strange percussion notation
Attached is another strange image; it's the fifth image in section `Percussion staves'. The second occurrence `o' and `+' looks positioned incorrectly. Werner inline: lily-cdff3357.png___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: strange percussion notation
Hi Werner, 2008/10/31 Werner LEMBERG [EMAIL PROTECTED]: Attached is another strange image; it's the fifth image in section `Percussion staves'. The second occurrence `o' and `+' looks positioned incorrectly. It's caused by a combination of the non-empty extent of the invisible stems and increased 'staff-space pushing the scripts away from the stave. The examples use legacy code to make the stems' Y-extents empty; 'Y-extent-callback was removed between versions 2.7 and 2.8. I've forced a convert-ly update on percussion.itely which will sort this out. Regards, Neil ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: percussion notation issues
I don't know anything about percussion notation, but this might be of interest to lilypond-devel as well. - Graham On 22-Dec-04, at 6:50 AM, Bruce McIntyre wrote: Hello all. I've just finished reading through Norman Weinberg's _Guide to Standardized Drumset Notation_ published by the Percussive Arts Society (1998). I've put up a synopsis of some of the more important points at http://home.iprimus.com.au/brucemcintyre/percussion-notation.png Note the numbers on the toms. If you need to describe music for 3 toms, use toms 1, 2 and 3. If you want 6 toms use toms 1, 2, 3, 4, 5 and 6. The pitch of each tom is governed by its height as in normal music--tom 9 is higher than tom 1; tom 10 lower. The notation conventions recommended by Mr Weinberg have been adopted by Modern Drummer Magazine, the various PAS publications as well as publishers such as audiograffiti (http://www.audiograffiti.com.au/doc/audiograffitidrumnotation.pdf) berklee and others. Lilypond's drum notation is missing a few features to implement this scheme: 1. Rimshot notation (where a \ overlays the notehead) 2. Crosstick notation (circle surrounding notehead). 3. The ghost note, where the notehead is in parentheses. This can be implemented by molecule call backs, but looks kludgy at the moment. 4. Lilypond's naming conventions don't support enough instruments: 10 toms are needed (I personally don't own that many!) 2 hihats 2 rides 3 crashes 5. Some symbol shapes are wrong: The triangle should be equalateral with the base parallel with the staff lines. Here noteheads-d1do and noteheads-d2do would suffice. The symbol for a minim or semibreve cymbal should not be an open 'x' but an open diamond, somewhat like that used for harmonics. 6. Lilypond lacks the mallet symbols as well as the bell/edge center/edge symbols. Personally I find Norman's Bell and Edge symbols ugly. The latter especially is frustrating as it projects out to the right of the note colum. Rod Morgenstein in his _Drum Set Warm-Ups_ follows this scheme, but uses cross with circle surrounding for a cymbal bell indication. Often drummers will alternate between ride cymbal bell and normal strokes every other quaver or semiquaver. Morgenstien's scheme is much less cluttered-looking than Weinberg's when this is notated. I hope this email provides some ideas for future improvements to our beloved Lilypond. Cheers, Bruce. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Percussion notation
First off, let me say thank you to the developers for LilyPond; it is a
wonderful piece of software. However, with that said, I would like to
make a request to the developers for improving some of the methods used
for percussion notation.
Most engravers overlook the notation quirks involved with writing for
percussion instruments, though LilyPond has done very well for the most
part. I've searched through the mailing list archives, and while some
of these issues have been brought up in the past, it seems nothing much
became of it.
The Percussive Art Society's International Drum Rudiments, found at
http://pas.org/Publications/rudiments.cfm, can be used as a reference
for the following items:
Rolls - Using tremolo repeats, one can get something close to what's
known in the percussion world as a double-stroke roll. The problem
with this, though, is that if using a tremolo repeat on a beamed note,
the tremolo is drawn horizontal instead on angled. This is too hard to
read, as the tremolo is aligned with the lines of the staff. Also, if
a tremolo repeat is drawn on, for example, a single eighth note, the
stem is lengthened too much, causing other issues, and makes it stick
out like a sore thumb, so to speak. Note also, the buzz, or multiple
bounce, roll which is drawn with the letter Z through the stem. I know
this can be achieved by other means, but making this part of the
standard syntax would be a big help.
Flams - It would be very handy if one could write something like \flam
sn16 or \flam bd4 instead of the current method of \acciaccatura sn8
sn16 and \acciaccatura bd8 bd4. Since flams are nearly always written
equivalent to \acciaccatura voice8 voice, this would be handy. If a
flam between different voices is desired, then the current method could
be used.
Drags/Ruffs - Similar to flams, the current method is something like
\acciaccatura { sn16[ sn] } sn4. Drags are nearly always written
equivalent to \acciaccatura { voice16[ voice] } voice, so something
like \drag (or \ruff) sn4 would be a real time-saver. The same as with
flams, if a drag between different voices is desired, then the current
method could be used.
Ghost notes - It is very common to have ghost notes, which are simply
notes in parentheses, in drum set notation. I've checked out
molecule-hacking.ly for doing this, but why can't this be part of the
standard syntax?
All of the aforementioned items are very commonly used standards in
percussion music. If these things were introduced/corrected in a
future version of LilyPond, it would be a huge boon for percussionists
looking to write music for their instrument.
I'm not much of a developer, although I do dabble in it occasionally.
I don't have much spare time to try to implement these things myself,
though I would be interested in learning and helping out as much as
possible if someone could point me in the right direction.
Thanks for listening, and thank you again to the developers for
creating an otherwise great tool for musicians.
--
Mike Irwin
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