Re: suspended whole notes - possibly a defect, please give your opinions
2011/8/4 Xavier Scheuer x.sche...@gmail.com That has been registered as issue #1774, isn't it? http://code.google.com/p/lilypond/issues/detail?id=1774 Sorry, i didn't notice it... I did a search for suspended which returned only #1779, which is the cause of my consideration. However, i agree with Neil that these two issues are related, but not the same. 2011/8/5 Neil Puttock n.putt...@gmail.com: [example considering of four pairs of note columns] Good example! It reminded me that usually there are less suspended notes in a chord than normal ones (i.e. in your example the third pair consists of chords with two normal notes and one suspended). Because of that it is indeed better not to align horizontally such note columns (in other words, last two measures from attached example are typeset correctly indeed). However, i'm unsure about the unequal measure length in that example. Going back to your Lily vs. Gould comparison, i don't like Gould's way of typesetting last pair of note columns. It obscures the simultaneousness of musical events in my opinion. thanks, Janek suspended whole notes.pdf Description: Adobe PDF document ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: suspended whole notes - possibly a defect, please give your opinions
Janek Warchoł lemniskata.bernoullego at gmail.com writes: Good example! It reminded me that usually there are less suspended notes in a chord than normal ones (i.e. in your example the third pair consists of chords with two normal notes and one suspended). Because of that it is indeed better not to align horizontally such note columns (in other words, last two measures from attached example are typeset correctly indeed). Yes, it is good that Lilypond aligns horizontally the main note columns, as opposed to the suspended note-heads. Maybe you would like to have the suspended whole-note-heads always to the right of the main note column. Right now, LilyPond, suspends a whole-note head on the same side as she would suspend it in a stemmed chord of the same pitches. This is consistent, but maybe this particular consistency is not helpful to the reader. However, i'm unsure about the unequal measure length in that example. Lilypond tries to keep consistent space from the /main/ column of note heads to the end of the measure. The extra space given to a suspended note-head causes the measure to be longer; so the patch I proposed for issue 1779 makes these measures equal length. ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: suspended whole notes - possibly a defect, please give your opinions
2011/8/5 Keith OHara k-ohara5...@oco.net: Janek Warchoł lemniskata.bernoullego at gmail.com writes: Good example! It reminded me that usually there are less suspended notes in a chord than normal ones (i.e. in your example the third pair consists of chords with two normal notes and one suspended). Because of that it is indeed better not to align horizontally such note columns (in other words, last two measures from attached example are typeset correctly indeed). Yes, it is good that Lilypond aligns horizontally the main note columns, as opposed to the suspended note-heads. Maybe you would like to have the suspended whole-note-heads always to the right of the main note column. Right now, LilyPond, suspends a whole-note head on the same side as she would suspend it in a stemmed chord of the same pitches. This is consistent, but maybe this particular consistency is not helpful to the reader. I'm still wondering about it. I'm curious whether there is a lot of variation between engraving books and publications in this matter. However, i'm unsure about the unequal measure length in that example. Lilypond tries to keep consistent space from the /main/ column of note heads to the end of the measure. The extra space given to a suspended note-head causes the measure to be longer; so the patch I proposed for issue 1779 makes these measures equal length. Yes, i'm looking at it and i'm still not sure how i'd like the output to look like. cheers, Janek ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: suspended whole notes - possibly a defect, please give your opinions
2011/8/4 Janek Warchoł lemniskata.bernoull...@gmail.com: Hi, I think there is a problem with handling suspended whole notes: Lily aligns them as if they had stems. See attached suspended whole notes - in my opinion the last two measures should look the same and have both chords in the same horizontal position; also all measures should have the same length in my opinion. suspended quarter notes for comparison should provide some explanation on this behaviour. What do you think? What do engraving books say? (neither me nor nearby music university don't have any) Hi, That has been registered as issue #1774, isn't it? http://code.google.com/p/lilypond/issues/detail?id=1774 Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: suspended whole notes - possibly a defect, please give your opinions
2011/8/4 Xavier Scheuer x.sche...@gmail.com:
That has been registered as issue #1774, isn't it?
http://code.google.com/p/lilypond/issues/detail?id=1774
Not quite. Gould makes an exception for semibreves with adjacent
notes; in this case, they should be aligned as if they had stems:
\version 2.15.9
\new Staff \relative c' {
\cadenzaOn
\set Staff.implicitTimeSignatureVisibility = #all-invisible
\set Staff.explicitClefVisibility = #all-invisible
\set Staff.instrumentName = #LilyPond
f g4 q1
c' d e4 q\breve
{
b c d4 q1
d e4 q1
}
\\
{
f, d c4 q1
b c4 q1
}
}
\new Staff \relative c' {
\cadenzaOn
\set Staff.implicitTimeSignatureVisibility = #all-invisible
\set Staff.explicitClefVisibility = #all-invisible
\set Staff.instrumentName = #Gould, p. 50
f g4 q1
c' d e4 q\breve
{
b c d4 q1
d e4 q1
}
\\
{
f, d c4 q1
\once \override NoteColumn #'force-hshift = #1.4
b c4
\once \override NoteColumn #'force-hshift = #1.3
q1
}
}
I can't see anything relevant in Stone; Read is a bit vague (but I
think he basically agrees with Gould on this).
Cheers,
Neil
attachment: adjacent-chord-poly.png___
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