I use this combination of semantic 'nonbinary' time signature (here 2/10)
with \scaleDurations in my own scores rather a lot. It works great.
(Also the best solution if you're using proportional notation because all
notes, rests, chords continue to consume the amount of horizontal space that
they should.)
It might also be worth pointing out that two competing interpretations of
these 'nonbinary' time signatures have developed in the literature over the
past couple of decades: what we might call the 'Ferneyhough' and the
'Sciarrino' interpretations, respectively.
Ferneyhough's usage is as Joey describes and basically works by allowing the
10 in 2/10 to effect a 4/5 diminution of the notes, rests, chords governed
by the time signature. (How does one extract 4/5 from 10? By dividing out
all integer powers of 2 from the prime factors of 10 and then inserting this
value -- call it n -- in a multiplier of the form m/n, with m defined equal
to the greatest integer power of 2 *less than* n. Here, for example, we see
that 10 = 2 * 5; we remove the 2 and find n = 5; the greatest integer power
of 2 less than 5 is 4; so m/n = 4/5 which is exactly the prolational scaling
value of the 10 in 2/10. A second example could be the time signature 5/18,
the denominator of which is 18 = 2 * 3 * 3, which gives n = 3 * 3 = 9 and
m/n = 8/9, which is the value by which notes, rests, chords in a measure of
5/18 will be time-scaled under this first interpretation of such meters.)
Sciarrino's (and many others') usage essentially interprets meters like 2/10
and 5/18 as indicating the amount of musical time a bar is to consume
*without* attributing any time-scaling power to the time signatures in
question. (Partial or 'broken') tuplets then need to be added explicitly to
make the time values of notes, rests and chords calculate correctly. This is
the interpretation of such meters under which Joseph originally proposed to
answer Joey's question.
The two ways of interpreting these time signatures are incompatible. AFAICT
the 'Sciarrino' interpretation is used by many more composers now than is
the 'Ferneyhough' interpretation. But Ferneyhough is certainly the best
known exemplar of the technique.
Trevor.
On Tue, Jul 5, 2011 at 6:26 AM, Urs Liska <li...@ursliska.de> wrote:
> **
> Probably Joey doesn't want to use \time 4/5 but to scale durations.
> I adjusted your example a little bit so one sees better what happens:
>
> {
> \time 2/10
> \times 4/5 { c'8 c'8 } \bar "||"
>
> % \scaleDurations scales without tuplet numbers or brackets
> \scaleDurations #'(4 . 5) { c'8 c'8 c'8 c'8 } \bar "||"
>
> % I put a few bars of "straight" eighths to show what happens
> c'8 c' c' c' c' c' c' c'
> }
>
> Best
> Urs
>
>
>
> Am 05.07.2011 11:45, schrieb Joseph Wakeling:
>
> On 07/05/2011 08:57 AM, m...@apollinemike.com wrote:
>
> On Jul 5, 2011, at 8:29 AM, Joey wrote:
>
>
> In Ferneyhough's etudes transcendentales,
> he employs meters such as 2/12 or 2/10,
> acting as literal subdivisions of the semi-breve.
>
> The easiest way would be to create an override for the time signature
> stencil:
>
> No, you don't need to be so complicated. :-)
>
> Just put
>
> \time 2/10
>
> Lilypond will give you a _warning_ that this is a non-standard time
> signature, but it can handle the time signature and will produce a
> corresponding bar of two quintuplet-eighths in length.
>
> N.B. you _will_ need to put in place
>
> \times 4/5 {}
>
> around the content of any such bar in order to ensure that quintuplets
> are your base content type.
>
> Try giving Lilypond the following:
>
> {
> \time 2/10
> \times 4/5 { c'8 c'8 }
> c'8 c'8
> }
>
> ... and compare what happens in the first and second bar.
>
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>
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>
>
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>
--
Trevor Bača
trevorb...@gmail.com
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