Re: accidentals for just intonation

This is a whole other issue: that of placement. Yes, the way I use them is within the staff, and this raises issues when dealing with chord. For one, I align the accidentals vertically according to two rules: 1) the side with more factors is centered on the note, or (if they have the same number)

Re: accidentals for just intonation

Hi Paul, thanks for getting back to me. To update the list: I'm working on making a set of stencils (using the various svg-to-path functions that Lily and the snippets repository have), which will then be used by the just-intonation toolset Urs is working on to build custom accidentals from

Re: accidentals for just intonation

Am 12. Dezember 2015 16:38:13 MEZ, schrieb "N. Andrew Walsh" : >Hi Paul, > ... > >The system works like this: > >1) each accidental has a long thin vertical line: approximately 1 >staff-height, This triggers a question: *where* do you want the accidental to be

Re: accidentals for just intonation

Thank you for the links. As I said above, I have significant objections to a system of accidentals for just intonation that are based on cents deviations from equal temperament. They're legitimate objections, and it's outside of the scope of this thread to discuss them (I find, unfortunately, that

Re: accidentals for just intonation

Am 03.12.2015 um 13:11 schrieb N. Andrew Walsh: > The point of this project is that it should be possible to specify a > library file for each of these different systems, that each might be > able to extract different information from the scripting that Urs is > doing, and apply the accidentals

Re: accidentals for just intonation

Am 01.12.2015 um 15:56 schrieb Paul Morris: >> On Dec 1, 2015, at 5:38 AM, Urs Liska wrote: >> >> You have a rather small number of individual components (vertical, >> horizontal and diagonal elements) that can all represented by a >> postscript path. A function should be

Re: accidentals for just intonation

On 03/12/15 12:11, N. Andrew Walsh wrote: If your system requires only a range in cents to determine which accidental to use, that should be easy to calculate and apply. If it requires only the prime factors of the ratios, that should be easy, too. If it's some mixture of them, that works as

Re: accidentals for just intonation

> Harry Partch writes music that tops out at the 13th overtone, but La Monte Young has pieces with primes in the upper 300s. How does Partch notate his music? If I remember correctly he does put ratios over his notes, but I'm not sure how it works. As for La Monte Young - I don't think any of his

Re: accidentals for just intonation

From: "N. Andrew Walsh" To: lilypond-user If you've been watching the OpenLilyLib repository, you'll see that Urs has been working on a set of tools for rendering music in just intonation. He (quite modestly) says that it isn't ready for

Re: accidentals for just intonation

Am 01.12.2015 um 10:10 schrieb N. Andrew Walsh: > Hi List, > > this is a somewhat specialist request, and more of a long-term > project, but I'm hoping you nice people can help me with something I'd > like to do with Lily someday. > > If you've been watching the OpenLilyLib repository, you'll

Re: accidentals for just intonation

I have quite an interest in intonation, and my degree dissertation was based on the study of musician's reaction to just and equal tempered music, and was created using LilyPond. However, I'm not clear why you believe that accidentals in non-equal temperaments require different signs (I think

Re: accidentals for just intonation

Right then. Let me include a few files to show what I mean. The basic principle is this: the fraction that makes up a ratio in just intonation can be broken down to its prime factors, as I said in the previous message. In just intonation, this is what matters for determining harmonic

Re: accidentals for just intonation

Am 01.12.2015 um 10:45 schrieb Phil Holmes: > I have quite an interest in intonation, and my degree dissertation was > based on the study of musician's reaction to just and equal tempered > music, and was created using LilyPond. However, I'm not clear why you > believe that accidentals in

Re: accidentals for just intonation

Well, this is a much longer and different discussion, but in short: I don't intend these for non-equal temperaments, but rather music in an open system of justly-tuned ratios. So, for example, you might certainly wish to define your basic scale that way (a major scale thus being 1/1, 9/8, 5/4,

Re: accidentals for just intonation

Let me give another example of what I mean, just so you have an idea. I'm in a singing ensemble that performs music in just intonation. We have a soprano who is *terrifyingly* good at it. One of the things she does is sing a scale comprising the following harmonic ratios relative to the tonic:

Re: accidentals for just intonation

Am 01.12.2015 um 10:47 schrieb N. Andrew Walsh: > So, the just-intonation accidental engraver would be able to break > down the ratio given for a pitch into its prime factors (or expect > that they are already thus formatted), and then place the paths on the > accidental in the correct

Re: accidentals for just intonation

"N. Andrew Walsh" writes: > There's something I'd very much like to do with this, largely out of > my own (admittedly rather opinionated) view on the best means of > producing accidentals for just intonation. It seems like with notational systems that everyone has an

Re: accidentals for just intonation

"Phil Holmes" writes: > I have quite an interest in intonation, and my degree dissertation was > based on the study of musician's reaction to just and equal tempered > music, and was created using LilyPond. However, I'm not clear why you > believe that accidentals in

Re: accidentals for just intonation

On 2015-12-01 11:27, David Kastrup wrote: [...] Which explains why my default manner of tuning a guitar, namely just tuning each string to sound as I think it should in relation to the sequence of previous strings, has a good chance to end up more playable than the followup work of a "serious"

Re: accidentals for just intonation

> On Dec 1, 2015, at 5:38 AM, Urs Liska wrote: > > You have a rather small number of individual components (vertical, > horizontal and diagonal elements) that can all represented by a > postscript path. A function should be able to determine from the input > ratio which of

Re: accidentals for just intonation

These sorts of conflicts in tuning arise, as Urs pointed out, from using one note to designate two different harmonic contexts. The whole field of temperament is largely an effort to reconcile them, with varying solutions in various time periods, depending on what kind of sound was preferred (for