Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Thomas Scharkowski t.scharkow...@t-online.de writes:
Hallo list,
I'd like the second note in voice one to share the notehead with the
last one in voice two. This is quite common in 19th century guitar
music.
Thank you,
Thomas
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..[ c32]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
Well, the durations of the first voice then simply are _wrong_. If you
want them to merge with the second voice, you need to scale them to
fit. I've not put this into shortest terms so that one can still figure
out that the scales come from a mismatch of a 5/6 to 7/8 division and
1/6 to 1/8. But you could equally well write
c8..*20/21[ c32*4/3]
in the first voice. Who said that music and mathematics are different
things?
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..*5/6*8/7[ c32*1/6*8/1]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
--
David Kastrup
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Hi Thomas,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Here's one possibility, scaling the durations in the upper voice to fit:
{
\relative c'' {
\time2/8
{
c8..*20/21 [ c32*4/3]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
/ Fredrik
On 24 March 2014 09:53, Thomas Scharkowski t.scharkow...@t-online.de wrote:
Hallo list,
I'd like the second note in voice one to share the notehead with the last
one in voice two. This is quite common in 19th century guitar music.
Thank you,
Thomas
--
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..[ c32]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
--
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Well, the durations of the first voice then simply are _wrong_. If you want them to merge with the second voice, you need to scale them to fit. I've not put this into shortest terms so that one can still figure out that the scales come from a mismatch of a 5/6 to 7/8 division and 1/6 to 1/8. But you could equally well write c8..*20/21[ c32*4/3] in the first voice. Who said that music and mathematics are different things? Thank you for your help, David! I could have figured this out by myself! Thomas ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tuplet notehead shared with non-tuplet notehead in another voice?
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to notate
a tuplet consisting of a quarter and an eighth note like we would do
today: \tuplet 3/2 {c4 c8} - instead c8. c16 is often used, even when
\tuplet 3/2 {c8 c c} is in other voices.
A dot after a note did not necessarily have the same meaning as today,
but play this not longer and the next on shorter than written,
depending on context.
Btw in french style notes égales meant _not_ to play eights notes as
notes inégales what you could also call swing feeling.
Thank you for your help.
Thomas
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Original-Nachricht
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to notate
a tuplet consisting of a quarter and an eighth note like we would do
today: \tuplet 3/2 {c4 c8} - instead c8. c16 is often used, even when
\tuplet 3/2 {c8 c c} is in other voices.
A dot after a note did not necessarily have the same meaning as today,
but play this not longer and the next on shorter than written,
depending on context.
Btw in french style notes égales meant _not_ to play eights notes as
notes inégales what you could also call swing feeling
... and which is the default.
Thank you for your help.
Thomas
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
On Mon, 2014-03-24 at 12:38 +0100, Thomas Scharkowski wrote:
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to
notate
a tuplet consisting of a quarter and an eighth note like we would do
today: \tuplet 3/2 {c4 c8} - instead c8. c16 is often used, even
when
\tuplet 3/2 {c8 c c} is in other voices.
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
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