----- Original Message ----- From: "Han-Wen Nienhuys" <[EMAIL PROTECTED]>
To: "Stephen" <[EMAIL PROTECTED]> Cc: "lilypond devel" <[email protected]> Sent: Tuesday, August 02, 2005 9:28 AM Subject: Re: warning: no feasible beam position
Stephen wrote:Hi, Is this a bug? The last note of the first system is flipped up probably because of a negative beam length with the warning "weird stem size" after the warning in my subject heading. I don't see what is causing this. It does not happen in 2.4, only 2.6. So perhaps this is a regression?I'm not sure, it depends whether 2.4 also places the linebreak just at the beam. Can you isolate that beam in a snippet? This looks like an
It is layed out in 2.4 and 2.6 exactly as it it layed out in the original edition, down to it being on page 5 and starting with the 10th measure. This is clearly a bug that cropped up in 2.6, 2.4 does not do this at the break. UPDATE:I never followed up with this properly, but now I can report that the bug dropped out with version 2.6.4. Does anyone happed to know how the bug was fixed?
interesting bugreport. You'll need to pad said beam with some skips to force the linebreak at the same place. I am rather astonished that Lily handles this piece of notation so well.
My goal is to test Lilyponds limitations by trying to notate something really challenging. I am gratified that you are astonish since that is the point (not to astonish you but to demonstrate what Lilypond is capable of.). What is fascinating to me is that Lilypond is capable of more than its creators and developers are aware of. In this way it corresponds to a computer language since it also is extensible and is capable of more than its creators can anticipate. And like a computer language Lilypond has an internal logic that sometimes allows the user to give it compands that it responds to in a predictable way that its creators do not anticipate.
Unfortunately, Lilypond may be moving away from this design philosophy now.
How long is the entire piece? I'm wondering whether it's worth the effort to ask Universal whether we can use this snippet (I guess that 2 systems is enough to get the point across) as a demo.
I could email the ly files if you want. I started the second movement before I stopped.
Stephen
BTW, I've been thinking about a \override Slur #'details #'edge-attraction-factor = 21 syntax. Perhaps you'd be interested in sponsoring it? -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
\version "2.6.1"
atonicKey =
#(def-music-function (parser location) ()
#{ #(ly:export (make-music 'EventChord
'origin $location
'elements (list (make-music 'KeyChangeEvent
'tonic (ly:make-pitch -1 4 0)
'pitch-alist '((5 . 1)
(6 . 1)
(0 . 1)
(1 . 1)
(2 . 1)
(3 . 1)
(4 . 1))))))
\set Score . extraNatural = ##f
\override Score . KeySignature #'print-function = ##f #})
\paper {
#(set-paper-size "a5")
firstpagenumber = 1
printfirstpagenumber = ##t
betweensystempadding = 8.5\mm
indent = 0\mm
}
\score {
\context PianoStaff <<
\context Staff = upper { \atonicKey \transpose c c' {
\time 6/8
\override Score.Hairpin #'height = #'0.5
\set Score.allowBeamBreak = ##t
% Add bar numbers 5th bar
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
%11
\set Score.currentBarNumber = #11
<< { e'4 _\markup { " " \translate #(cons -2.75 -0.0) \dynamic "sf" } }
\\ {
\override Script #'extra-offset = #'(-0.625 . 0.3125)
d'16[( as) es-.
\override Script #'extra-offset = #'(-0.625 . 0.0)
ges-.] } >> r8 r16
<bes, a>^>( c b,) r
<< { ges s s }
\\ { es[( as,^.) \change Staff = lower \stemUp d,] } >>
s4 \stemUp <des' g'>4. \f |
} }
\context Staff = lower { \atonicKey
\time 6/8
\clef F
\override Accidental #'inside-slur = ##t
%11
<< { \override Script #'extra-offset = #'(0.5 . 0.0)
r16 ces^.^^ bes,^.^^\noBeam r s }
\\ { \once \override Hairpin #'extra-offset = #'(0.0 . -0.5)
es,16[( \< f]) \! des,8.[ c16] } >>
\override Script #'extra-offset = #'(-0.5 . 0.0)
\override DynamicText #'extra-offset = #'(-2.25 . 3)
\stemDown g,,_. \f fis,_. r
\override Script #'extra-offset = #'(0.125 . 0.0)
e'_>( <des f>-.)_(
\override Script #'extra-offset = #'(-0.625 . 0.0)
g,_.) | \break
\revert Script #'extra-offset
\revert DynamicText #'extra-offset
<< {
\override Script #'extra-offset = #'(0.625 . 0.0)
\set subdivideBeams = ##t
\override Slur #'slur-details = #'((region-size . 4)
(head-encompass-penalty . 1000.0)
(stem-encompass-penalty . 30.0)
(closeness-factor . 10)
(edge-attraction-factor . 400000)
(same-slope-penalty . 20)
(steeper-slope-factor . 50)
(non-horizontal-penalty . 15)
(max-slope . 1.1)
(max-slope-factor . 10)
(free-head-distance . 0.3)
(free-slur-distance . 0.8)
(extra-object-collision . 50)
(accidental-collision . 3)
(extra-encompass-free-distance . 0.3)
(head-slur-distance-max-ratio . 3)
(head-slur-distance-factor . 10)
(absolute-closeness-measure . 0.3)
(edge-slope-exponent . 1.7)
)
% edge-attraction-factor increased
\override Slur #'excentricity = #1.0
s8
\once \override Stem #'transparent = ##t
c16( bes32[
\change Staff = upper a' \change Staff = lower bes
\change Staff = upper a') \change Staff = lower bes^.
\change Staff = upper a'^.] }
\\ {
\override Script #'extra-offset = #'(-0.625 . 0.0)
r16 bes,,_( <a, c>_.) bes s8 } >>
\clef G r
<< {
\once \override Script #'extra-offset = #'(0.625 . -0.5)
<gis' b'>8-.
\once \override Script #'extra-offset = #'(0.5 . -0.25)
<fis' c''>-. | }
\\ {
\override Script #'extra-offset = #'(-0.5 . 0.25)
c'16\rest \f es' d' f' | } >>
}
>>
\layout {
\context {
\PianoStaff
\accepts Dynamics
\override VerticalAlignment #'forced-distance = #13.5
}
}
}
%{
Schoenberg modeled his Suite after the Keyboard Suites of Bach in that his
atonal Twelve-Note System was meant to be a return to polyphony. Most of the
movements were named after the dance movements of a Baroque suite, although
they resembled such only in tempo and character. In the Twelve-Tone System,
both melodies and chords are formed by an arrangement of the twelve notes of
the chromatic scale in a particuliar order, called a tone-row, which may be
transposed, inverted, reversed, or reversed and inverted.
Schoenberg used the method much less rigidly in his later works than he does
here. [exerpted from 'The New College Encyclopedia of Music']
It is clear to me that the composer respected Bach and was trying to reach
back in time toward a polyphonic era, by-passing the Classical period and at
the same time reaching forward to a new music. He must have been bored by the
sameness of melody and harmony in most of the late Romantic Music. I am not
trying to characterize any music myself, but only to suggest what may have
been the impetus for this music. SCM
%}
beam_break_bug.png
Description: PNG image
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