Re: mixing notehead styles in chords

[Tao Cumplido]

Hi,

just a minor suggestion. 'h' is already a taken name in deutsch.ly, so everyone 
who uses German note names couldn't use your function.
I also learned this just recently.

Regards,

Tao

-------- Original-Nachricht --------
> Datum: Tue, 24 Mar 2009 14:40:55 -0700
> Von: Kees van den Doel <address@hidden>
> An: Steve Yegge <address@hidden>
> CC: address@hidden
> Betreff: Re: mixing notehead styles in chords

> Does this do the job?
> 
> h = #(define-music-function (parser location note) (ly:music?)
>   (set!
>    (ly:music-property note 'tweaks)
>    (acons 'style 'cross
>    (ly:music-property note 'tweaks)))
>   note) 
> 
>   \relative c' {
>       <a-0 e'-2 a-3 c-1 e-0>8
>       <a \h e' \h a \h c e>
>       <a e' a c e>
>       <a \h e' \h a \h c e>
> 
>       <a e' a c e>
>       <a \h e' \h a \h c e>
>       <a e' a c e>
>       <a \h e' \h a \h c e>
>     }
> 
> Kees
> ----- Original Message -----
> From: Steve Yegge <address@hidden>
> Date: Monday, March 23, 2009 9:13 pm
> Subject: mixing notehead styles in chords
> To: address@hidden
> 
> > Hello,
> > 
> > In flamenco and bossa-nova guitar music it is quite
> > common to damp some (but not all) strings with the
> > left hand while strumming.  The standard notation for
> > this is to have cross-noteheads on the damped strings
> > and normal noteheads on the strings that should ring.
> > 
> > Lilypond makes it extremely tedious to deal with this
> > relatively common situation.  It's easy to have the entire
> > chord drawn with x-noteheads, but much more difficult
> > to get only some of the notes to have x-noteheads.
> > 
> > For instance, let's say we're notating the strumming of
> > eighth-note open A-minor chords, like so:
> > 
> >     \relative c' {
> >       <a-0 e'-2 a-3 c-1 e-0>8
> >       
> >       
> >       
> > 
> >       
> >       
> >       
> >       
> >     }
> > 
> > 
> > So far the music only needs one voice, and it prints in
> > an easy-to-read (for guitarists) stacked notation, with one
> > stem per chord.
> > 
> > But let's say we want every other chord to be partly
> > damped:  strings 2, 3 and 4 have x-noteheads, and
> > strings 1 and 5 have normal noteheads.  We don't want
> > any other visible changes to the print representation --
> > in particular, this is not polyphonic music, so we don't
> > want up- and down- stems in the same measure, nor
> > notes from any given chord to be horizontally shifted.
> > We just want every other chord to have its middle three
> > noteheads be crosses.
> > 
> > The only way to accomplish this, as far as I can tell,
> > requires many manual steps for each measure:
> >   - split the music expression into two voices
> >   - copy the chords into the second voice
> >   - delete all the normal-notehead notes from one voice
> >   - delete the cross-notehead notes from the other voice
> >   - make the stems and beams in the top voice invisible
> >   - turn off note-column collision warnings
> >   - in some cases, hack the stem #'length-fraction so
> >     that the beam from the lower voice clears the 
> > higher.
> > Doing this for the measure above, we get
> > 
> >   <<
> >     \relative c' {
> >       \override Stem #'transparent = ##t
> >       \override Beam #'transparent = ##t
> >       \override NoteColumn #'ignore-
> > collision = ##t
> >       <e-2 a-3 c-1>8
> >       \override NoteHead #'style = #'cross
> >       <e a c>
> >       \revert NoteHead #'style
> >       <e a c>
> >       \override NoteHead #'style = #'cross
> >       <e a c>
> > 
> >       \revert NoteHead #'style
> >       <e a c>
> >       \override NoteHead #'style = #'cross
> >       <e a c>
> >       \revert NoteHead #'style
> >       <e a c>
> >       \override NoteHead #'style = #'cross
> >       <e a c>
> >       \revert NoteHead #'style
> >     } \\
> >     \relative c' {
> >       \stemUp
> >       <a-0 e''-0>8   
> >          
> >     }
> >   >>
> > 
> > This is somewhat labor-intensive, and annoying to read
> > (although it can be mitigated a bit with macros).  But the
> > real problems have only just begun.  Now that it's been split
> > into two voices, everything you add to the staff begins to
> > have layout issues.  Take a look at the fingerings in the two
> > measures above.  In the one-voice version, the fingerings
> > line up nicely, with three above the staff and two below.
> > In the two-voice version, most of the fingerings overlap
> > with other entities, rendering them unreadable.
> > 
> > You'll run into the same kinds of issues with every kind of
> > annotation, from string numbers and right hand fingerings
> > through accent marks and TextSpanners.  The hack to
> > split the chords into multiple voices wreaks havoc with
> > the layout engine as we add more information to the staff.
> > 
> > We could fix this problem by adding another special-case
> > similar to \harmonic for cross-noteheads.  But I have a
> > sneaking feeling it wouldn't be the last such special case.
> > 
> > It seems like a better solution would be to provide syntax
> > support for overriding individual noteheads within a chord
> > to be arbitrary glyphs or stencils -- whatever you can do
> > with noteheads outside of chords, basically.
> > 
> > But I'd take the hack, for now!  I'm transcribing a piece
> > that has many of these partly-damped chords, and I'd love
> > to have a way to annotate them properly.
> > 
> > Thanks,
> > 
> > -steve
> > 
> > p.s. Thank you for this awesome system, by the way.
> > 
> 
> 
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