>----Original Message----
>From: c_soren...@byu.edu
>Date: 10/01/2010 15:39
>To: "Ian Hulin"<i...@hulin.org.uk>
>Cc: "pound...@lineone.net"<pound...@lineone.net>, "lilypond-u...@gnu.
org"<lilypond-user@gnu.org>, "fr...@lilynet.net"<fr...@lilynet.net>
>Subj: Re: [frogs] Re: Numeric note heads for singers
>
>
>
>
>On 1/10/10 4:52 AM, "Ian Hulin" <i...@hulin.org.uk> wrote:
>
>> Hi Carl and everyone,
>>
>> This looks a good idea in principle, but you've got to address what
I call the
>> tonic-sol-fa/solfeggio problem.
>> You have to consider all of these (and I may have missed a few)
>> 1. What is your base-level tonic?
>> 2. what mode you are in (\major \minor \dorian etc.)?
>> 3. => what key signature do you currently assume?
>> 4. are you adopting \relative-type rules - when do you decide on
an octave
>> shift for the base tonic?
>>> 1. A good test for this would famously difficult singing range of
the U.S.
>>> national anthem
>> 5. How do you notate modulations when a piece is changing key, an f
in the key
>> of c needs to become an f# to prepare for a modulation into g, but
you aren't
>> quite ready to adopt the new key signature (and therefore reset the
tonic)
>> yet?
>> 6.
>> I suppose you could do some of this with mark-up stuff
>> 1. \key c -> ^"tonic=c" or
>> 2.
>> 3. \key c \major -> ^"tonic= c major"
>> 4. whatever \key is set as
>> 5. you could use the \relative type idea, f4 c'4 notates as 4 1'
on crotchet
>> note-heads
>> 6. Add the possibility of accidental f# or b flat being notated as
4# or 7b
>> on note-heads, or 4^"#" 7^"b" (except use the flat-sign for b)
>> Just some things to think about, HTH.
>
>Thanks for the thoughts. These are all potential problems for
complex
>music; I doubt any of them are problems for shape-note music. Shape-
note
>music is used for hymn singing from the shape-note hymnbook; there
aren't
>modulations in these songs[1]. Further, shape-notes are based on the
major
>scale, rather than minor or dorian. The whole idea of shape notes is
that
>regardless of the key, the intervals between the various shapes are
>constant. Now, this idea is not enforced in Sacred Harp singing,
because
>there are only four shapes in sacred harp, but it is in Aiken heads,
where
>there are seven different shapes.
>
>Bottom line, I don't think we need to worry about the difficult
stuff, and I
>don't think we need to worry about the octavation. I think 1-7 would
be
>very helpful.
>
>Thanks,
>
>Carl
>
>[1] http://en.wikipedia.org/wiki/Shape_note
Currently with the shape note heads, the tonic is set by the choice of
\key command. In \key c \major, c is the tonic. In \key d \dorian, d is
the tonic. If you want it to work sol-fa style, then you would use \key
c \major for both and it would work.
Sol-fa handles modulation by printing the old scale-degree in
superscript before the new one. There isn't really enough room in the
note-heads to do this and we would begin to confuse two different
notation systems. I think that a proper sol-fa context would be needed
to deal with the complexities of that particular notation system.
Carl - I'm happy to go ahead with this if you still want me to, but
I'm a bit concerned now that no-one would use it and that the original
requester was actually looking for something quite different.
Could you try running the lily source below which I think provides a
simple means to the same end and could be turned into a snippet? If you
then still think it would be useful to have this automated, I'll
continue where I left off.
\version "2.13.11"
{ \easyHeadsOn
\override Voice . NoteHead
#'note-names = #(vector "1" "2" "3" "4" "5" "6" "7")
\relative c' { c d e f g a b }
\key a \major
\override Voice . NoteHead
#'note-names = #(vector "3" "4" "5" "6" "7" "1" "2")
\relative c { a b c d e f g }
\relative c' { a b c d e f g }
\relative c'' { a b c d e f g }
\key a \minor
\relative c' { a b c d e f g }
\key d \dorian
\override Voice . NoteHead
#'note-names = #(vector "7" "1" "2" "3" "4" "5" "6")
\relative c' { d e f g a b c }
}
2009: A year in review - http://www.tiscali.co.uk/2009
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