1.3 Expressive marks

This section lists various expressive marks that can be created in a score.

1.3.1 Expressive marks attached to notes

This section explains how to create expressive marks that are attached to notes: articulations, ornamentations, and dynamics. Methods to create new dynamic markings are also discussed.

Articulations and ornamentations

A variety of symbols that denote articulations, ornamentations, and other performance indications can be attached to a note using this syntax:

note\name

The possible values for name are listed in List of articulations. For example:

\relative { c''4\staccato c\mordent b2\turn c1\fermata }

Some of these articulations have shorthands for easier entry. Shorthands are appended to the note name, and their syntax consists of a dash - followed by a symbol signifying the articulation. Predefined shorthands exist for marcato, stopped, tenuto, staccatissimo, accent, staccato, and portato. Their corresponding output appears as follows:

\relative { c''4-^ c-+ c-- c-! c4-> c-. c2-_ }

The rules for the default placement of articulations are defined in ‘scm/script.scm’. Articulations and ornamentations may be manually placed above or below the staff; see Direction and placement.

Articulations are Script objects. Their properties are described more fully in (internals)Script section ‘Script’ in Internals Reference.

Articulations can be attached to rests and multi-measure rests as well as notes. Attaching an articulation to a multi-measure rest creates a MultiMeasureRestScript object.

\override Script.color = #red \override MultiMeasureRestScript.color = #blue a'2\fermata r\fermata R1\fermata

In addition to articulations, text and markups can be attached to notes. See Text scripts.

For more information about the ordering of Scripts and TextScripts that are attached to the notes, see (learning)Placement of objects section ‘Placement of objects’ in Learning Manual.

Selected Snippets

Modifying default values for articulation shorthand notation

The shorthands are defined in ‘ly/script-init.ly’, where the variables dashHat, dashPlus, dashDash, dashBang, 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-+ }

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 } }

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. Changing the fractions 2/3 and 1/3 adjusts the horizontal position.

\relative c'' { c2*2/3 ( s2*1/3\turn d4) r << { c4.( d8) } { s4 s\turn } >> \transpose c d \relative c'' << { c4.( d8) } { s4 \once \set suggestAccidentals = ##t \once \override AccidentalSuggestion.outside-staff-priority = ##f \once \override AccidentalSuggestion.avoid-slur = #'inside \once \override AccidentalSuggestion.font-size = -3 \once \override AccidentalSuggestion.script-priority = -1 \single \hideNotes b8-\turn \noBeam s8 } >> }

See also

Music Glossary: (music-glossary)tenuto section ‘tenuto’ in Music Glossary, (music-glossary)accent section ‘accent’ in Music Glossary, (music-glossary)staccato section ‘staccato’ in Music Glossary, (music-glossary)portato section ‘portato’ in Music Glossary.

Learning Manual: (learning)Placement of objects section ‘Placement of objects’ in Learning Manual.

Notation Reference: Text scripts, Direction and placement, List of articulations, Trills.

Installed Files: ‘scm/script.scm’.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)Script section ‘Script’ in Internals Reference, (internals)TextScript section ‘TextScript’ in Internals Reference.

Dynamics

Absolute dynamic marks are specified using a command after a note, such as c4\ff. The available dynamic marks are \ppppp, \pppp, \ppp, \pp, \p, \mp, \mf, \f, \ff, \fff, \ffff, \fffff, \fp, \sf, \sff, \sp, \spp, \sfz, \rfz, and \n. Dynamic marks may be manually placed above or below the staff; see Direction and placement.

\relative c'' { c2\ppp c\mp c2\rfz c^\mf c2_\spp c^\ff }

A crescendo mark is started with \< and terminated with \!, an absolute dynamic, or an additional crescendo or decrescendo mark. A decrescendo mark is started with \> and is also terminated with \!, an absolute dynamic, or another crescendo or decrescendo mark. \cr and \decr may be used instead of \< and \>; \endcr and \enddecr maybe used instead of \! to end a crescendo or decrescendo mark, respectively. Hairpins are engraved by default using this notation.

\relative c'' { c2\< c\! d2\< d\f e2\< e\> f2\> f\! e2\> e\mp d2\> d\> c1\! }

A hairpin that is terminated with \! will end at the right edge of the note that has the \! assigned to it. In the case where it is terminated with the start of another crescendo or decrescendo mark, it will end at the centre of the note that has the next \< or \> assigned to it. The next hairpin will then start at the right edge of the same note instead of the usual left edge had it been terminated with \! before. A hairpin ending on a downbeat will stop at the preceding bar line.

\relative { c''1\< | c4 a c\< a | c4 a c\! a\< | c4 a c a\! }

Hairpins that are terminated with absolute dynamic marks instead of \! will also be engraved in a similar way. However, the length of the absolute dynamic itself can alter where the preceding hairpin ends.

\relative { c''1\< | c4 a c\mf a | c1\< | c4 a c\ffff a }

Spacer rests are needed to engrave multiple marks on one note. This is particularly useful when adding a crescendo and decrescendo to the same note:

\relative { c''4\< c\! d\> e\! << f1 { s4 s4\< s4\> s4\! } >> }

The \espressivo command can be used to indicate a crescendo and decrescendo on the same note. However, be warned that this is implemented as an articulation, not a dynamic.

\relative { c''2 b4 a g1\espressivo }

Textual crescendo marks begin with \cresc. Textual decrescendos begin with \decresc or \dim. Extender lines are engraved as required.

\relative { g'8\cresc a b c b c d e\mf | f8\decresc e d c e\> d c b | a1\dim ~ | a2. r4\! | }

Textual marks for dynamic changes can also replace hairpins:

\relative c'' { \crescTextCresc c4\< d e f\! | \dimTextDecresc g4\> e d c\! | \dimTextDecr e4\> d c b\! | \dimTextDim d4\> c b a\! | \crescHairpin \dimHairpin c4\< d\! e\> d\! | }

To create new absolute dynamic marks or text that should be aligned with dynamics, see New dynamic marks.

Vertical positioning of dynamics is handled by (internals)DynamicLineSpanner section ‘DynamicLineSpanner’ in Internals Reference.

A Dynamics context is available to engrave dynamics on their own horizontal line. Use spacer rests to indicate timing. (Notes in a Dynamics context will also take up musical time, but will not be engraved.) The Dynamics context can usefully contain some other items such as text scripts, text spanners, and piano pedal marks.

<< \new Staff \relative { c'2 d4 e | c4 e e,2 | g'4 a g a | c1 | } \new Dynamics { s1\< | s1\f | s2\dim s2-"rit." | s1\p | } >>

Predefined commands

\dynamicUp, \dynamicDown, \dynamicNeutral, \crescTextCresc, \dimTextDim, \dimTextDecr, \dimTextDecresc, \crescHairpin, \dimHairpin.

Selected Snippets

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\! }

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\! << f1 { s4 s\< s\> s\! } >> \override Hairpin.minimum-length = #5 << f1 { s4 s\< s\> s\! } >> }

Moving the ends of hairpins

The ends of hairpins may be offset by setting the shorten-pair property of the Hairpin object. Positive values move endpoints to the right, negative to the left. Unlike the minimum-length property, this property only affects the appearance of the hairpin; it does not adjust horizontal spacing (including the position of bounding dynamics). This method is thus suitable for fine-tuning a hairpin within its allotted space.

{ c'1~\< c'2~ c'\! \once \override Hairpin.shorten-pair = #'(2 . 2) c'1~\< c'2~ c'\! \once \override Hairpin.shorten-pair = #'(-2 . -2) c'1~\< c'2~ c'\! c'1~\p-\tweak shorten-pair #'(2 . 0)\< c'2~ c'\ffff }

Printing hairpins using al niente notation

Hairpin dynamics 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\! }

Printing hairpins in various styles

Hairpin dynamics may be created in a variety of styles.

\relative c'' { \override Hairpin.stencil = #flared-hairpin a4\< a a a\f a4\p\< a a a\ff a4\sfz\< a a a\! \override Hairpin.stencil = #constante-hairpin a4\< a a a\f a4\p\< a a a\ff a4\sfz\< a a a\! \override Hairpin.stencil = #flared-hairpin a4\> a a a\f a4\p\> a a a\ff a4\sfz\> a a a\! \override Hairpin.stencil = #constante-hairpin a4\> a a a\f a4\p\> a a a\ff a4\sfz\> a a a\! }

Vertically aligned dynamics and textscripts

All DynamicLineSpanner objects (hairpins and dynamic texts) are placed with their reference line at least 'staff-padding from the staff, unless other notation forces them to be farther. Setting 'staff-padding to a sufficiently large value aligns the dynamics.

The same idea, together with \textLengthOn, is used to align the text scripts along their baseline.

music = \relative c' { a'2\p b\f e4\p f\f\> g, b\p c2^\markup { \huge gorgeous } c^\markup { \huge fantastic } } { \music \break \override DynamicLineSpanner.staff-padding = #3 \textLengthOn \override TextScript.staff-padding = #1 \music }

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.style = #'none \crescTextCresc c1\< | d | b | c\! }

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 'dashed-line, and other possible values include 'line, 'dotted-line and 'none.

\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 }

See also

Music Glossary: (music-glossary)al niente section ‘al niente’ in Music Glossary, (music-glossary)crescendo section ‘crescendo’ in Music Glossary, (music-glossary)decrescendo section ‘decrescendo’ in Music Glossary, (music-glossary)hairpin section ‘hairpin’ in Music Glossary.

Learning Manual: (learning)Articulations and dynamics section ‘Articulations and dynamics’ in Learning Manual.

Notation Reference: Direction and placement, New dynamic marks, Enhancing MIDI output, Controlling MIDI dynamics.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)DynamicText section ‘DynamicText’ in Internals Reference, (internals)Hairpin section ‘Hairpin’ in Internals Reference, (internals)DynamicLineSpanner section ‘DynamicLineSpanner’ in Internals Reference, (internals)Dynamics section ‘Dynamics’ in Internals Reference.

New dynamic marks

The easiest way to create dynamic indications is to use \markup objects.

moltoF = \markup { molto \dynamic f } \relative { <d' e>16_\moltoF <d e> <d e>2.. }

In markup mode, editorial dynamics (within parentheses or square brackets) can be created. The syntax for markup mode is described in Formatting text.

roundF = \markup { \center-align \concat { \bold { \italic ( } \dynamic f \bold { \italic ) } } } boxF = \markup { \bracket { \dynamic f } } \relative { c'1_\roundF c1_\boxF }

Simple, centered dynamic marks are easily created with the make-dynamic-script function.

sfzp = #(make-dynamic-script "sfzp") \relative { c'4 c c\sfzp c }

In general, make-dynamic-script takes any markup object as its argument. The dynamic font only contains the characters f,m,p,r,s and z, so if a dynamic mark that includes plain text or punctuation symbols is desired, markup commands that reverts font family and font encoding to normal text should be used, for example \normal-text. The interest of using make-dynamic-script instead of an ordinary markup is ensuring the vertical alignment of markup objects and hairpins that are attached to the same note head.

roundF = \markup { \center-align \concat { \normal-text { \bold { \italic ( } } \dynamic f \normal-text { \bold { \italic ) } } } } boxF = \markup { \bracket { \dynamic f } } mfEspress = \markup { \center-align \line { \hspace #3.7 mf \normal-text \italic espress. } } roundFdynamic = #(make-dynamic-script roundF) boxFdynamic = #(make-dynamic-script boxF) mfEspressDynamic = #(make-dynamic-script mfEspress) \relative { c'4_\roundFdynamic\< d e f g,1~_\boxFdynamic\> g1 g'1~\mfEspressDynamic g1 }

The Scheme form of markup mode may be used instead. Its syntax is explained in (extending)Markup construction in Scheme section ‘Markup construction in Scheme’ in Extending.

moltoF = #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) \relative { <d' e>16 <d e> <d e>2..\moltoF }

To left-align the dynamic text rather than centering it on a note use a \tweak:

moltoF = \tweak DynamicText.self-alignment-X #LEFT #(make-dynamic-script (markup #:normal-text "molto" #:dynamic "f")) \relative { <d' e>16 <d e> <d e>2..\moltoF <d e>1 }

Font settings in markup mode are described in Selecting font and font size.

See also

Notation Reference: Formatting text, Selecting font and font size, Enhancing MIDI output, Controlling MIDI dynamics.

Extending LilyPond: (extending)Markup construction in Scheme section ‘Markup construction in Scheme’ in Extending.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

1.3.2 Expressive marks as curves

This section explains how to create various expressive marks that are curved: normal slurs, phrasing slurs, breath marks, falls, and doits.

Slurs

Slurs are entered using parentheses:

\relative { f''4( g a) a8 b( a4 g2 f4) <c e>2( <b d>2) }

Slurs may be manually placed above or below the staff; see Direction and placement.

Simultaneous or overlapping slurs require special attention. Most occurences of outer slurs actually indicate phrasing, and phrasing slurs may overlap a regular slur, see Phrasing slurs. When multiple regular slurs are needed in a single Voice, matching slur starts and ends need to be labelled by preceding them with \= followed by an identifying key (a symbol or non-negative integer).

\fixed c' { <c~ f\=1( g\=2( >2 <c e\=1) a\=2) > }

Slurs can be solid, dotted, or dashed. Solid is the default slur style:

\relative { c'4( e g2) \slurDashed g4( e c2) \slurDotted c4( e g2) \slurSolid g4( e c2) }

Slurs can also be made half-dashed (the first half dashed, the second half solid) or half-solid (the first half solid, the second half dashed):

\relative { c'4( e g2) \slurHalfDashed g4( e c2) \slurHalfSolid c4( e g2) \slurSolid g4( e c2) }

Custom dash patterns for slurs can be defined:

\relative { c'4( e g2) \slurDashPattern #0.7 #0.75 g4( e c2) \slurDashPattern #0.5 #2.0 c4( e g2) \slurSolid g4( e c2) }

Predefined commands

\slurUp, \slurDown, \slurNeutral, \slurDashed, \slurDotted, \slurHalfDashed, \slurHalfSolid, \slurDashPattern, \slurSolid.

Selected Snippets

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>) }

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 }

Making slurs with complex dash structure

Slurs can be made with complex dash patterns by defining the dash-definition property. dash-definition is a list of dash-elements. A dash-element is a list of parameters defining the dash behavior for a segment of the slur.

The slur is defined in terms of the bezier parameter t which ranges from 0 at the left end of the slur to 1 at the right end of the slur. dash-element is a list (start-t stop-t dash-fraction dash-period). The region of the slur from start-t to stop-t will have a fraction dash-fraction of each dash-period black. dash-period is defined in terms of staff spaces. dash-fraction is set to 1 for a solid slur.

\relative c' { \once \override Slur.dash-definition = #'((0 0.3 0.1 0.75) (0.3 0.6 1 1) (0.65 1.0 0.4 0.75)) c4( d e f) \once \override Slur.dash-definition = #'((0 0.25 1 1) (0.3 0.7 0.4 0.75) (0.75 1.0 1 1)) c4( d e f) }

See also

Music Glossary: (music-glossary)slur section ‘slur’ in Music Glossary.

Learning Manual: (learning)On the un-nestedness of brackets and ties section ‘On the un-nestedness of brackets and ties’ in Learning Manual.

Notation Reference: Direction and placement, Phrasing slurs.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)Slur section ‘Slur’ in Internals Reference.

Phrasing slurs

Phrasing slurs (or phrasing marks) that indicate a musical sentence are written using the commands \( and \) respectively:

\relative { c''4\( d( e) f( e2) d\) }

Typographically, a phrasing slur behaves almost exactly like a normal slur. However, they are treated as different objects; a \slurUp will have no effect on a phrasing slur. Phrasing may be manually placed above or below the staff; see Direction and placement.

Simultaneous or overlapping phrasing slurs are entered using \= as with regular slurs, see Slurs.

Phrasing slurs can be solid, dotted, or dashed. Solid is the default style for phrasing slurs:

\relative { c'4\( e g2\) \phrasingSlurDashed g4\( e c2\) \phrasingSlurDotted c4\( e g2\) \phrasingSlurSolid g4\( e c2\) }

Phrasing slurs can also be made half-dashed (the first half dashed, the second half solid) or half-solid (the first half solid, the second half dashed):

\relative { c'4\( e g2\) \phrasingSlurHalfDashed g4\( e c2\) \phrasingSlurHalfSolid c4\( e g2\) \phrasingSlurSolid g4\( e c2\) }

Custom dash patterns for phrasing slurs can be defined:

\relative { c'4\( e g2\) \phrasingSlurDashPattern #0.7 #0.75 g4\( e c2\) \phrasingSlurDashPattern #0.5 #2.0 c4\( e g2\) \phrasingSlurSolid g4\( e c2\) }

Dash pattern definitions for phrasing slurs have the same structure as dash pattern definitions for slurs. For more information about complex dash patterns, see the snippets under Slurs.

Predefined commands

\phrasingSlurUp, \phrasingSlurDown, \phrasingSlurNeutral, \phrasingSlurDashed, \phrasingSlurDotted, \phrasingSlurHalfDashed, \phrasingSlurHalfSolid, \phrasingSlurDashPattern, \phrasingSlurSolid.

See also

Learning Manual: (learning)On the un-nestedness of brackets and ties section ‘On the un-nestedness of brackets and ties’ in Learning Manual.

Notation Reference: Direction and placement, Slurs.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)PhrasingSlur section ‘PhrasingSlur’ in Internals Reference.

Breath marks

Breath marks are entered using \breathe:

{ c''2. \breathe d''4 }

Unlike other expressive marks, a breath mark is not associated with the preceding note but is a separate music event. So all the expressive marks which are attached to the preceding note, any square brackets indicating manual beams, and any brackets indicating slurs and phrasing slurs must be placed before \breathe.

A breath mark will end an automatic beam; to override this behavior, see Manual beams.

\relative { c''8 \breathe d e f g2 }

Musical indicators for breath marks in ancient notation, divisiones, are supported. For details, see Divisiones.

Selected Snippets

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 }

Using a tick as the breath mark symbol

Vocal and wind music frequently uses a tick mark as a breathing sign. This indicates a breath that subtracts a little time from the previous note rather than causing a short pause, which is indicated by the comma breath mark. The mark can be moved up a little to take it away from the stave.

\relative c'' { c2 \breathe d2 \override BreathingSign.Y-offset = #2.6 \override BreathingSign.text = \markup { \musicglyph "scripts.tickmark" } c2 \breathe d2 }

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 }

See also

Music Glossary: (music-glossary)caesura section ‘caesura’ in Music Glossary.

Notation Reference: Divisiones.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)BreathingEvent section ‘BreathingEvent’ in Internals Reference, (internals)BreathingSign section ‘BreathingSign’ in Internals Reference, (internals)Breathing_sign_engraver section ‘Breathing_sign_engraver’ in Internals Reference.

Falls and doits

Falls and doits can be added to notes using the \bendAfter command. The direction of the fall or doit is indicated with a plus or minus (up or down). The number indicates the pitch interval that the fall or doit will extend beyond the main note.

\relative c'' { c2\bendAfter #+4 c2\bendAfter #-4 c2\bendAfter #+6.5 c2\bendAfter #-6.5 c2\bendAfter #+8 c2\bendAfter #-8 }

Selected Snippets

Adjusting the shape of falls and doits

The shortest-duration-space property may 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 #-4.75 c2-\bendAfter #8.5 c2-\bendAfter #-6 }

See also

Music Glossary: (music-glossary)fall section ‘fall’ in Music Glossary, (music-glossary)doit section ‘doit’ in Music Glossary.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

1.3.3 Expressive marks as lines

This section explains how to create various expressive marks that follow a linear path: glissandos, arpeggios, and trills.

Glissando

A glissando is created by appending \glissando to a note:

\relative { g'2\glissando g' c2\glissando c, \afterGrace f,1\glissando f'16 }

A glissando can connect notes across staves:

\new PianoStaff << \new Staff = "right" { e'''2\glissando \change Staff = "left" a,,4\glissando \change Staff = "right" b''8 r | } \new Staff = "left" { \clef bass s1 } >>

A glissando can connect notes in chords. If anything other than a direct one-to-one pairing of the notes in the two chords is required the connections between the notes are defined by setting \glissandoMap, where the notes of a chord are assumed to be numbered from zero in the order in which they appear in the input ‘.ly’ file.

\relative { <c' e>1\glissando g' | <c, e>1\glissando | <g' b> | \break \set glissandoMap = #'((0 . 1) (1 . 0)) <c, g'>1\glissando | <d a'> | \set glissandoMap = #'((0 . 0) (0 . 1) (0 . 2)) c1\glissando | <d f a> | \set glissandoMap = #'((2 . 0) (1 . 0) (0 . 1)) <f d a'>1\glissando | <c c'> | }

Different styles of glissandi can be created. For details, see Line styles.

Selected Snippets

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 "|" }

Adding timing marks to long glissandi

Skipped beats in very long glissandi are sometimes indicated by timing marks, often consisting of stems without noteheads. Such stems can also be used to carry intermediate expression markings.

If the stems do not align well with the glissando, they may need to be repositioned slightly.

glissandoSkipOn = { \override NoteColumn.glissando-skip = ##t \hide NoteHead \override NoteHead.no-ledgers = ##t } glissandoSkipOff = { \revert NoteColumn.glissando-skip \undo \hide NoteHead \revert NoteHead.no-ledgers } \relative c'' { r8 f8\glissando \glissandoSkipOn f4 g a a8\noBeam \glissandoSkipOff a8 r8 f8\glissando \glissandoSkipOn g4 a8 \glissandoSkipOff a8 | r4 f\glissando \< \glissandoSkipOn a4\f \> \glissandoSkipOff b8\! r | }

Making glissandi breakable

Setting the breakable property to #t in combination with after-line-breaking allows a glissando to break if it occurs at a line break:

glissandoSkipOn = { \override NoteColumn.glissando-skip = ##t \hide NoteHead \override NoteHead.no-ledgers = ##t } \relative c'' { \override Glissando.breakable = ##t \override Glissando.after-line-breaking = ##t f1\glissando | \break a4 r2. | f1\glissando \once \glissandoSkipOn \break a2 a4 r4 | }

Extending glissandi across repeats

A glissando which extends into several \alternative blocks can be simulated by adding a hidden grace note with a glissando at the start of each \alternative block. The grace note should be at the same pitch as the note which starts the initial glissando. This is implemented here with a music function which takes the pitch of the grace note as its argument.

Note that in polyphonic music the grace note must be matched with corresponding grace notes in all other voices.

repeatGliss = #(define-music-function (grace) (ly:pitch?) #{ % the next two lines ensure the glissando is long enough % to be visible \once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods \once \override Glissando.minimum-length = #3.5 \once \hideNotes \grace $grace \glissando #}) \score { \relative c'' { \repeat volta 3 { c4 d e f\glissando } \alternative { { g2 d } { \repeatGliss f g2 e } { \repeatGliss f e2 d } } } } music = \relative c' { \voiceOne \repeat volta 2 { g a b c\glissando } \alternative { { d1 } { \repeatGliss c \once \omit StringNumber e1\2 } } } \score { \new StaffGroup << \new Staff << \context Voice { \clef "G_8" \music } >> \new TabStaff << \context TabVoice { \clef "moderntab" \music } >> >> }

See also

Music Glossary: (music-glossary)glissando section ‘glissando’ in Music Glossary.

Notation Reference: Line styles.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)Glissando section ‘Glissando’ in Internals Reference.

Known issues and warnings

Printing text over the line (such as gliss.) is not supported.

Arpeggio

An arpeggio on a chord (also known as a broken chord) is denoted by appending \arpeggio to the chord construct:

\relative { <c' e g c>1\arpeggio }

Different types of arpeggios may be written. \arpeggioNormal reverts to a normal arpeggio:

\relative { <c' e g c>2\arpeggio \arpeggioArrowUp <c e g c>2\arpeggio \arpeggioArrowDown <c e g c>2\arpeggio \arpeggioNormal <c e g c>2\arpeggio }

These predefined commands internally modify the 'arpeggio-direction property; see their full definition in the ‘ly/property-init.ly’ file.

Special bracketed arpeggio symbols can be created:

\relative { <c' e g c>2 \arpeggioBracket <c e g c>2\arpeggio \arpeggioParenthesis <c e g c>2\arpeggio \arpeggioParenthesisDashed <c e g c>2\arpeggio \arpeggioNormal <c e g c>2\arpeggio }

These predefined commands internally override the Arpeggio object’s 'stencil property, and may also adapt its 'X-extent (that is, the horizontal dimension it takes not to collide with other objects).

The dash properties of the parenthesis arpeggio are controlled with the 'dash-definition property, which is described at Slurs.

Arpeggios can be explicitly written out with ties. For more information, see Ties.

Predefined commands

\arpeggio, \arpeggioArrowUp, \arpeggioArrowDown, \arpeggioNormal, \arpeggioBracket, \arpeggioParenthesis, \arpeggioParenthesisDashed.

Selected Snippets

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 } } >>

Creating cross-staff arpeggios in other contexts

Cross-staff arpeggios can be created in contexts other than GrandStaff, PianoStaff and StaffGroup if the Span_arpeggio_engraver is included in the Score context.

\score { \new ChoirStaff { \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" } } }

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 added 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 } >> }

See also

Music Glossary: (music-glossary)arpeggio section ‘arpeggio’ in Music Glossary.

Notation Reference: Slurs, Ties.

Installed Files: ‘ly/property-init.ly’.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)Arpeggio section ‘Arpeggio’ in Internals Reference, (internals)Slur section ‘Slur’ in Internals Reference, (internals)PianoStaff section ‘PianoStaff’ in Internals Reference.

Known issues and warnings

Predefined commands such as \arpeggioArrowUp only apply to the current context, and thus will not affect arpeggios spanning several voices or staves. In such cases, these commands need to be used in a \context block within \layout, or in a \with block, as explained in Changing context default settings. Alternatively, rather than using predefined shortcuts, it may be advisable to directly override the relevant properties for the Arpeggio object in the appropriate context; for example:

\override Staff.Arpeggio.stencil = #ly:arpeggio::brew-chord-bracket

to print cross-voice arpeggio brackets at the Staff level, or

\override PianoStaff.Arpeggio.arpeggio-direction = #UP

to print cross-staff arrowed arpeggios (pointing upwards) in a PianoStaff context.

It is not possible to mix connected arpeggios and unconnected arpeggios in one PianoStaff at the same point in time.

The simple way of setting parenthesis-style arpeggio brackets does not work for cross-staff arpeggios; see Cross-staff stems.

Trills

Short trills without an extender line are printed with \trill; see Articulations and ornamentations.

Longer trills with an extender line are made with \startTrillSpan and \stopTrillSpan:

\relative { d''1\startTrillSpan d1 c2\stopTrillSpan r2 }

A trill spanner crossing a line break will restart exactly above the first note on the new line.

\relative { d''1\startTrillSpan \break d1 c2\stopTrillSpan r2 }

Consecutive trill spans will work without explicit \stopTrillSpan commands, since successive trill spanners will automatically become the right bound of the previous trill.

\relative { d''1\startTrillSpan d1 b1\startTrillSpan d2\stopTrillSpan r2 }

Trills can also be combined with grace notes. The syntax of this construct and the method to precisely position the grace notes are described in Grace notes.

\relative { d''1~\afterGrace d1\startTrillSpan { c32[ d]\stopTrillSpan } c2 r2 }

Trills that require an auxiliary note with an explicit pitch can be typeset with the \pitchedTrill command. The first argument is the main note, and the second is the trilled note, printed as a stemless note head in parentheses.

\relative { \pitchedTrill d''2\startTrillSpan fis d2 c2\stopTrillSpan r2 }

The Accidental of the first pitched trill in a measure is always printed, even for naturals.

{ \key d \major \pitchedTrill d'2\startTrillSpan cis d\stopTrillSpan \pitchedTrill d2\startTrillSpan c d\stopTrillSpan \pitchedTrill d2\startTrillSpan e d\stopTrillSpan }

Subsequent accidentals (of the same note in the same measure) will need to be added manually.

\relative { \pitchedTrill eis''4\startTrillSpan fis eis4\stopTrillSpan \pitchedTrill eis4\startTrillSpan cis eis4\stopTrillSpan \pitchedTrill eis4\startTrillSpan fis eis4\stopTrillSpan \pitchedTrill eis4\startTrillSpan fis! eis4\stopTrillSpan }

Predefined commands

\startTrillSpan, \stopTrillSpan.

See also

Music Glossary: (music-glossary)trill section ‘trill’ in Music Glossary.

Notation Reference: Articulations and ornamentations, Grace notes.

Snippets: (snippets)Expressive marks section ‘Expressive marks’ in Snippets.

Internals Reference: (internals)TrillSpanner section ‘TrillSpanner’ in Internals Reference.

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