Another idea: We could have a command like partialDuring or partialWith. Cheers, Valentin
Am Montag, 21. März 2022, 02:53:14 CET schrieb Flaming Hakama by Elaine: > > ---------- Forwarded message ---------- > > From: "Tim's Bitstream" <tim...@bitstream.net> > > To: Werner LEMBERG <w...@gnu.org> > > Cc: lilyp...@hillvisions.com, dan@lyric.works, thomasmorle...@gmail.com, > > lilypond-de...@gnu.org, lilypond-user@gnu.org > > Bcc: > > Date: Sun, 20 Mar 2022 12:01:25 -0500 > > Subject: Re: Should \partial accept music instead of duration? > > > > > On Mar 20, 2022, at 2:24 AM, Werner LEMBERG <w...@gnu.org> wrote: > > > > > > What about providing a new command `\upbeat` and moving `\partial` > > > into oblivion? Compare this to `\tuplet` vs. `\times`. > > > > Perhaps this is an American jazzism, but we would refer to those as > > \pickup notes. > > I'm not swayed by this proposal > > \partial to me seems like \time > the info being conveyed is how long the "measure" is > and so it should not require a music expression > > If you are using global with spacers, this would not be too big a deal, > but for more casual usage with structure and notes interspersed, > it forces you to specify a distinct musical expression > just for the part of the phrase that happens to be before the bar, > which seems like an awkward pattern to enforce on note entry. > > > In terms of US English usage > > "partial" means "less than whole" and is pretty clear and neutral, > and thus I think a good name for this usage. > > "partial" may also refer to a specific overtone of a note, > (as in "E3 is the 4th partial of C1") > but I don't think there is any confusion with this usage. > > > "upbeat" is used a few different ways > which makes it not such a good candidate. > > It can mean the beat before the down beat, > so in 4/4 beat 4, or in 2/4 beat 2. > > But "upbeat" can also refer to subdivisions, like counting "1 and 2 and 3 > and 4 and" > the numbers are "beats" or "on the beat" or sometimes "downbeats", > whereas the "and"s are the upbeats. > > It is further confusing in compound time as you might, > in line with 2/4, consider the second dotted quarter in 6/8 as the upbeat. > > But, if there are syncopations happening, > you might consider the first subdivision after the downbeat as the upbeat, > so in 6/8, subdivisions 2 and 5 would be the upbeats. > > Likewise, in a 3/4 waltz you might consider beat 2 as the upbeat, > whereas in other 3/4 contexts you might consider beat 3 as the upbeat, > in line with how we count 4/4. > > > "anacrusis" is a term all musicians learn, but no one ever uses, > unless you are an academic. > > It generally refers to the same thing as "pickup". > > For a lilypond term it might be fine since it is basically descriptive, > but probably less guessable than "pickup". > > > "pickup" generally refers to notes leading into a barline. > Whether it is singular or plural depends on the context. > > If it is a single note, it is a pickup. > Multiple notes may be either pickup as referring to the entire phrase, > or pickups referring to each of the notes. > > "Let's take it from letter B, with pickups" > > > There is also a practice--and I'm sure there are a great many opinions > on the wisdom of this practice, but nonetheless it exists-- > that if a pickup starts on an offbeat, > the partial measure may include the preceding rest that occurs on the beat. > > In which case, the partial measure length is not the same as the length of > the "pickup", > which is understood musically only as the notes played. > > So, use of "pickup"/"anacrusis" to describe the length of the measure > would not always semantically be accurate. > > > So, I suggest we keep \partial as is > > If the motivation is just to eliminate having to type a single duration, > which typically is used at most once per piece, > I'm really not seeing the urgency of the problem it is solving. > > It seems like something that should more appropriately be syntactic sugar, > and not change the core features, which seem appropriate to me. > > > > Elaine Alt > 415 . 341 .4954 "*Confusion is > highly underrated*" > ela...@flaminghakama.com > Producer ~ Composer ~ Instrumentalist ~ Educator > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= > -=-=-=-=-=-=-=-=-=-
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