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Re: Feature request: 'line' articulation

From: Michael Käppler
Subject: Re: Feature request: 'line' articulation
Date: Mon, 27 Jul 2009 10:41:46 +0200
User-agent: Thunderbird (X11/20071114)

Valentin Villenave wrote:
For example, if I have understood this correctly, your snippet can't scale
the font-size according to global-staff-size at this moment.

Yes it can.
Sorry... I should have looked more carefully at this.
Also it would
be nice if LilyPond could determine the right position (above or under the
staff) automatically, like it does with other articulation scripts.

It does now (I've updated the snippet to demonstrate this).
I don't understand. What I meant was that the ^ or _ operators shouldn't
be necessary as you can type simply a4\tenuto. But the snippet doesn't
show that
If anyone can find a proper (documented) name for this "vertical line"
articulation, I think we could consider adding it to the default
LilyPond distribution.
That seems to be pretty difficult. I haven't consulted any primary
sources yet, but Nikolaus Harnoncourt collects some statements from 18th century literature in "Der musikalische Dialog. Gedanken zu Monteverdi, Bach und Mozart", pg. 155f:

Leopold Mozart, "Versuch einer gründlichen Violinschule": [Points] This means, ... that the notes have to be played not only on one bow, but ... with slight emphasis separated from one another. [Lines] If there are small lines instead of points, the bow is lifted on every note.

Johann Joachim Quantz (vermutlich "Versuch einer Anweisung, die Flute traversiere zu spielen", Harnoncourt doesn't name the source clearly): If there are lines, the notes have to be pushed [I don't know what the correct english term is - it's about tonguing] keenly and the notes may only sound half as long than they actually are. Notes with points are played with little bow and without interrupting the tone.

Up to now it sounds as if I'm completely wrong with my interpretation of "more weight". But Harnoncourt states in case of Mozart's music: "Mozart uses the stroke in two meanings: as sign of accent (like a slight sforzato), for example on long notes [printed are whole notes with strokes] (Symphony "Jupiter", KV 551, Finale, measure 233ff.) or on the first note on repeated tones or if some notes shall be emphasized. [printed are four 8th notes with strokes on the 2nd an 4th] (Gran Partita KV 370a, finale movement, measures 18 and 22) Such accent strokes are normally drawed powerful, one sees clearly the pressure the note shall played with. It has to be mentioned, that in Mozart's time the later well-known accent symbol > wasn't known and also other componists used similar symbols. The second meaning of the stroke is completely different: as sign for a strong shortening and great lightness.

For further confusion, I had a talk with Ludger Remy one year ago, who i s a well known German expert for 17th/18th century music. He said that in french music the strokes can mean that the baroque hierarchy of accents is abolished. Therfore every note is stressed similarly.

I think we won't find a term for this which is used throughout 18th century music literature in a similar matter. Let's just call it "stroke"?

A better explanation for the LSR could be: "This short vertical line placed above the note is commonly used in baroque music. It's meaning can vary, e.g. it may indicate a slight accent, a strong shortening or that all notes with those lines shall be stressed similarly. The following example ..."


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