On Mon, Jul 4, 2011 at 6:44 PM, Kieren MacMillan <
[email protected]> wrote:

> Hi Joey,
>
> > Anyone know if it is possible in lilypond to notation tuplets across a
> barline?
>
> Sure!
>
> \version "2.15.3"
> \relative c' { \times 2/3 { c1 d e } }
>
> > I'm looking into the more contemporary features l
> > ilypond provides and am trying to find most of the
> > pitfalls before I dedicate my time to learning the language.
>
> It's worth it.
>

+1


Just guessing here, but other rhythmic affordances of LilyPond that Joey
might be interested in:

* using \remove Forbid_line_break_engraver to allow barline-crossing note
values (à la mensurstriche transcriptions of medieval polyphony)

* using \set tupletFullLength = ##t to cause tuplet brackets to outline the
exact amount of horizontal whitespace allocated to the notes, rests and
chords they contain

* using [ and ] to specify the start- and stop-points of beams exactly

* using \set stemLeftBeamCount = #p, \set stemRightBeamCount = #q to nest
beams to to arbitrary levels of containment

In short, LilyPond's time-keeping system is something of a miracle. Why?
Because all of these things (and many others besides) work *semantically*.
Compare this with layers of kludge necessary to make barline-crossing
durations work in Finale or Sibelius.

FWIW I've always suspected that the reason that LilyPond gets the western
time-keeping model right where Finale / Sibelius struggle has to do with the
concept of the measure: the object models of both Finale and Sibelius seem
*to start at the measure* (and then work down to tuplets, notes, rests and
chords and then work up to voices, staves and scores). But in LilyPond this
isn't the case: the concept of the measure is much less central to the way
that users work with LilyPond and the out-of-the-box correctness of these
more bizarre elements of the rhythmic system would seem to be a happy
byproduct of that.


Trevor.





-- 
Trevor Bača
[email protected]
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