Re: seeking tips for transcribing a modernist score

[Justin Glenn Smith]

Thanks for your suggestions, they should help me quite a bit.

On 05/05/2012 07:07 AM, address@hidden wrote:
> On 4 mai 2012, at 19:45, Justin Glenn Smith wrote:
>
> > As a personal exercise I am attempting to reproduce a printed score from an 
> > ex-teacher. I have encountered a few difficulties for which I would appreciate 
> > suggestions.
> >
> > Notes have an explicit accidental even for natural (similar to the dodecaphonic 
> > accidentals style), but only for their first use in each measure (this is 
> > actually a style I have seen in other places too, for example a Xenakis String 
> > quartet I was studying). I looked at the scheme code for defining accidental 
> > styles (I have programmed in scheme before), but I figured I would ask here for 
> > tips or on the off chance someone has already defined this before attempting to 
> > define a new accidental style. Of course I can continue using ! to force 
> > naturals as appropriate, so this is a low priority issue (more an annoyance in 
> > a large score than anything else).
>
> This is a bit thorny...you have to code it yourself.  Check out 
> scm/music-functions.scm for inspiration.
>
> > I am having problems with a single measure in 8/6 time. Lilypond complains that it is a 
> > strange time signature (which it indeed is), and I cannot get a bar check to work 
> > properly (I am doing bar checks for every measure and bar number checks for each numbered 
> > bar to help make sure I am following the written score). In other cases where the bar 
> > check did not work (where a "whole note" rest meant a whole measure regardless 
> > of measure length, or a measure had a missing beat) I would use s (invisible notes) in 
> > order to duplicate the appearance of the original score (never sure whether the issue was 
> > an error or an idiom /experiment of some sort that is unfamiliar to me). Is there a way 
> > to do 8/6 without nesting it in \cadenzaOn and \cadenzaOff commands?
>
> If you don't have notes that end at the end of the measure, the bar check will 
> fail, but otherwise it will succeed.
>
> {
>    \time 41/42
>    \repeat unfold 40 { b1*41/42 | }
> }

I was trying every combination of dotted rests and subdivision of rests but not 
getting anything that lilypond thought was a real bar (not to mention the 
actual notation I was working from). The * trick looks useful, thanks.
 
> If you want to scale values into a bar, you can use the technique shown above.
>
> > Relatedly, there is a rest notated as a half rest with the number 5 above it and the 
> > number 6 below it, which seems from context does indeed seem to be a rest of 5 "6th 
> > notes" - I am assuming I just need to directly tell lilypond to display the symbols 
> > using markup commands and use either candenza or s invisible notes to make the measure 
> > work? If I had written the score I would have just done a tempo change (which seems much 
> > more sane), but I am attempting to recreate an existing document.
>
> I'm not exactly sure what you mean here.  A picture is worth a thousand words, 
> though - if I see it, I can give you better information.
>
> Cheers,
> MS

attached is a photo of the bizarre measure in question (it also shows my follow 
up question, the pair of triplets containing a note that is a member of both 
triplets)

8-6-measure.jpg
Description: JPEG image