Graham Percival wrote:
>On Tue, 05 Nov 2002 00:43:33 -0500
>Michal Seta <[EMAIL PROTECTED]> wrote:
>
>
>>thanks for clarifying, I understand the syntax better but...
>>Graham wrote:
>>
>>
>>>Try this instead:
>>> \repeat tremolo 4 {c16 e}
>>>
>>>
>>this line still show up with the noetheads black (like quarter notes
>>rather than half... is it just me? If I change the values of the
>>notes (to smaller) I get back into the situation where the tremolandos
>>don't fit within the measure...
>>
>>
>
>Yes. Based on my reading the manual, it looks like Lilypond currently
>can't fill a 3/4 measure with tremolo (with moving notes). You can
>either:- Have a "half note" tremolo followed by a "quarter note" tremolo
>- or have a tremolo on one note, like this: c2.:16
>
For me with 1.6.4 this is all off by at least a factor of 2. The
following generates two half notes connected by three bars (flags?)
which fills the 4/4 measure. My eye tells me that pattern should only
occupy 2 beats of a 4/4 bar.
\time 4/4
\repeat tremolo 8 {c16 e}
After a number of attempts to get something that looked right I got out
some symphonic scores. I found one example in the second movement of
Berlioz' Fantastic Symphony and another in the first movement of
Dvorak's 9th Symphony. I was not able to find a pattern using \repeat
tremolo which would reproduce either of those patterns in the same
amount of space. The most clear example I have found so far relates to
the Dvorak. This:
\time 2/4
\repeat tremolo 4 {c8 e}
produces two half notes joined by two bars or flags and both my eye and
Dvorak's publisher allow that figure to fill a two four measure.
Lilypond takes two measures for this figure. In the Dvorak case the
rhythm is made clear by an ajoining measure in which the two beats each
have four 16th notes because the pitches change from one beat to the next.
I can see from a consistency point of view that it would make sense to
put one half note in one 2/4 bar but it doesn't make musical sense in
the case of tremolos from anything I have ever seen.
HTH,
Paul Scott
>
>
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