On Wed, 2008-03-12 at 17:01 +0000, robcanning wrote:
> yup - some great stuff there of course - would be nice to see it all
> strung together in a real life situation - maybe some one has made
> complex scores ala ferneyhough using lilypond? just as an inspiration /
> show off ... - would be a better "selling" point than pages of snippets
> - show lily at her sexiest :) maybe no one is working like this with
> lilypond - i hope to one day soon but have a way to go before making
> anything as complex as the likes of ferneyhough
Actually, I do sometimes typeset some Ferneyhough excerpts - occasional
bars - as part of the process of learning his music. They would require
quite a lot of work and tweaking to get to a publication standard: for
my purposes I just do some basic hacks!
Attached FYI is the source for some excerpts from the second movement of
Opus Contra Naturam...
--
Mark Knoop
\version "2.11.42"
\header {
title = "Opus Contra Naturam"
composer = "Brian Ferneyhough"
}
% formatting defaults
#(set-default-paper-size "a4" 'landscape)
#(set-global-staff-size 14)
webernAccidentals = {
% the 5s are just "a value different from any accidental"
\set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5)
(4 . 5) (5 . 5) (6 . 5))
\set Staff.extraNatural = ##f
#(set-accidental-style 'forget)
}
\include "english.ly"
% music
uppermusic = {
\webernAccidentals
% Second Movement
% 4.1.1
\clef bass
\time 3/8
\tempo 8=71
g16..~
\times 9/13 { g8 c'32. \times 2/3 { cs32 gs64~ } }
<< { \times 4/5 { gs8 r32 } } \\ { r16 \times 4/5 { a'16 r64 } } >> |
% 4.1.2
\clef treble
\time 5/16
\times 20/23 { r16.. e8~ e64 g'16.. } |
% 4.1.3
\time 2/8
\times 4/5 {
\times 4/5 { cs'32 gs' a' as' e' }
b'64 f' fs' r
r8
}
% 4.1.4
\break
% 8.3.39
\time 4/8
\tempo 8=55
<< {
\times 4/7 { r8 f'''32(^\mp^\> b' f''' }
b'32 f'''16)\!^\pp r32
\times 4/7 { r8 f'''32(^\mp^\< b''' f''' }
\times 2/3 { f''32 f'''16)\!^\mf }
r16
} \\ {
r4
r32 \stemUp <c' fs'>16.~\f\accent
<c' fs'>16. <d' g' df''>32~\mf\accent(
} \\
\\ {
\times 12/11 { r16 r32 bf' r bf' r a r r16 }
\times 2/3 { r8 f'64( b f-.) r }
} >> |
% 8.3.40
\time 7/16
\tempo 8=66
<< {
b''64-.\accent^\f r16.. r64
\times 3/5 { r8. bf''32^\ppp( gf''' g'' af'-.) }
r32. r16
} \\ {
<d' g' df''>64\p b' f'' c'' gf'' d'''-.) r32
r8
\times 11/13 { r64\pp[ a'-. b32( c') g'64( cs''32) d'64-.
e''32.~(]\accent\fp }
} >>
\break
% 12.1.66
\time 13/32
\tempo 8=43
<< {
\times 6/7 {
\times 3/5 { c''''32.\rest cs''''64\tenuto^\p( f' }
c'64) r
\times 2/3 { r64 cs'32[\staccatissimo^\mp }
}
\times 4/7 { d''32]\staccatissimo r16. <fs'' g'' b''>\tenuto^\pp }
\times 6/7 {
e'''32\rest f'\staccato\tenuto^\p r
\acciaccatura d''8 <g' a''>16^\ppp
\times 2/3 { r32 \acciaccatura fs'8( b''16~ }
}
} \\ {
\times 6/7 {
af''16\staccato\tenuto\mf(
\change Staff=lower f32\staccato)^\mp r64
}
\change Staff=upper
r32 a'-.\pp[ bf''-. e'''-.
\times 2/3 { ef''32-. bf'-. e'''-.] }
r8
} \\ {
f'16.\rest
\times 8/11 {
a4\rest a32\rest
\times 2/3 { \stemDown ds''32[\staccatissimo\f r d']\staccatissimo }
}
\times 4/5 {
cs'64[\staccatissimo r fs'']\staccatissimo r
\change Staff=lower d\staccatissimo
}
} \\ {
r16.
\times 2/3 {
r16 \acciaccatura af''8 \change Staff=lower
bf,16..\p \change Staff=upper r64
}
\times 4/5 { r16 \stemUp gs''16.~\accent\fp\>( }
gs''64 f'32.~
} >>
% 12.1.67
\time 3/8
<< {
\times 5/7 {
b''32 cs'') r \stemDown gs''\staccato\marcato^\mf r16
\acciaccatura { ds'''8[^\p a''] } e''32\staccato
}
\times 5/7 {
r32 \change Staff=lower \stemUp
\acciaccatura bf8\pp b,32\staccato r
\times 4/5 {
\stemDown
f16\staccato\tenuto\mf\>( \change Staff=upper
b''32 g''\staccato)^\ppp r
}
}
\change Staff=lower \stemUp
df64.(\pp \change Staff=upper
b''' \change Staff=lower
f,)
} \\ {
\times 6/7 {
r32 \stemUp fs''-.^\mp cs''-. g'''-. r
ef'''-. a'-.
}
\times 4/5 {
e''32-. r16 gs'''-.\noBeam
\change Staff=lower e,-.
}
r16
} \\
% nothing in this voice in this bar
\\ {
\times 2/3 { f'16 <b c' d'>16)\!\ppp r }
\change Staff=lower
\times 2/3 {
r4
\times 4/5 {
\stemUp d,32[\pp\<( a,] \change Staff=upper
\stemDown ds''[ fs'' c'']\!\p)
}
}
} >>
}
lowermusic = {
\webernAccidentals
% 4.1.1
s4.
% 4.1.2
s4 s16
% 4.1.3
s4
% 8.3.39
\clef bass
<< {
\times 12/11 { r16 d32^\p\<( r d r bf,\!^\p^\> r f bf,-.\!^\pp) r }
\times 2/3 { f64(^\ppp a-.) r32 bf64( e-.) r32 r16 }
} \\ {
\times 4/5 {
r32
\times 4/5 { e,,64\p\<( b,, a,32 f,64 c fs,,32. cs64\!\mf\> }
}
\times 4/5 { \times 2/3 { g,32 e, b,,-.)\!\pp } r16. }
r32 <gs, b,>16.~(\mp\<
<gs, b,>64 ds32. <bf, e a>16~\!
} >>
% 8.3.40
<< {
\times 7/10 {
\times 2/3 { r16 <cs, ds, b,>(^\pp c32 e,) }
r16
ef'32-.^\mp <a,, g,>16-.-_^\p
\times 2/3 { r8 <df bf>16(^\pp^\> }
\times 2/3 { <b,, f,>8)\!^\ppp r16 }
r16
}
} \\ {
<bf, e a>8\>
<f, b, e>32-.)\p r
r16.
\times 5/6 {
\times 2/3 { c,,32(\pppp ef,, g,, }
\times 2/3 { a,, bf,,) r }
df32\marcato\mp\< g,\marcato
}
} >>
% 12.1.66
s16. s4 s16
% 12.1.67
s4.
}
% score
\score {
\new Score \with {
proportionalNotationDuration = #(ly:make-moment 1 32)
\override SpacingSpanner #'uniform-stretching = ##t
\override TupletNumber #'text = #tuplet-number::calc-fraction-text
tupletFullLength = ##t
} <<
\new PianoStaff = piano <<
\set PianoStaff.instrumentName = "Piano "
\new Staff = upper { \uppermusic }
\new Staff = lower { \lowermusic }
>>
>>
\layout {
ragged-right = ##t
}
}
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