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Re: For future 2.14 doc discussion -- increasingly realistic musical exa
Re: For future 2.14 doc discussion -- increasingly realistic musical examples
Sun, 2 Sep 2007 09:48:26 -0500
On 9/2/07, Valentin Villenave <address@hidden> wrote:
> 2007/8/31, Trevor Bača <address@hidden>:
> > In fact, glancing at the manual sections now, it looks like chapter 8
> > is as good a place to start as any. I'll take a stab at 8.1.1 through
> > 8.1.11 tomorrow, probably skipping over 8.1.7 ...
> Hi Trevor, hi everybody,
> I've just seen the examples in 8.4.1 and I'm thinking about two
> excellent examples for polymetric notation (not very contemporary
> -Mozart's Don Giovanni (the Act 1 Finale, when there are three
> instrument groups on stage, each one playing a different Minuetto with
> different time signatures...), to replace the second example;
> -Chopin's posthumous C-sharp minor Nocturne for piano, where the right
> hand is in 3/4 and the left hand in 4/4 (but the barlines are
> synchronized), to replace the third example.
> Both are *very* simple and short examples (and very beautiful music too).
> How about that?
I think what Graham's wanting to try out to get started is a beautiful
example per major *section* of the manual rather than per minor
*subsection*. So rather than one "illuminated" (in the medieval sense
;-) example for each of 8.4.1, 8.4.2, etc, just an example for 8.4
"Contemporary notation" as a whole, with the goal that the 8.4 example
would live on ...
So with that in mind I've started thinking more about "what one
snippet would best show off contemporary notation as a whole" rather
than "what snippet would show off polymetric notation", etc.
(And I love the Chopin c-sharp ... what great music. It's funny
becuase I was just looking, on Friday, at a Michael Finnissy piece set
up much the same way in 3/4 in the top and 4/4 in the bottom, except
with the barlines *not* synchronized (except every 12 beats). I
suppose the pattern has been around for some time ... ;-)
Incidentally, for 8.1 "Text" I'm thinking, of all things, of a
trilingual footnote in a 1935 edition of the Schnabel version of the
Beethoven piano sonatas. His notes are so detailed and so beautiful
(if also very idiomatic!) -- he'll pull out a single ornament in the
main score, make a footnote, and then place the footnote text at the
bottom of the page face-en-face between English, French and German,
with some snippet on how to execute an ornament in between! Great use
of text and music ... probably more idiomatic for lilypond-book than
regular lilypond, but I think I'm going to try ...