Am 26.03.2015 um 20:59 schrieb Ralph D. Jeffords:
Peter, My "strange" example
of tuplets using neither "Math Rule" nor "Nearness Rule"
will be clarified if I show the context. Here is that
context from a part of the piece I wrote for solo bassoon:
\version "2.18.2"
\language "english"
\score {
\relative c' {
\partial 4
\clef "bass"
\key af \major
c,,8( { \tuplet 5/2 { g'16 c ef g c) } }
|
ef4\fermata
\tuplet 3/2 { df8 ef df }
\tuplet 3/2 { c df c }
\afterGrace bf4 \startTrillSpan { a32 bf \stopTrillSpan }
|
af,8-.[ c'-.
bf-. g,-.]
f-.[ af'-.
g-. ef,-.]
|
df8( { \tuplet 7/2 { f16 bf df f bf df f~) } }
f4~\fermata
\tuplet 3/2 { f8 ef( f }
\tuplet 3/2 { g16[ af g } f16 g])
|
} %relative
\layout { }
\midi { }
} %score
My point is that in this context, the 5/2 and 7/2
tuplets seem more elegant than if you followed the "Math
Rule" using 5/4 and 7/4, and that the player would not be
confused when playing the score. These two tuplets are the
only ones in this section and the triple beams (required by
"Math Rule") look rather messy by comparison. Even messier
is the "Nearness Rule" giving 7/8 for the septuplet with a
quaduple beam.
Interesting that you perceive it
that way. Certainly, it looks less ‘impressive’. :-)
Personally, I’d probably prefer following the Nearness Rule here.
But, you see, for that reason it’s good that Lily gives us the
freedom to choose ourselves.
Yours, Simon
In fact, a music jock college friend at the time (36
years ago) recopied my "chicken scratches" of the autograph
and used precisely the 5/2 and 7/2 notation for the
quintuplet and septuplet---I didn't even notice when I was
engraving the LilyPond version from his hand-written score.
It was only later that I realized that the 5/2 and 7/2
tuplets did not follow the "Math Rule." Food for thought.
----- Original Message -----
Sent: Thursday, March 26,
2015 9:40 AM
Subject: Re: Implementation
of \tuplet allow both incorrect and correct musical
expressions
On 2015-03-26 10:53, Simon Albrecht
wrote:
The
essay
on writing readable tuplets was quite interesting.
From the context I assume you're referring to my post about
tuplets on the LilyPond blog: http://lilypondblog.org/2014/09/how-to-write-readable-tuplets/.
I'm really glad you found it interesting!
The
documentation mentions nothing about the intricacies of using
tuplets---why isn't there a link to this article from the
section 2.1.7 of the Learning Manual where tuplets are first
discussed?
Even before I read the essay I had some second thoughts that
\tuplet 7/4 { c16 ... } might be clearer to the player if
annotated as \tuplet 7/8 { c32 ... } since 7 is closer to 8
than to 4 (i.e., I anticipated the "Nearness Rule").
I
also found that certain arpeggios which appeared in a
bassoon composition of mine ( I just downloaded LilyPond about
10 days ago, knowing nothing about it before, and learned
enough of the basics to engrave that composition)
Welcome as a LilyPond user!
[The
arpeggios] seem easier to read if the notes are nominal 16ths
rather than following the "Mathematical Rule:"
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } }
So definitely there is a need for flexibility in using
tuplets.
My main point in the text is that the flexibility of LilyPond
has to be used with care not to make the tuplets unnecessarily
obscure.
Your example above seems strange to me. Compare this:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } c8 d2 s8 }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } f8
d2 s8 }
with this:
{ c,,8( \tuplet 5/4 { g'16 c ef g c ) } c8 d2 }
{ df8( \tuplet 7/4 { f16 bf df f bf df f~) } f8
d2 }
When placing five (5) and seven (7) 16ths over two (2) 16ths it
seems to me that you end up with an excessive 8th compared to
what one expects from reading the notation.
I am definitely impressed with LilyPond's capabilities and the
input language (I was a heavy user of LaTeX in my life before
retirement, so I am a fan of WYSIWYM tools).
Sincerely,
Ralph D. Jeffords
P.S. A bit about myself: I was a Research Computer Scientist
before I retired, but I'm also a bassoonist and even play the
piano a bit (my mother was a piano teacher).
Best
Peter
|