Re: automatic bar marks possible for ie, 28/4 ?

[Hans Aberg]

On 30 Jan 2007, at 15:29, Adam Good wrote:

> Well honestly I'm confused by what you mean, I've not heard the  
> term "subaccenting" before.

For example, take a simple 2/4-time, the first 1/4 note should have a  
primary accent, and the second 1/4 note, a secondary accent. In  
general, a measure bar indicates that the note following should have  
a primary accent.

You can see some more complex examples at
  http://en.wikipedia.org/wiki/Bulgarian_dances

> I can show you exactly what I'm going for here:
> http://www.adamgood.com/turkish_nota/piece.php?id=596

If this is the notation of the composer, you perhaps must follow it.  
But it could also be the notation of somebody else.

Hindemith, "Elementary Training for Musicians", p. 136, suggests that  
one may use a dashed barline, like  U+1d104
  http://www.unicode.org/charts/PDF/U1D100.pdf

> note time sig of 28/4 where barlines are drawn every 6, 4, 4, 6, 4,  
> 4  beats. simply, the structure of the rhythm is broken up into  
> these groupings...percussionist plays for this cycle the well-known  
> pattern (known as "Devr-i Kebir") that is set in stone and can be  
> thought of "a bar of 6, a bar of 4, a bar of 4...etc = 28"
>
> thanks for any ideas you can give me

So if this is the traditional way to notate it, you perhaps must  
follow it (I am not familiar with the rhythm). But it can also be  
written as 6/4 + 4/4 + 4/4, using those dotted barlines, then.  
Strictly speaking, I think this latter notation implies that the two  
4/4 should start with an accent weaker than the 6/4. But if this is a  
regular meter pattern, this may be how it is actually performed (I  
would have to listen to a performance to know).

I include an example for a Sedi Donka, which is written in (7+7+11)/ 
16, where 7=3+2+2, and 11=2+2+3+2+2 or 4 +3+4.

  Hans Aberg


---- SediDonka.ly ----
%{
LilyPond Test
%}

%{
\paper {
  #(define dump-extents #t)

  linewidth = 160\mm - 2.0 * 0.4\in
  raggedright = ##t
  indent = 0\mm
}

\layout {

}
%}


\header{
  title = "Sedi Donka (Horo)"
  composer = "Traditional"
}

  barlines = { \repeat unfold 8 {s16*7 \bar ":" s16*7 \bar ":"  
s16*11 | } }

\score {
\new Staff <<
  \barlines
\relative {
  \tempo 4 = 144
  \key e \minor
  \time 25/16
  #(override-auto-beam-setting '(end * * 25 16)  3 16)
  #(override-auto-beam-setting '(end * * 25 16)  7 16)
  #(override-auto-beam-setting '(end * * 25 16) 10 16)
  #(override-auto-beam-setting '(end * * 25 16) 14 16)
  #(override-auto-beam-setting '(end * * 25 16) 18 16)
  #(override-auto-beam-setting '(end * * 25 16) 21 16)
  \repeat volta 2 {
    g'16( fis g)  a8\prall a16( d,)   g16( fis g)  a8\prall a16( d,)
      fis16( g a b)  c( b d)  c8\prall c16( b) |
    g16( fis g)  a8\prall a16( d,)   g16( fis g)  a8\prall a16( d,)
      c'16( a) b( g)   a8\prall( d16)  a8 a |
  }
  \repeat volta 2 {
    g16( a b)  c( g) d'( g,)   c8\prall( g16)  c( g) d'( g,)
      b16( g) (b g)  a8.  \acciaccatura  c d4 |
    g,16( a b)  c( g) d'( g,)   c8\prall( g16)  c( g) d'( g,)
      b16( a) b( g)  a8\prall( d16)  a8 a |
  }
  \repeat volta 2 {
    a16( b) b  b8 b   a16( b) b  b8 b
      a16( g fis g)  a( b e,)  b'4 |
    a16( b) b  b8 b   a16( b) b  b8 b
      a16( g fis g)  e8.  e4 |
  }
  \repeat volta 2 {
    d16( e fis)  g8 g   g16( fis e)  fis8 fis
      d8 d  \acciaccatura g a8.  a4 |
    d,16( e fis)  g8 g   g16( fis e)  fis8 fis
      d8 e  e8.  e4 |
  }
}
%{
\chords {
  b4:7 b8.:7  b4:7 b8.:7  b4:7 b8.:7  b4:7 b8.:7
  a4:7 b8.:7  a4:7 b8.:7  b4:7 b8.:7  b4:7 b8.:7 }
%}
>>



}

\version "2.7.2"  % necessary for upgrading to future LilyPond versions.

--------