Hello again,
I am currently writing the guitar parts (two) for "Zombie" both as an exercise
to get confident with lilypond and to test some features. (Oh, also because I
play it with a band ;-)
Now, you know that elguit music has TONS of stopped notes; I have found an
article dating 4/2004 in this ML saying that grouping articulation was not
needed (just cut & paste/search & replace "-+"), but in rock songs with power
chords it would be quite useful. In example, here is a riff from zombie:
powerMiBeat = \relative do {
<mi, si'>8 <mi si'> <mi si'> <mi si'> <mi si'> <mi si'> <mi si'> <mi si'> |
}
(btw, mi=e, si=b).
Ok, now, the distorted guitar is playing all the time a set of riffs like
this, but sometimes stopped, other not: it would be quite useful to have
things like:
\powerMiBeat
\powerDoBeat
\powerSolBeat
\powerFadBeat
{
\powerMiBeat
\powerDoBeat
\powerSolBeat
\powerFadBeat
}\stopped
Ok, I know that I may just copy that 4 riffs and make all the notes in them
stopped, and then do:
\powerMiBeat
\powerDoBeat
\powerSolBeat
\powerFadBeat
\powerMiStoppedBeat
\powerDoStoppedBeat
\powerSolStoppedBeat
\powerFadStoppedBeat
but it feels cumbersome.
Also, classic guitar music has often whole staccato phrases, so as there is a
Tremolo grouping, a stopped and a staccato grouping (at least) would be
useful.
Opinions?
Bests,
Giancarlo Niccolai.
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