Slurs, ties, and lines
Two endpoints make one slur
A trailing connector opens at its note. A leading connector closes at its note. Leave interior notes unmarked.
4D5~ E ~F G
Canonical spelling
4D5~ E ~F G
This is one slur from D through E to F. D~ E~ F means adjacent spans, not one three-note slur. A lone trailing ~ can connect to the next node.
Ties require adjacent matching pitches
When adjacent endpoint notes have the same pitch, ~ makes a tie.
2C5~ 2C | 1D
Canonical spelling
2C5~ C | 1D
A later matching pitch with sounding notes between the endpoints is a slur, not a tie. For a chord, put a member tie on the member that continues:
2[C5~ E G] 2[C F A]
Canonical spelling
2[C5~ E G] [C F A]
A trailing ~~ ties forward and opens a slur at the same node:
4C5~~ C D ~E
Canonical spelling
4C5~~ C D ~E
The first two C notes tie; the whole C-to-E passage has one slur.
Hairpins
< is crescendo and > diminuendo. Open after the first node and close before the destination. A destination can also open the next hairpin.
4C5(p)< D <E(mf)> >F(p)
Canonical spelling
4C5(p)< D <E(mf)> >F(p)
An open hairpin can end at the next dynamic. If it has no destination, the current engine warns and leaves a short local mark; it does not establish an intentional crescendo through the rest of the piece. Write the intended end explicitly for a finished score.
Glissando
A slash after a node connects it to the next node. It needs no closing slash.
2C5/ 2G'
Canonical spelling
2C5/ G'
Compare /8C5 4D: the leading slash makes a grace note instead.
Bracketed lines
The dots picture the continuation: [word..] opens, [..word] closes. The closer ends the line on the preceding node. In the examples below, E is the last covered note and F is outside the line. The first note after an ottava closer is no longer under that octave line.
[ped..] 4C4 D E [..ped] F
Canonical spelling
[ped..] 4C4 D E [..ped] F
[8va..] 4C5 D E [..8va] F
Canonical spelling
[8va..] 4C5 D E [..8va] F
[8vb..] 4C4 D E [..8vb] F
Canonical spelling
[8vb..] 4C4 D E [..8vb] F
The related two-octave forms are [15ma..] and [15mb..]. (loco) can close an ottava. Inspect the pitches and output when using octave lines; do not add another manual octave change to compensate for the same sign.
[tr..] 4C5 D E [..tr] F
Example notes (1)
- a trill line's extension is drawn dashed; the wavy line wants Bravura's wiggle glyphs
Canonical spelling
[tr..] 4C5 D E [..tr] F
Tempo transitions use [rit..], [rall..], or [accel..] with [...] as a close. [a tempo] restores the indicated tempo context.
[rit..] 4C5 D E [...] F | [a tempo] 1C
Canonical spelling
[rit..] 4C5 D E [...] F | [a tempo] 1C
Custom lines
Custom lines have no supported compact engraving form. The older span custom-line statement can reach the resolved score, but the current renderer does not draw it. Substituting an arbitrary word in [word..] does not create a custom line. Use the named supported lines above; quoted text can print an instruction but does not draw an extending line.
Automatic slur engraving
The native renderer shapes slurs around notes, beams, articulations, ties and nested slurs. Short phrases start with a shallow bow and gain depth where ink requires it. An enclosing phrase is drawn outside its inner slur, independent of the order in which the spans were written.
A system break cuts one solved curve into connected pieces, preserving its direction at the join. SVG, PDF and ScoreScript App use this same geometry. You do not need separate hand-shaped slurs for each system. This affects how the phrase is drawn; it never changes its musical endpoints or source notes.