I would have to agree with the other correspondents here, that there is no
one answer.
Conventionally, your 4th example is likely to be used, as it keeps the 3
beats in the measure clear. Generally, dotted notes don't start on the weak
part of a beat and extend into the next beat.
However, if the part were playing a consistent cross-rhythm, playing 2 beats
against 3 beats in the other parts, then your 1st example (or 3rd, depending
on your notation) would be the usual way to do it, as this would make your
intentions clear, in this case. This may be related to your idea of there
being a tempo relationship.
Your 2nd example is not likely to be used often, as the two ties are fussy
without introducing any extra clarity to the beat. But, I can imagine it
might be used to visually make a parallel to another part, in rare
circumstances.
Regards,
Bruys
On Tue, May 31, 2011 at 8:17 PM, Xavier Scheuer <x.sche...@gmail.com> wrote:
> Hi,
>
> I have a question not about LilyPond itself but about notational
> conventions (rules). Maybe you know better or I know some have great
> references such as Ted Ross or Gardner Read.
>
> In 3/4 times, what would be the recommended notation of the following
> rhythm?
>
> \time 3/4
> % proposal 1: dotted notes
> c4. c4. |
> % proposal 2: tied notes
> c4~ c8 c8~ c4 |
> % proposal 3: duplet
> \times 3/2 { c4 c4 } |
> % proposal 4: mix (not "symmetric")
> c4. c8~ c4 |
>
>
> Does it depend on the tempo (fast = one beat (2.)
> or slow = 3 beats (4 4 4))?
> I would say that duplet is better for fast (one beat) tempo, but maybe
> dotted notes are better at slow (3 beats) tempo?
>
> Thanks in advance!
>
> Cheers,
> Xavier
>
> --
> Xavier Scheuer <x.sche...@gmail.com>
>
> _______________________________________________
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
