserves the space, nothing else can be there semppT = #(make-dynamic-script (markup #:line (#:normal-text #:italic "sempre" #:dynamic "pp" #:hspace 7.1))) % Solution 4: Dynamic, setting the dimensions of the additional text to 0 % Drawback: To lilypond "sempre" has no extent, so it might put % other stuff there => collisions % Drawback: Also, there seems to be some spacing, so it's not exactly the % same alignment as without the additional text semppM = #(make-dynamic-script (markup #:line (#:with-dimensions '(0 . 0) '(0 . 0) #:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 5: Dynamic with explicit shifting inside the scheme function semppG = #(make-dynamic-script (markup #:hspace 0 #:translate '(-18.85 . 0) #:line( #:normal-text #:italic "sempre" #:dynamic "pp"))) % Solution 6: Dynamic with explicit alignment. This has only effect, if one sets X-offset! % Drawback: One needs to set DynamicText #'X-offset! % Drawback: Aligned at the right edge of the additional text, not at the center of pp semppMII = #(make-dynamic-script (markup #:line(#:right-align #:normal-text #:italic "sempre" #:dynamic "pp"))) \context StaffGroup << \context Staff = "s" << \set Staff.instrumentName = "Normal" \relative c'' { \key es \major c4\pp c\p c c | c\ff c c\pp c } >> \context Staff = "sMarkup" << \set Staff.instrumentName = \markup \column { Normal markup } \relative c'' { \key es \major c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c } >> \context Staff = "sK" << \set Staff.instrumentName = \markup \column { Explicit shifting } \relative c'' { \key es \major \once \override DynamicText #'X-offset = #-9.2 c4\semppK c\p c c c4\ff c \once \override DynamicText #'X-offset = #-9.2 c4\semppK c } >> \context Staff = "sT" << \set Staff.instrumentName = \markup \column { Right padding } \relative c'' { \key es \major c4\semppT c\p c c | c\ff c c\semppT c } >> \context Staff = "sM" << \set Staff.instrumentName = \markup \column { Setting dimension "to zero" } \relative c'' { \key es \major c4\semppM c\p c c | c\ff c c\semppM c } >> \context Staff = "sG" << \set Staff.instrumentName = \markup \column { Shifting inside dynamics } \relative c'' { \key es \major c4\semppG c\p c c | c\ff c c\semppG c } >> \context Staff = "sMII" << \set Staff.instrumentName = \markup \column { Alignment inside dynamics } \relative c'' { \key es \major % Setting to ##f (false) gives the same result \override DynamicText #'X-offset = #0 c4\semppMII c\p c c | c\ff c c\semppMII c } >> >>
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Horizontally aligning custom dynamics (e.g. "sempre pp" ] | [ Up : Expressive marks ] | [ Laissez vibrer ties > ] |
Inserting a caesura
Caesura marks can be created by overriding the 'text
property of
the BreathingSign
object. A curved caesura mark is also
available.
\relative c'' { \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.straight" } c8 e4. \breathe g8. e16 c4 \override BreathingSign #'text = \markup { \musicglyph #"scripts.caesura.curved" } g8 e'4. \breathe g8. e16 c4 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Inserting a caesura ] | [ Up : Expressive marks ] | [ Line arrows > ] |
Laissez vibrer ties
Laissez vibrer ties have a fixed size. Their formatting can be tuned
using 'tie-configuration
.
\relative c' { <c e g>4\laissezVibrer r <c f g>\laissezVibrer r <c d f g>4\laissezVibrer r <c d f g>4.\laissezVibrer r8 <c d e f>4\laissezVibrer r \override LaissezVibrerTieColumn #'tie-configuration = #`((-7 . ,DOWN) (-5 . ,DOWN) (-3 . ,UP) (-1 . ,UP)) <c d e f>4\laissezVibrer r }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Laissez vibrer ties ] | [ Up : Expressive marks ] | [ Modifying default values for articulation shorthand notation > ] |
Line arrows
Arrows can be applied to text-spanners and line-spanners (such as the Glissando).
\relative c'' { \override TextSpanner #'bound-padding = #1.0 \override TextSpanner #'style = #'line \override TextSpanner #'(bound-details right arrow) = ##t \override TextSpanner #'(bound-details left text) = #"fof" \override TextSpanner #'(bound-details right text) = #"gag" \override TextSpanner #'(bound-details right padding) = #0.6 \override TextSpanner #'(bound-details right stencil-align-dir-y) = #CENTER \override TextSpanner #'(bound-details left stencil-align-dir-y) = #CENTER \override Glissando #'(bound-details right arrow) = ##t \override Glissando #'arrow-length = #0.5 \override Glissando #'arrow-width = #0.25 a8\startTextSpan gis a4 b\glissando b, g'4 c\stopTextSpan c2 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Line arrows ] | [ Up : Expressive marks ] | [ Piano template with centered dynamics > ] |
Modifying default values for articulation shorthand notation
The shorthands are defined in ‘ly/script-init.ly’, where the
variables dashHat
, dashPlus
, dashDash
,
dashBar
, dashLarger
, dashDot
, and
dashUnderscore
are assigned default values. The default values
for the shorthands can be modified. For example, to associate the
-+
(dashPlus
) shorthand with the trill symbol instead of
the default + symbol, assign the value trill
to the variable
dashPlus
:
\relative c'' { c1-+ } dashPlus = "trill" \relative c'' { c1-+ }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Modifying default values for articulation shorthand notation ] | [ Up : Expressive marks ] | [ Positioning text markups inside slurs > ] |
Piano template with centered dynamics
Many piano scores have the dynamics centered between the two staves. This requires a bit of tweaking to implement, but since the template is right here, you don’t have to do the tweaking yourself.
global = { \key c \major \time 4/4 } upper = \relative c'' { \clef treble a4 b c d } lower = \relative c { \clef bass a2 c } dynamics = { s2\fff\> s4 s\!\pp } pedal = { s2\sustainOn s\sustainOff } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" << \global \upper >> \new Dynamics = "Dynamics_pf" \dynamics \new Staff = "Staff_pfLower" << \global \lower >> \new Dynamics = "pedal" \pedal >> \layout { % define Dynamics context \context { \type "Engraver_group" \name Dynamics \alias Voice \consists "Output_property_engraver" \consists "Piano_pedal_engraver" \consists "Script_engraver" \consists "New_dynamic_engraver" \consists "Dynamic_align_engraver" \consists "Text_engraver" \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" pedalSustainStrings = #'("Ped." "*Ped." "*") pedalUnaCordaStrings = #'("una corda" "" "tre corde") \override DynamicLineSpanner #'Y-offset = #0 \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) } % modify PianoStaff context to accept Dynamics context \context { \PianoStaff \accepts Dynamics } } } \score { \new PianoStaff = "PianoStaff_pf" << \new Staff = "Staff_pfUpper" << \global \upper \dynamics \pedal >> \new Staff = "Staff_pfLower" << \global \lower \dynamics \pedal >> >> \midi { } }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Piano template with centered dynamics ] | [ Up : Expressive marks ] | [ Printing hairpins using al niente notation > ] |
Positioning text markups inside slurs
Text markups need to have the outside-staff-priority
property
set to false in order to be printed inside slurs.
\relative c'' { \override TextScript #'avoid-slur = #'inside \override TextScript #'outside-staff-priority = ##f c2(^\markup { \halign #-10 \natural } d4.) c8 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Positioning text markups inside slurs ] | [ Up : Expressive marks ] | [ > ] |
Printing hairpins using al niente notation
Hairpins may be printed with a circled tip (al niente notation) by
setting the circled-tip
property of the Hairpin
object to
#t
.
\relative c'' { \override Hairpin #'circled-tip = ##t c2\< c\! c4\> c\< c2\! }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Printing hairpins using al niente notation ] | [ Up : Expressive marks ] | [ Setting hairpin behavior at bar lines > ] |
Printing metronome and rehearsal marks below the staff
By default, metronome and rehearsal marks are printed above the staff.
To place them below the staff simply set the direction
property
of MetronomeMark
or RehearsalMark
appropriately.
\layout { ragged-right = ##f } { % Metronome marks below the staff \override Score.MetronomeMark #'direction = #DOWN \tempo 8. = 120 c''1 % Rehearsal marks below the staff \override Score.RehearsalMark #'direction = #DOWN \mark \default c''1 }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < ] | [ Up : Expressive marks ] | [ Setting the minimum length of hairpins > ] |
Setting hairpin behavior at bar lines
If the note which ends a hairpin falls on a downbeat, the hairpin stops
at the bar line immediately preceding. This behavior can be controlled
by overriding the 'to-barline
property.
\relative c'' { e4\< e2. e1\! \override Hairpin #'to-barline = ##f e4\< e2. e1\! }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Setting hairpin behavior at bar lines ] | [ Up : Expressive marks ] | [ Snap-pizzicato markup ("Bartok pizzicato") > ] |
Setting the minimum length of hairpins
If hairpins are too short, they can be lengthened by modifying the
minimum-length
property of the Hairpin
object.
\relative c'' { c4\< c\! d\> e\! \override Hairpin #'minimum-length = #5 << f1 { s4 s\< s\> s\! } >> }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Setting the minimum length of hairpins ] | [ Up : Expressive marks ] | [ Using double slurs for legato chords > ] |
Snap-pizzicato markup ("Bartok pizzicato")
A snap-pizzicato (also known as "Bartok pizzicato") is a "strong pizzicato where the string is plucked vertically by snapping and rebounds off the fingerboard of the instrument" (Wikipedia). It is denoted by a cicle with a vertical line going from the center upwards outside the circle. While Lilypond does not have a pre-defined command to created this markup, it is easy to create a definition and place it directly into the lilypond file.
#(define-markup-command (snappizz layout props) () (interpret-markup layout props (markup #:stencil (ly:stencil-translate-axis (ly:stencil-add (make-circle-stencil 0.7 0.1 #f) (ly:make-stencil (list 'draw-line 0.1 0 0.1 0 1) '(-0.1 . 0.1) '(0.1 . 1))) 0.7 X)))) snapPizzicato = \markup \snappizz % now it can be used as \snappizzicato after the note/chord % Note that a direction (-, ^ or _) is required. \relative c' { c4^\snapPizzicato % This does NOT work: %<c e g>\snapPizzicato <c' e g>-\snapPizzicato <c' e g>^\snapPizzicato <c, e g>_\snapPizzicato }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Snap-pizzicato markup ("Bartok pizzicato") ] | [ Up : Expressive marks ] | [ Vertical line as a baroque articulation mark > ] |
Using double slurs for legato chords
Some composers write two slurs when they want legato chords. This can
be achieved by setting doubleSlurs
.
\relative c' { \set doubleSlurs = ##t <c e>4( <d f> <c e> <d f>) }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Using double slurs for legato chords ] | [ Up : Expressive marks ] | [ Vertically aligning dynamics across multiple notes > ] |
Vertical line as a baroque articulation mark
This short vertical line placed above the note is commonly used in baroque music. Its meaning can vary, but generally indicates notes that should be played with more "weight". The following example demonstrates how to achieve such a notation.
upline = #(let* ((m (make-music 'ArticulationEvent 'articulation-type "stopped" 'direction 1))) (ly:music-set-property! m 'tweaks (acons 'font-size 3 (acons 'text (markup #:postscript " .15 setlinewidth 0 -1 0 1.5 lineto stroke") (acons 'stencil ly:text-interface::print (ly:music-property m 'tweaks))))) m) \relative c' { a'^\upline a( c a) }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Vertical line as a baroque articulation mark ] | [ Up : Expressive marks ] | [ Repeats > ] |
Vertically aligning dynamics across multiple notes
Dynamics that occur at, begin on, or end on the same note will be
vertically aligned. To ensure that dynamics are aligned when they do
not occur on the same note, increase the staff-padding
property
of the DynamicLineSpanner
object.
\relative c' { \override DynamicLineSpanner #'staff-padding = #4 c2\p f\mf g2\< b4\> c\! }
[ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
[ < Vertical line as a baroque articulation mark ] | [ Up : Expressive marks ] | [ Repeats > ] |