On 9/2/07, Valentin Villenave <[EMAIL PROTECTED]> wrote: > 2007/8/31, Trevor Bača <[EMAIL PROTECTED]>: > > In fact, glancing at the manual sections now, it looks like chapter 8 > > is as good a place to start as any. I'll take a stab at 8.1.1 through > > 8.1.11 tomorrow, probably skipping over 8.1.7 ... > > Hi Trevor, hi everybody, > > I've just seen the examples in 8.4.1 and I'm thinking about two > excellent examples for polymetric notation (not very contemporary > though): > -Mozart's Don Giovanni (the Act 1 Finale, when there are three > instrument groups on stage, each one playing a different Minuetto with > different time signatures...), to replace the second example; > -Chopin's posthumous C-sharp minor Nocturne for piano, where the right > hand is in 3/4 and the left hand in 4/4 (but the barlines are > synchronized), to replace the third example. > > Both are *very* simple and short examples (and very beautiful music too). > How about that?
Hi Valentin, I think what Graham's wanting to try out to get started is a beautiful example per major *section* of the manual rather than per minor *subsection*. So rather than one "illuminated" (in the medieval sense ;-) example for each of 8.4.1, 8.4.2, etc, just an example for 8.4 "Contemporary notation" as a whole, with the goal that the 8.4 example would live on ... http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Contemporary-notation#Contemporary-notation ... directly. So with that in mind I've started thinking more about "what one snippet would best show off contemporary notation as a whole" rather than "what snippet would show off polymetric notation", etc. (And I love the Chopin c-sharp ... what great music. It's funny becuase I was just looking, on Friday, at a Michael Finnissy piece set up much the same way in 3/4 in the top and 4/4 in the bottom, except with the barlines *not* synchronized (except every 12 beats). I suppose the pattern has been around for some time ... ;-) Incidentally, for 8.1 "Text" I'm thinking, of all things, of a trilingual footnote in a 1935 edition of the Schnabel version of the Beethoven piano sonatas. His notes are so detailed and so beautiful (if also very idiomatic!) -- he'll pull out a single ornament in the main score, make a footnote, and then place the footnote text at the bottom of the page face-en-face between English, French and German, with some snippet on how to execute an ornament in between! Great use of text and music ... probably more idiomatic for lilypond-book than regular lilypond, but I think I'm going to try ... -- Trevor Bača [EMAIL PROTECTED]
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