@noindent
If you do not like the automatic beams, they may be overridden
-manually. Mark the first note to be beamed with @code{[} and the
-last one with @code{]}.
+manually. To correct just an occasional beam mark the first note
+to be beamed with @code{[} and the last one with @code{]}.
+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamingOff}
+to turn off automatic beaming and @code{\autoBeamingOn} to turn
+it on again. It will usually be necessary to manually beam music
+with lyrics.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a8[ ais] d[ ees r d] a b
than one voice on the same staff.
@menu
-* Music expressions explained::
-* Multiple staves::
-* Staff groups::
-* Combining notes into chords::
-* Single staff polyphony::
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
@end menu
This section introduces vocal music and simple song sheets.
@menu
-* Setting simple songs::
-* Aligning lyrics to a melody::
-* Lyrics to multiple staves::
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
@end menu
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c b a d4 b8 g4.
}
\addlyrics {
word @q{shine} should be sung on two notes, not one. This is
called a @notation{melisma}, a single syllable sung to more than
one note. There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them (see
-@ref{Ties and slurs}):
+multiple notes, the simplest being to add a slur across them,
+marking the start of the slur with a left bracket, (, and the
+end with a right bracket, ), for details, see @ref{Ties and slurs}:
@lilypond[verbatim,quote,ragged-right]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c( b) a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
The moon doth shine as bright as day;
}
->>
+>>
@end lilypond
-Here we have also used manual beaming (the square brackets
-@code{[]} ) to generate the beaming which is customarily used with lyrics
-(see @ref{Automatic and manual beams}).
+The words now line up correctly with the notes, but the automatic
+beaming for the notes above @qq{shine as} does not look right. We
+can correct this by inserting manual beaming commands to override
+the automatic beaming here. We mark the start of the beam with a
+left square bracket, [, and the end with a right square bracket, ],
+for details, see @ref{Automatic and manual beams}. Note that the
+slur and beam indications do not need to @qq{nest}, i.e., the order
+in which they appear is not important, see @ref{On the
+un-nestedness of brackets and ties}.
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c([ b)] a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
As an alternative to using slurs, the melismata may be indicated
in just the lyrics by using an underscore, @code{_}, for each
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c[ b] a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
The moon doth shine _ as bright as day;
}
->>
+>>
@end lilypond
If a syllable extends over several notes or a single very long
@node Real music example
@subsection Real music example
-We end this section on Tweaks by showing the steps to be taken to
-deal with a tricky example which needs several tweaks to produce
-the desired output. The example has been deliberately chosen to
-illustrate the use of the Notation Reference to resolve unusual
-problems with notation. It is not representative of more usual
-engraving process, so please do not let these difficulties put
+We end this section on Tweaks by showing the steps to be taken to
+deal with a tricky example which needs several tweaks to produce
+the desired output. The example has been deliberately chosen to
+illustrate the use of the Notation Reference to resolve unusual
+problems with notation. It is not representative of more usual
+engraving process, so please do not let these difficulties put
you off! Fortunately, difficulties like these are not very common!
The example is from Chopin's Première Ballade, Op. 23, bars 6 to
bes1~ |
\bar "||"
\time 6/4
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
bes2.^\markup {\bold "Moderato"} r8
<<
{c,8[ d fis bes a] | }
\\
{s4 fis4.}
>>
- \revert Staff.NoteCollision #'merge-differently-headed
- \revert Staff.NoteCollision #'merge-differently-dotted
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
g2.\)
}
All the notes are right, but the appearance is far from
satisfactory. The tie clashes with the change in time signature,
the beaming in the third bar is wrong, the notes are not
-merged together, and several notation elements are missing.
+merged together, and several notation elements are missing.
Let's first deal with the easier things.
We can correct the beaming by inserting a beam
-manually, and we can easily add the left hand slur and the right
+manually, and we can easily add the left hand slur and the right
hand phrasing slur, since these were all covered in the Tutorial.
Doing this gives:
@end lilypond
On to bar three and the start of the Moderato section. The
-tutorial showed how to add embolded text with the
-@code{\markup} command, so adding @q{Moderato} in bold is easy.
-But how do we merge notes in different voices together? The
-index in the Notation Reference does not mention merging,
-but a search of the text for @q{merge} quickly leads us to
-the overrides for merging differently headed and differently
+tutorial showed how to add embolded text with the @code{\markup}
+command, so adding @q{Moderato} in bold is easy.
+But how do we merge notes in different voices together? This is
+where we need to turn to the Notation Reference for help. A search
+for @qq{merge} in the Notation Reference index quickly leads us to
+the commands for merging differently headed and differently
dotted notes in @ruser{Collision resolution}. In our
example we need to merge both types of note for the duration
of the polyphonic section in bar 3, so using the information
-in the Notation Reference we add
+we find in the Notation Reference we add
@example
-\override Staff.NoteCollision #'merge-differently-headed = ##t
-\override Staff.NoteCollision #'merge-differently-dotted = ##t
+\mergeDifferentlyHeadedOn
+\mergeDifferentlyDottedOn
@end example
@noindent
to the start of that section and
@example
-\revert Staff.NoteCollision #'merge-differently-headed
-\revert Staff.NoteCollision #'merge-differently-dotted
+\mergeDifferentlyHeadedOff
+\mergeDifferentlyDottedOff
@end example
@noindent
\bar "||"
\time 6/4
bes2.^\markup {\bold "Moderato"} r8
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
% Start polyphonic section of four voices
<<
{c,8[ d fis bes a] | }
\\
{s4 fis4. | }
>>
- \revert Staff.NoteCollision #'merge-differently-headed
- \revert Staff.NoteCollision #'merge-differently-dotted
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
g2.\)
}
}
@end lilypond
-These overrides have merged the two F-sharp notes, but not the two
+These overrides have merged the two F-sharp notes, but not the two
on D. Why not? The answer is there in the same section in the
-Notation Reference -- notes being merged must have stems in
-opposite directions and two notes cannot be merged successfully if
-there is a third note in the same note column. Here the two D's
+Notation Reference -- notes being merged must have stems in
+opposite directions and two notes cannot be merged successfully if
+there is a third note in the same note column. Here the two D's
both have upward stems and there is a third note -- the C. We know
how to change the stem direction using @code{\stemDown}, and
the Notation Reference also says how to move the C -- apply a shift
The C is in voice two which has shift off, and the two D's are in
voices one and three, which have shift off and shift on,
respectively. So we have to shift the C a further level still
-using @code{\shiftOnn} to avoid it interfering with the two D's.
+using @code{\shiftOnn} to avoid it interfering with the two D's.
Applying these changes gives:
@lilypond[quote,verbatim,ragged-right]
\bar "||"
\time 6/4
bes2.^\markup {\bold "Moderato"} r8
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
% Start polyphonic section of four voices
<<
{c,8[ d fis bes a] | }
\\
{s4 fis4. | }
>>
- \revert Staff.NoteCollision #'merge-differently-headed
- \revert Staff.NoteCollision #'merge-differently-dotted
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
g2.\)
}
\bar "||"
\time 6/4
bes2.^\markup {\bold "Moderato"} r8
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
<<
{c,8[ d fis bes a] | }
\\
\\
{s4 fis4.}
>>
- \revert Staff.NoteCollision #'merge-differently-headed
- \revert Staff.NoteCollision #'merge-differently-dotted
+ \mergeDifferentlyHeadedOff
+ \mergeDifferentlyDottedOff
g2.\)
}
@section Further tweaking
@menu
-* Other uses for tweaks::
-* Using variables for tweaks::
-* Other sources of information::
-* Avoiding tweaks with slower processing::
+* Other uses for tweaks::
+* Using variables for tweaks::
+* Other sources of information::
+* Avoiding tweaks with slower processing::
* Advanced tweaks with Scheme::
@end menu
projects / lilypond.git / commitdiff