The grouping which Lilypond chooses by default in this case (as in most
others) is the standard way of grouping such a figure in common practice
instrumental music. In 2/4 and 3/4, any consecutive eighth-notes within a
measure are typically beamed together (with a few exceptions).
Incidentally, there are some psychological advantages to following the
traditional notational practice in this case, as well. That said, neither
notation is confusing enough to hinder performance. All in all, there is
no right or wrong, but breaking with tradition will not win you anything
here. It may even be slightly disadvantageous.
--
Kris Shaffer
graduate student in music theory, Yale University
co-editor-in-chief for music theory, AmSteg.org
www.shaffermusic.com
On Fri, 10 Feb 2006 00:50:40 -0500, Ramana Kumar <[EMAIL PROTECTED]>
wrote:
would c'4. c'8 d'[ e'] be what you expect? or what?
On 2/10/06, Ben Fisher <[EMAIL PROTECTED]> wrote:
It looks like Lilypond is giving the wrong output here:
{
\time 3/4
c'4. c'8 d' e'
}
The three eighth notes are grouped together. I have no idea why this
should
happen, because they aren't triplets. If the time signature were 6/8
then it
might make sense, but otherwise I can't imagine why.
I guess there isn't any "right" or "wrong" way to group 8th notes, but
this
is a strange choice for the default. I'm using version 2.6.5.1.
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