On Tue, Oct 27, 2015 at 4:21 PM, Urs Liska <u...@openlilylib.org> wrote:
> Without trying to really understand the implications I would ask you: Is
> there a way to indicate that kind of two-dimensionality *in notation*
> and, if so, how?
> If you have an answer to that it will be easier to consider a LilyPond
> implementation.
>
Not sure if you mean the two-dimensionality of the grid layout or the two
(actually 3) dimensions of pad response. I'll try to address both:
Because the rows are always monotonically chromatic, they're analogous to
a fretted string so a linnstrument tuned in, say, fourths can be
represented in tab much like an 8 string guitar, e.g.
%%
-------------------------------------------------------------------------------------
linnstrument-fourths = \stringTuning <f,, bes,, ees, aes, des ges b e'>
first-two = \relative c, {
c4 e g c |
e4 g b c
}
next-two = \relative c' {
<c\5 e\4>2 g'4\4 c\3 |
e4\2 g\2 b c
}
<<
\new Staff {
\clef bass
\first-two
\clef treble
\next-two
}
\new TabStaff {
\set TabStaff.stringTunings = #linnstrument-fourths
% No open strings on Linnstrument, first pad is fret 1
\set TabStaff.minimumFret = #1
\set TabStaff.restrainOpenStrings = ##t
\first-two \next-two
}
>>
%%
-------------------------------------------------------------------------------------
The problem I alluded to in my previous post is that you might well want to
play the half-note chord in measure 3 on row 5 as <c\5 e\5>2 (frets 16,20),
but LP doesn't seem to support that yet.
There's also an issue if someone wants to arrange the row pitches ascending
from back to front. I tried that in the string tuning list and LP didn't
do well at keeping the fret numbers low.
Concerning the 3-D pad responses, the typical mapping is:
Z (pressure) --> loudness
X --> pitch bend
Y --> timbre
Those can be handled in standard notation with hairpins for loudness,
vibrato, slurs, slides etc for pitch bend, and markup for timbre, e.g.
'sul ponte, sul tasto ...'.
Urs Liska <u...@openlilylib.org> replied:
Your image shows it as I expected. But my question remains: if you want
> that c/e be pressed on one "string" how would you visualize that *at all*?
> Only with a clear idea about that it's possible to consider a *LilyPond*
> implementation.
That's a very good question. Since a new convention is required I think
it's important to think carefully about what would be most readable and
cause the least conflict with existing conventions. I'm leaning toward
something very simple, like
---16 20--- whitespace between pad numbers means play simultaneously.
For stemmed tablature, I'd say the stems should attach to the rightmost pad
number for up stems and the leftmost for downstems.
Slurs, I suppose, should extend from the leftmost pad that's musically part
of the slur to the rightmost.
For glissandi, it may be challenging to cover all possibilities. The
Linnstrument permits a slide from any pad to any other in the same row, so
there's a need to cover cases like sliding from the center note of 3 pads
held down on a row to some other note.
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