On Monday 25 December 2006 06:32, David Fedoruk wrote: > Hello: > > I've been watching this discussion or debate. There are two ways to > look at this problem. The first is from a programmer's point of view > where the programmer is experienced with some computer languages, > these days its upper level languages more and more. For these people, > lilypond typesetting code feels comfortable when it is syntactically > correct and when it makes sense in either computer or mathematical > terms. A mathematical algorithm is what they are used to seeing. > > The other group has less mathematical knowledge, very little (very > little compared to a programmer working on a major project like > Lilypond) programming knowledge or experience. In all likelihood the > only thing that connects these people is the printed musical score. > > At least in part I think these points have already been made. The > question that occurs to me as a novice Lilypond user (and one who > jumps in the deep end with complex scores!) is this: How will you > deal with other types of prolongation or compression of notes into one > or more beats or where the composers intentions are clear but they are > not immediately mathematically correct? > > The example below is a single bar from a Beethoven Piano Sonata (Opus > 31 number 3, 1st mvt. bar 53) in which two more out of the ordinary > examples occur next to each other. You will excuse any mistakes in > coding here, this doesn't render as it should. > > upper = \relative c'' { > \clef treble > \key ef \major > \time 3 > > bf16[d f ef] \times 5/4 d16[ ef f g a] bf32[bf a c bf d c bf a g c g ef] > > } > > You can see how there are three beams, one for the notes in eaech > beat. The first and second beat are quite clear, but the third one has > eluded me as yet. The score has 12 thirty-second notes beamed together > with "12" below the note heads. > > The printed score is clear to the performer. The Lilypond code I > suspect is far more complex. The only way that 12 thirty-second notes > will fit into one beat is if they are triplets, but in context, they > are not played or heard as triplets. > > My only comment in this discussion is that the Lilypond code to > represent this short passage should be as clear as the printed score I > am reading.
try \times 8/12 { ... } (by default, this will probably display as 12:8 above the notes, which can be tweaked to just show 12) IMHO, this is an argument for a mathematical notation: You must know what you are doing to notate the music (i.e., multiplying durations with 8/12), just saying that a 12 should be displayed above would make it difficult to maintain the .ly code. -- Erik _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user