Re: For future 2.14 doc discussion -- increasingly realistic musical examples

[Trevor Bača]

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
> though):
> -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?


Hi Valentin,

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 ...
 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Contemporary-notation#Contemporary-notation

... directly.


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 ...



-- 
Trevor Bača
address@hidden