On 30 Jan 2007, at 15:29, Adam Good wrote:
Well honestly I'm confused by what you mean, I've not heard the
term "subaccenting" before.
For example, take a simple 2/4-time, the first 1/4 note should have a
primary accent, and the second 1/4 note, a secondary accent. In
general, a measure bar indicates that the note following should have
a primary accent.
You can see some more complex examples at
http://en.wikipedia.org/wiki/Bulgarian_dances
I can show you exactly what I'm going for here:
http://www.adamgood.com/turkish_nota/piece.php?id=596
If this is the notation of the composer, you perhaps must follow it.
But it could also be the notation of somebody else.
Hindemith, "Elementary Training for Musicians", p. 136, suggests that
one may use a dashed barline, like U+1d104
http://www.unicode.org/charts/PDF/U1D100.pdf
note time sig of 28/4 where barlines are drawn every 6, 4, 4, 6, 4,
4 beats. simply, the structure of the rhythm is broken up into
these groupings...percussionist plays for this cycle the well-known
pattern (known as "Devr-i Kebir") that is set in stone and can be
thought of "a bar of 6, a bar of 4, a bar of 4...etc = 28"
thanks for any ideas you can give me
So if this is the traditional way to notate it, you perhaps must
follow it (I am not familiar with the rhythm). But it can also be
written as 6/4 + 4/4 + 4/4, using those dotted barlines, then.
Strictly speaking, I think this latter notation implies that the two
4/4 should start with an accent weaker than the 6/4. But if this is a
regular meter pattern, this may be how it is actually performed (I
would have to listen to a performance to know).
I include an example for a Sedi Donka, which is written in (7+7+11)/
16, where 7=3+2+2, and 11=2+2+3+2+2 or 4 +3+4.
Hans Aberg
---- SediDonka.ly ----
%{
LilyPond Test
%}
%{
\paper {
#(define dump-extents #t)
linewidth = 160\mm - 2.0 * 0.4\in
raggedright = ##t
indent = 0\mm
}
\layout {
}
%}
\header{
title = "Sedi Donka (Horo)"
composer = "Traditional"
}
barlines = { \repeat unfold 8 {s16*7 \bar ":" s16*7 \bar ":"
s16*11 | } }
\score {
\new Staff <<
\barlines
\relative {
\tempo 4 = 144
\key e \minor
\time 25/16
#(override-auto-beam-setting '(end * * 25 16) 3 16)
#(override-auto-beam-setting '(end * * 25 16) 7 16)
#(override-auto-beam-setting '(end * * 25 16) 10 16)
#(override-auto-beam-setting '(end * * 25 16) 14 16)
#(override-auto-beam-setting '(end * * 25 16) 18 16)
#(override-auto-beam-setting '(end * * 25 16) 21 16)
\repeat volta 2 {
g'16( fis g) a8\prall a16( d,) g16( fis g) a8\prall a16( d,)
fis16( g a b) c( b d) c8\prall c16( b) |
g16( fis g) a8\prall a16( d,) g16( fis g) a8\prall a16( d,)
c'16( a) b( g) a8\prall( d16) a8 a |
}
\repeat volta 2 {
g16( a b) c( g) d'( g,) c8\prall( g16) c( g) d'( g,)
b16( g) (b g) a8. \acciaccatura c d4 |
g,16( a b) c( g) d'( g,) c8\prall( g16) c( g) d'( g,)
b16( a) b( g) a8\prall( d16) a8 a |
}
\repeat volta 2 {
a16( b) b b8 b a16( b) b b8 b
a16( g fis g) a( b e,) b'4 |
a16( b) b b8 b a16( b) b b8 b
a16( g fis g) e8. e4 |
}
\repeat volta 2 {
d16( e fis) g8 g g16( fis e) fis8 fis
d8 d \acciaccatura g a8. a4 |
d,16( e fis) g8 g g16( fis e) fis8 fis
d8 e e8. e4 |
}
}
%{
\chords {
b4:7 b8.:7 b4:7 b8.:7 b4:7 b8.:7 b4:7 b8.:7
a4:7 b8.:7 a4:7 b8.:7 b4:7 b8.:7 b4:7 b8.:7 }
%}
>>
}
\version "2.7.2" % necessary for upgrading to future LilyPond versions.
--------
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