Expressive marks
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks ] | [ Up : Expressive marks ] | [ 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 \tuplet 3/2 { r16 e'8] }
g16( a \tuplet 3/2 { b d e') }
g8[( a \tuplet 3/2 { b d') e'] ~ }
\time 2/4
\tuplet 5/4 { e'32\( a b d' e' } a'4.\)
}
![[image of music]](../a3/lily-b7dd3413.png)
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 ParenthesesItem.
\relative c' {
c2-\parenthesize ->
\override ParenthesesItem.padding = #0.1
\override ParenthesesItem.font-size = #-4
<d \parenthesize f a>2
}
![[image of music]](../c1/lily-a633a617.png)
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 |
}
![[image of music]](../15/lily-58d81ccc.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Adding timing marks to long glissandi ] | [ Up : Expressive marks ] | [ Expressive marks: Alternative breve notes > ] | ||
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
}
![[image of music]](../76/lily-718ef860.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Adjusting the shape of falls and doits ] | [ Up : Expressive marks ] | [ Expressive marks: Asymmetric slurs > ] | ||
Alternative breve notes
Breve notes are also available with two vertical lines on each side of the notehead instead of one line and in baroque style.
\relative c'' {
\time 4/2
c\breve |
\override Staff.NoteHead.style = #'altdefault
b\breve
\override Staff.NoteHead.style = #'baroque
b\breve
\revert Staff.NoteHead.style
a\breve
}
![[image of music]](../bf/lily-8f212743.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Alternative breve notes ] | [ Up : Expressive marks ] | [ Expressive marks: Breathing signs > ] | ||
Asymmetric slurs
Slurs can be made asymmetric to match an asymmetric pattern of notes better.
slurNotes = { d,8( a' d f a f' d, a) }
\relative c' {
\stemDown
\slurUp
\slurNotes
\once \override Slur.eccentricity = #3.0
\slurNotes
}
![[image of music]](../13/lily-0b483868.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Asymmetric slurs ] | [ Up : Expressive marks ] | [ 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 "||"
}
![[image of music]](../98/lily-414b9a5e.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Breathing signs ] | [ Up : Expressive marks ] | [ 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.
The markup command with-dimensions tells LilyPond to consider
only the bottom edge of the rectangle when spacing it against the
hairpin. The property staff-padding prevents the rectangle from
fitting between the hairpin and staff.
Make sure the hairpin is in a lower layer than the text markup to draw the rectangle over the hairpin.
\relative c' {
<<
{
\dynamicUp
r2 r16 c'8.\pp r4
}
\\
{
\override DynamicLineSpanner.layer = #0
des,2\mf\< ~
\override TextScript.layer = #2
\once\override TextScript.staff-padding = #6
\once\override TextScript.vertical-skylines = #'()
des16_\markup \with-dimensions #'(2 . 7) #'(0 . 0)
\with-color #white
\filled-box #'(2 . 7) #'(0 . 2) #0
r8. des4 ~ des16->\sff r8.
}
>>
}
![[image of music]](../af/lily-7ead2d62.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Broken Crescendo Hairpin ] | [ Up : Expressive marks ] | [ 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 shows an optically pleasing combination of railtracks and fermata.
\relative c'' {
c2.
% construct the symbol
\override BreathingSign.text = \markup {
\override #'(direction . 1)
\override #'(baseline-skip . 1.8)
\dir-column {
\translate #'(0.155 . 0)
\center-align \musicglyph #"scripts.caesura.curved"
\center-align \musicglyph #"scripts.ufermata"
}
}
\breathe c4
% set the breathe mark back to normal
\revert BreathingSign.text
c2. \breathe c4
\bar "|."
}
![[image of music]](../e5/lily-4ee7d1c1.png)
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 added text will change the direction according to the direction of the hairpin. The Hairpin is aligned to DynamicText.
The example also illustrates how to modify the way an object is normally printed, using some Scheme code.
hairpinWithCenteredText =
#(define-music-function (text) (markup?)
#{
\once \override Voice.Hairpin.after-line-breaking =
#(lambda (grob)
(let* ((stencil (ly:hairpin::print grob))
(par-y (ly:grob-parent grob Y))
(dir (ly:grob-property par-y 'direction))
(new-stencil (ly:stencil-aligned-to
(ly:stencil-combine-at-edge
(ly:stencil-aligned-to stencil X CENTER)
Y dir
(ly:stencil-aligned-to
(grob-interpret-markup grob text) X CENTER))
X LEFT))
(staff-space (ly:output-def-lookup
(ly:grob-layout grob) 'staff-space))
(staff-line-thickness
(ly:output-def-lookup (ly:grob-layout grob) 'line-thickness))
(par-x (ly:grob-parent grob X))
(dyn-text (grob::has-interface par-x 'dynamic-text-interface))
(dyn-text-stencil-x-length
(if dyn-text
(interval-length
(ly:stencil-extent (ly:grob-property par-x 'stencil) X))
0))
(x-shift
(if dyn-text
(-
(+ staff-space dyn-text-stencil-x-length)
(* 0.5 staff-line-thickness)) 0)))
(ly:grob-set-property! grob 'Y-offset 0)
(ly:grob-set-property! grob 'stencil
(ly:stencil-translate-axis
new-stencil
x-shift X))))
#})
hairpinMolto =
\hairpinWithCenteredText \markup { \italic molto }
hairpinMore =
\hairpinWithCenteredText \markup { \larger moltissimo }
\layout { ragged-right = ##f }
\relative c' {
\hairpinMolto
c2\< c\f
\hairpinMore
c2\ppppp\< c\f
\break
\hairpinMolto
c2^\< c\f
\hairpinMore
c2\ppppp\< c\f
}
![[image of music]](../d7/lily-614b3166.png)
Changing \flageolet mark size
To make the \flageolet circle smaller use the following Scheme
function.
smallFlageolet =
#(let ((m (make-articulation "flageolet")))
(set! (ly:music-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
}
![[image of music]](../4b/lily-f8b9f823.png)
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
}
![[image of music]](../ba/lily-cc7a7fde.png)
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)
}
![[image of music]](../25/lily-fbc81908.png)
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
}
![[image of music]](../4b/lily-33de44ed.png)
Changing the number of augmentation dots per note
The number of augmentation dots on a single note can be changed indepently of the dots placed after the note.
\relative c' {
c4.. a16 r2 |
\override Dots.dot-count = #4
c4.. a16 r2 |
\override Dots.dot-count = #0
c4.. a16 r2 |
\revert Dots.dot-count
c4.. a16 r2 |
}
![[image of music]](../30/lily-31d4da67.png)
Combining dynamics with markup texts
Some dynamics may involve text indications (such as “più forte” or
“piano subito”). These can be produced using a \markup
block.
piuF = \markup { \italic più \dynamic f }
\layout { ragged-right = ##f }
\relative c'' {
c2\f c-\piuF
}
![[image of music]](../a8/lily-e66129d1.png)
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 "|"
}
![[image of music]](../79/lily-7f848d6f.png)
Controlling spanner visibility after a line break
The visibility of spanners which end on the first note following a line
break is controlled by the after-line-breaking callback
ly:spanner::kill-zero-spanned-time.
For objects such as glissandos and hairpins, the default behaviour is to hide the spanner after a break; disabling the callback will allow the left-broken span to be shown.
Conversely, spanners which are usually visible, such as text spans, can be hidden by enabling the callback.
\paper { ragged-right = ##t }
\relative c'' {
\override Hairpin.to-barline = ##f
\override Glissando.breakable = ##t
% show hairpin
\override Hairpin.after-line-breaking = ##t
% hide text span
\override TextSpanner.after-line-breaking =
#ly:spanner::kill-zero-spanned-time
e2\<\startTextSpan
% show glissando
\override Glissando.after-line-breaking = ##t
f2\glissando
\break
f,1\!\stopTextSpan
}
![[image of music]](../eb/lily-37d11b27.png)
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 }
}
![[image of music]](../e8/lily-7e01441c.png)
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
}
>>
}
![[image of music]](../9e/lily-e623a356.png)
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 }
>>
}
![[image of music]](../a7/lily-e4cddad8.png)
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
}
}
>>
![[image of music]](../a6/lily-8b301063.png)
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"
}
}
}
![[image of music]](../cb/lily-52a65900.png)
Creating double-digit fingerings
Creating fingerings larger than 5 is possible.
\relative c' {
c1-10
c1-50
c1-36
c1-29
}
![[image of music]](../53/lily-413a6723.png)
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 the Notation Reference), 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.
paren =
#(define-event-function (dyn) (ly:event?)
(make-dynamic-script
#{ \markup \concat {
\normal-text \italic \fontsize #2 (
\pad-x #0.2 #(ly:music-property dyn 'text)
\normal-text \italic \fontsize #2 )
}
#}))
\relative c'' {
c4\paren\f c c \dynamicUp c\paren\p
}
![[image of music]](../8b/lily-4b6a07d1.png)
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
% \cadenzaOn turns off automatic calculation of bar numbers
\cadenzaOn
\once \override Score.TimeSignature.stencil = ##f
\time 1/16
s16 \bar ""
\cadenzaOff
\time 4/4
\once \override Score.RehearsalMark.self-alignment-X = #LEFT
\mark \markup { \box \bold Intro }
d'1
\mark \default
d'1
}
![[image of music]](../e4/lily-94c094d5.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Creating simultaneous rehearsal marks ] | [ Up : Expressive marks ] | [ 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)
}
>>
}
![[image of music]](../35/lily-8ea95a2b.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Creating slurs across voices ] | [ Up : Expressive marks ] | [ 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
}
![[image of music]](../96/lily-3ca49b8e.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Creating text spanners ] | [ Up : Expressive marks ] | [ Expressive marks: Dynamics custom text spanner postfix > ] | ||
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,>
}
>>
}
![[image of music]](../9e/lily-ea5d0b4e.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Double glissando ] | [ Up : Expressive marks ] | [ Expressive marks: Dynamics text spanner postfix > ] | ||
Dynamics custom text spanner postfix
Postfix functions for custom crescendo text spanners. The spanners should start on the first note of the measure. One has to use -\mycresc, otherwise the spanner start will rather be assigned to the next note.
% Two functions for (de)crescendo spanners where you can explicitly give the
% spanner text.
mycresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
mydecresc =
#(define-music-function (mymarkup) (markup?)
(make-music 'DecrescendoEvent
'span-direction START
'span-type 'text
'span-text mymarkup))
\relative c' {
c4-\mycresc "custom cresc" c4 c4 c4 |
c4 c4 c4 c4 |
c4-\mydecresc "custom decresc" c4 c4 c4 |
c4 c4\! c4 c4
}
![[image of music]](../b4/lily-cd5cd662.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Dynamics custom text spanner postfix ] | [ Up : Expressive marks ] | [ Expressive marks: Glissandi can skip grobs > ] | ||
Dynamics text spanner postfix
Custom text spanners can be defined and used with hairpin and text
crescendos. \< and \> produce hairpins by default,
\cresc etc. produce text spanners by default.
% Some sample text dynamic spanners, to be used as postfix operators
crpoco =
#(make-music 'CrescendoEvent
'span-direction START
'span-type 'text
'span-text "cresc. poco a poco")
\relative c' {
c4\cresc d4 e4 f4 |
g4 a4\! b4\crpoco c4 |
c4 d4 e4 f4 |
g4 a4\! b4\< c4 |
g4\dim a4 b4\decresc c4\!
}
![[image of music]](../bf/lily-8c70fd64.png)
Glissandi can skip grobs
NoteColumn grobs can be skipped over by glissandi.
\relative c' {
a2 \glissando
\once \override NoteColumn.glissando-skip = ##t
f''4 d,
}
![[image of music]](../e4/lily-30f2f92d.png)
Hairpins with different line styles
Hairpins can take any style from line-interface - dashed-line,
dotted-line, line, trill or zigzag.
\relative c' {
c2\< c\!
\override Hairpin.style = #'dashed-line
c2\< c\!
\override Hairpin.style = #'dotted-line
c2\< c\!
\override Hairpin.style = #'line
c2\< c\!
\override Hairpin.style = #'trill
c2\< c\!
\override Hairpin.style = #'zigzag
c2\< c\!
\revert Hairpin.style
c2\< c\!
}
![[image of music]](../cd/lily-14fc0a1f.png)
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\!
}
![[image of music]](../62/lily-0f01254b.png)
Horizontally aligning custom dynamics (e.g. "sempre pp" "piu f" "subito p")
Some dynamic expressions involve additional text, like “sempre pp”. Since dynamics are usually centered under 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 detection!). 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.
% 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")))
\new StaffGroup <<
\new Staff = "s" \with { instrumentName = \markup \column { Normal } }
<<
\relative c'' {
\key es \major
c4\pp c\p c c | c\ff c c\pp c
}
>>
\new Staff = "sMarkup" \with {
instrumentName = \markup \column { Normal markup }
}
<<
\relative c'' {
\key es \major
c4-\semppMarkup c\p c c | c\ff c c-\semppMarkup c
}
>>
\new Staff = "sK" \with {
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
}
>>
\new Staff = "sT" \with {
instrumentName = \markup \column { Right padding }
}
<<
\relative c'' {
\key es \major
c4\semppT c\p c c | c\ff c c\semppT c
}
>>
\new Staff = "sM" \with {
instrumentName = \markup \column { Set dimension "to zero" }
}
<<
\relative c'' {
\key es \major
c4\semppM c\p c c | c\ff c c\semppM c
}
>>
\new Staff = "sG" \with {
instrumentName = \markup \column { Shift inside dynamics}
}
<<
\relative c'' {
\key es \major
c4\semppG c\p c c | c\ff c c\semppG c
}
>>
\new Staff = "sMII" \with {
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
}
>>
>>
\layout { \override Staff.InstrumentName.self-alignment-X = #LEFT }
![[image of music]](../5c/lily-1724bbd9.png)
How to print two rehearsal marks above and below the same barline (method 1)
This method prints two ’rehearsal marks’, one on top of the other. It shifts the lower rehearsal mark below the staff and then adds padding above it in order to place the upper rehearsal mark above the staff.
By adjusting the extra-offset and baseline-skip values you can increase or decrease the overall space between the rehearsal mark and the staff.
Because nearly every type of glyph or string can be made to behave like a rehearsal mark it is possible to centre those above and below a bar line.
Adding the appropriate ’break visibility’ as shown in snippet 1 will allow you to position two marks at the end of a line as well.
Note: Method 1 is less complex than Method 2 but does not really allow
for fine tuning of placement of one of the rehearsal marks without
affecting the other. It may also give some problems with vertical
spacing, since using extra-offset does not change the bounding
box of the mark from its original value.
\relative c'{
c d e f |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \circle 1 \box A }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\mark \markup \center-column { \flat { \bold \small \italic Fine. } }
g f e d |
\once \override Score.RehearsalMark.extra-offset = #'(0 . -8.5)
\once \override Score.RehearsalMark.baseline-skip = #9
\override Score.RehearsalMark.break-visibility = #begin-of-line-invisible
\mark \markup \center-column { \fermata \box z }
}
![[image of music]](../07/lily-41bbeb51.png)
How to print two rehearsal marks above and below the same barline (method 2)
This method prints two ’rehearsal marks’ - one above the stave and one below, by creating two voices, adding the Rehearsal Mark engraver to each voice - without this no rehearsal mark is printed - and then placing each rehearsal mark UP and DOWN in each voice respectively.
This method (as opposed to method 1) is more complex, but allows for more flexibility, should it be needed to tweak each rehearsal mark independently of the other.
\score {
\relative c'
<<
\new Staff {
<<
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
}
{ c4 d e f
\mark \markup { \box A }
c4 d e f
}
\new Voice \with {
\consists Mark_engraver
\consists "Staff_collecting_engraver"
\override RehearsalMark.direction = #DOWN
}
{ s4 s s s
\mark \markup { \circle 1 }
s4 s s s
}
>>
}
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
}
}
![[image of music]](../99/lily-c497ffda.png)
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
}
![[image of music]](../a7/lily-8c7a8f65.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Inserting a caesura ] | [ Up : Expressive marks ] | [ 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
}
![[image of music]](../a7/lily-958b3403.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Laissez vibrer ties ] | [ Up : Expressive marks ] | [ Expressive marks: Making slurs with complex dash structure > ] | ||
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
}
![[image of music]](../05/lily-f557dad5.png)
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)
}
![[image of music]](../ce/lily-a1eaf1f1.png)
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-+ }
![[image of music]](../ea/lily-b2fbb308.png)
Moving slur positions vertically
The vertical position of a slur can be adjusted using the
positions property of Slur. The property has 2
parameters, the first referring to the left end of the slur and the
second to the right. The values of the parameters are not used by
LilyPond to make an exact movement of the slur - instead it selects
what placement of the slur looks best, taking into account the
parameter values. Positive values move the slur up, and are
appropriate for notes with stems down. Negative values move downward
slurs further down.
\relative c' {
\stemDown
e4( a)
\override Slur.positions = #'(1 . 1)
e4( a)
\override Slur.positions = #'(2 . 2)
e4( a)
\override Slur.positions = #'(3 . 3)
e4( a)
\override Slur.positions = #'(4 . 4)
e4( a)
\override Slur.positions = #'(5 . 5)
e4( a)
\override Slur.positions = #'(0 . 5)
e4( a)
\override Slur.positions = #'(5 . 0)
e4( a)
\stemUp
\override Slur.positions = #'(-5 . -5)
e4( a)
\stemDown
\revert Slur.positions
e4( a)
}
![[image of music]](../14/lily-ab1097d7.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Moving slur positions vertically ] | [ Up : Expressive marks ] | [ Expressive marks: Positioning arpeggios > ] | ||
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
}
![[image of music]](../cd/lily-8c5f124f.png)
Positioning arpeggios
If you need to extend or shorten an arpeggio, you can modify the upper and lower start positions independently.
\relative c' {
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 0)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(0 . 5)
<c e g b>1\arpeggio
\once \override Arpeggio.positions = #'(-5 . 5)
<c e g b>1\arpeggio
}
![[image of music]](../95/lily-a6ce2810.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Positioning arpeggios ] | [ Up : Expressive marks ] | [ Expressive marks: Printing hairpins in various styles > ] | ||
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
}
![[image of music]](../7e/lily-e382e3e0.png)
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\!
}
![[image of music]](../a5/lily-89a490f5.png)
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\!
}
![[image of music]](../9a/lily-e853ddf1.png)
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 {
indent = 0
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
}
![[image of music]](../03/lily-5f9ea4d2.png)
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\!
}
![[image of music]](../33/lily-54187d22.png)
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\! } >>
}
![[image of music]](../82/lily-f31f7b45.png)
Showing the same articulation above and below a note or chord
By default, LilyPond does not allow the same articulation (e.g., an
accent, a fermata, a flageolet, etc.) to be displayed above and below a
note. For example, c4_\fermata^\fermata will only show a fermata
below. The fermata above will simply be ignored. However, one can stick
scripts (just like fingerings) inside a chord, which means it is
possible to have as many articulations as desired. This approach has
the advantage that it ignores the stem and positions the articulation
relative to the note head. This can be seen in the case of the
flageolets in the snippet. To mimic the behaviour of scripts outside a
chord, ’add-stem-support would be required. So, the solution is to
write the note as a chord and add the articulations inside the <...>.
The direction will always be above, but one can tweak this via a
\tweak: <c-\tweak direction #DOWN-\fermata^\fermata>
% The same as \flageolet, just a little smaller
smallFlageolet =
#(let ((m (make-articulation "flageolet")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size -2
(ly:music-property m 'tweaks)))
m)
\relative c' {
s4^"Wrong:"
c4_\fermata^\fermata % The second fermata is ignored!
<e d'>4^\smallFlageolet_\smallFlageolet
s4^"Works if written inside a chord:"
<e_\smallFlageolet d'^\smallFlageolet>4
<e_\flageolet d'^\flageolet>4
<e_\smallFlageolet^\smallFlageolet>4
<e_\fermata^\fermata>4
}
![[image of music]](../52/lily-d84c6909.png)
Snap-pizzicato or 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 circle with a vertical line going from the center upwards outside the circle.
\relative c' {
c4\snappizzicato
<c' e g>4\snappizzicato
<c' e g>4^\snappizzicato
<c, e g>4_\snappizzicato
}
![[image of music]](../63/lily-fac57a97.png)
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
}
![[image of music]](../39/lily-61068082.png)
Using arpeggioBracket to make divisi more visible
The arpeggioBracket can be used to indicate the division of
voices where there are no stems to provide the information. This is
often seen in choral music.
\include "english.ly"
\score {
\relative c'' {
\key a \major
\time 2/2
<<
\new Voice = "upper"
<<
{ \voiceOne \arpeggioBracket
a2( b2
<b d>1\arpeggio)
<cs e>\arpeggio ~
<cs e>4
}
\addlyrics { \lyricmode { A -- men. } }
>>
\new Voice = "lower"
{ \voiceTwo
a1 ~
a
a ~
a4 \bar "|."
}
>>
}
\layout { ragged-right = ##t }
}
![[image of music]](../9c/lily-5d3b932d.png)
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>)
}
![[image of music]](../59/lily-7c1e9eac.png)
Using the whiteout property
Any graphical object can be printed over a white background to mask
parts of objects that lie beneath. This can be useful to improve the
appearance of collisions in complex situations when repositioning
objects is impractical. It is necessary to explicitly set the
layer property to control which objects are masked by the white
background.
In this example the collision of the tie with the time signature is
improved by masking out the part of the tie that crosses the time
signature by setting the whiteout property of
TimeSignature. To do this TimeSignature is moved to a
layer above Tie, which is left in the default layer of 1, and
StaffSymbol is moved to a layer above TimeSignature so it
is not masked.
{
\override Score.StaffSymbol.layer = #4
\override Staff.TimeSignature.layer = #3
b'2 b'~
\once \override Staff.TimeSignature.whiteout = ##t
\time 3/4
b' r4
}
![[image of music]](../51/lily-a56b0756.png)
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-articulation "stopped")))
(set! (ly:music-property m 'tweaks)
(acons 'font-size 3
(acons 'stencil (lambda (grob)
(grob-interpret-markup
grob
(make-draw-line-markup '(0 . 1))))
(ly:music-property m 'tweaks))))
m)
\relative c' {
a'4^\upline a( c d')_\upline
}
![[image of music]](../d7/lily-552d46f7.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: 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\!
}
![[image of music]](../05/lily-46dcba60.png)
| [ << Expressive marks ] | [Top][Contents][Index][ ? ] | [ Repeats >> ] | ||
| [ < Expressive marks: Vertical line as a baroque articulation mark ] | [ Up : Expressive marks ] | [ Repeats > ] | ||