Three different types of Nancarrowesque acceleration notated

[mclaren]

For the sake of completeness, here are all three types of acceleration used
by Conlon Nancarrow. Here they're notated exactly, while Nancarrow typically
punched holes in a player piano roll to get his accelerations. These aren't
exactly the same as Nancarrow's acceleration, because he used accelerations
like 1% and 2%. That works out to tuplets like 100:99 and 100:98, which,
when nested, crash Lilypond with usual Exited with error-107blah blah blah. 

So we can't get exactly the same accelerations Nancarrow used by using
Lilypond, but we can get somewhere in the general ballpark by using
different values for the nested tuplet fractions. 

The odd-looking tied notes on the third staff are subtractive accelerations.
You start with a large note value like a quarter and successively subtract a
much smaller value from it, usually 1/32 note or 1/64 note. The subtractive
accelerations accelerate much faster than the nested tuplet accelerations. 

<http://lilypond.1069038.n5.nabble.com/file/n196324/EXAMPLE_35-Aacceleration_%2Bspeedup_%26_slowdown_against_2_different_regular_meters.gif>
 

Here's the Lilypond code:

\version "2.18.2"

\header { 
  tagline = ""  % removed 
}
indent=0

\layout {
  % Create time signature context
  % Source: http://lsr.di.unimi.it/LSR/Snippet?id=272
  % (modified)
  \context {
    \type Engraver_group
    % Add elements that _can_ be printed
    \consists "Timing_translator"
    \consists "Time_signature_engraver"
    \consists "Axis_group_engraver"
    \name "TimeLine"
    \alias "Staff"
    
    % Align time signatures on barlines
    \override TimeSignature.X-offset =
      #ly:self-alignment-interface::x-aligned-on-self
    \override TimeSignature.self-alignment-X = #CENTER
  }
  \context {
    \Score
    \accepts "TimeLine"
    \remove "Timing_translator"
    \remove "Default_bar_line_engraver"
    \override TupletNumber.text = #tuplet-number::calc-fraction-text
  }
  \context {
    \Staff
    \consists "Timing_translator"
    \remove "Default_bar_line_engraver"
    \remove "Time_signature_engraver"
   
  }
}  
<<
             


\new Staff { \clef "treble"
    \tuplet 9/10 {       
             
{
 r2 b'2
 
{\tuplet 3/2 {a'4 \tuplet 4/3 {b'4\tuplet 6/5 {e''4 \tuplet 9/8 {f''4
\tuplet 4/3 {d''4 \tuplet 5/4 {c''4  \tuplet 7/6 {d''4 \tuplet 10/9 {a''4
\tuplet 5/4 {b''4 \tuplet 6/5 {c'''4 \tuplet 8/7 {d'''4 \tuplet 11/10 {e'''4
\tuplet 6/5 {b'''4 \tuplet 7/6 {a'''4 \tuplet 9/8 {d''''4 \tuplet 12/11
{e''''4 \tuplet 7/6 {f''''4 \tuplet 8/7 {a''''4 \tuplet 10/9 {g''''4\tuplet
13/12 {g''''4 \tuplet 8/7 {a''''4 \tuplet 9/8 {b''''4 \tuplet 11/10 {c'''''4
\tuplet 14/13 {d'''''4}}}}}}}}}}}}}}}}}}}}}}}}}
}
}
}
\new Staff {  \clef "treble"
\tuplet 31/22
          
             
{
 b2
{\tuplet 3/2 {a4 \tuplet 4/3 {b4\tuplet 6/5 {e'4 \tuplet 9/8 {f'4 \tuplet
8/9 {d'4 \tuplet 5/6 {c'4  \tuplet 3/4 {d'4 \tuplet 2/3 a'4}}}}}}}}
 b2
{\tuplet 3/2 {a4 \tuplet 4/3 {b4\tuplet 6/5 {e'4 \tuplet 9/8 {f'4 \tuplet
8/9 {d'4 \tuplet 5/6 {c'4  \tuplet 3/4 {d'4 \tuplet 2/3 a'4}}}}}}}}

}

}

\new Staff {  \clef "bass"
              \relative c
{
 r8 \tuplet 23/22 {{c4}  {c8.~c32~c64}   {c8.~c32}   {c8.~c64}   {c8.}
{c8~c32~c64}   {c8[~c32]}  {c8[~c64]}  {c8}   {c16.. }   {c16.}   
{c16[~c64]} {c16}  {c32.}  {c32}  {c64}}

}

}
\new Staff {  \clef "bass"
\time 8/8
\relative c,
\tuplet 19/10
{
\tuplet 53/50  
{r8 d8[ e f d c d a]}
\relative c,
\tuplet 31/32
{r8 d8[ e f d c d b]}
\relative c,
\tuplet 11/12
{r8 d8[ e f d c d b]}
\relative c,
\tuplet 3/4
{r8 d8[ e f d c d b]}
}
}
>>



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Three-different-types-of-Nancarrowesque-acceleration-notated-tp196324.html
Sent from the User mailing list archive at Nabble.com.