Re: Tuplet number direction

[David Wright]

On Fri 15 Apr 2016 at 10:23:55 (+0200), David Kastrup wrote:
> "Phil Holmes" <address@hidden> writes:
> > ----- Original Message ----- 
> > From: "David Kastrup" <address@hidden>
> > Sent: Friday, April 15, 2016 8:04 AM
> >> Simon Albrecht <address@hidden> writes:
> >>> On 15.04.2016 00:51, Thomas Morley wrote:
> >>>> (1) The TupletNumbers are always inside the bow, I coded no
> >>>> possibility to print the Number cutting the bow.
> >>>> I maybe add it later.
> >>>> (2) What to do at line-break?
> >>>
> >>> Wouldn’t it better do disallow line-breaks during tuplets
> >>> (i.e. \override TupletBracket.breakable = ##f – if that has an
> >>> effect), or at least ignore such situations for this particular style?
> >>> Clearly, there are situations where it would be better or even
> >>> necessary to break tuplets, but I don’t think such situations occur
> >>> before 1900,
> >>
> >> Josquin des Prez?  I've sung some Missa from him with wildly augmented
> >> triplets crossing a number of bars.  Timing them accurately took some
> >> math because at that speed there was no natural flow any more really.
> >>
> >> That would be early 16th century.
> 
> > Wouldn't have been notated like that in those days - they would have
> > used coloratio.
> 
> So?  Modern practices of printing Renaissance music are different from
> contemporary practices.  They are still different from modern practices
> of printing Classic music.
> 
> > So to notate it for singers today, you could do it any way that you
> > choose to make it look sensible.
> 
> Which would usually involve triplet brackets rather than hacking this
> into partial note values at measure boundaries.  Which is how it was
> done in the score I have been singing this from.

Surely only two bars for each triplet, with three instances
(naturally, because three was the whole point of the exercise).
The triplets don't add any complications that aren't present
already, ie if you want add barlines, you will get partial notes
requiring ties all over.

If I were typesetting it myself for amateur performers in church, say,
I'd probably write the triplets out as performed, ie 3 2 3 3 2 3 3 2 3
beats for each note, which ensures the sopranos are back together at
"simul" (excuse the pun, but hey, maybe that was also intended as part
of Josquin's conceit).

Cheers,
David.