Re: If Dorico had Dorico...
Posted: 14 Jul 2020, 16:29
Ben, that's beautiful and fascinating.
Wow, absolutely beautiful! No comment!benwiggy wrote: ↑14 Jul 2020, 16:25 Finally had time to finish all six parts of this Palestrina motet, each as a separate page, and I've applied a slight tint to the 'paper'.
There's only two places in all where I haven't quite matched his original line breaks: mostly problems due to the modern innovation of putting lyrics actually under the right syllable.
Some questions: why not keeping the double key signature? Why not keeping the stem direction? And the staff size? Are they personal choices?
Code: Select all
\version "2.20.0"
%%%%%%%%%%%%%%%%%%%% Settings: %%%%%%%%%%%%%%%%
#(ly:font-config-add-font "GoudyIni.ttf")
#(set-global-staff-size 33)
\pointAndClickOff
%% Surpress unwanted warnings:
#(define (suppress message x)
(let loop ((c x))
(if (> c 0)
(begin
(ly:expect-warning message)
(loop (1- c))))))
#(suppress "Stem dir must be up or down." 26)
\paper {
page-count = 1
left-margin = 15
right-margin = 12
bottom-margin = 10
oddHeaderMarkup = \markup
\with-dimensions-from \null
\with-color #(x11-color 'AntiqueWhite)
\filled-box #'(-10 . 70) #'(-100 . 10) #0
}
brk = {
\once\override Staff.Custos.X-offset = #-1
\once\override Staff.Custos.extra-offset = #'(-1 . 0)
\bar "" \break
}
ftOn = {
\revert LyricText.font-shape
\override LyricText.font-name = #"Goudy Old Style"
\override LyricText.font-size = #-2
}
ftOff = {
\revert LyricText.font-name
\override LyricText.font-size = #-3.5
\override LyricText.font-shape = #'italic
}
\layout {
\context {
\Score
\override BarLine.hair-thickness = #3
\override BarLine.bar-extent = #'(-2.5 . 2.5)
}
\context {
\Staff
\consists Custos_engraver
\override Custos.style = #'mensural
\override Custos.neutral-position = 10
\override KeySignature.flat-positions = #'((-7 . 6))
\override KeySignature. glyph-name-alist = #'((-1/2 . "accidentals.hufnagelM1"))
\override KeySignature.space-alist.time-signature = #'(extra-space . 1)
\override KeySignature.space-alist.staff-bar = #'(extra-space . 0)
\override KeySignature.space-alist.first-note = #'(fixed-space . 0)
\override TimeSignature.style = #'mensural
\override TimeSignature.space-alist.first-note = #'(fixed-space . 0)
\override Clef.space-alist.key-signature = #'(minimum-space . 2)
}
\context {
\Voice
\override NoteHead.style = #'petrucci
\override Rest.style = #'mensural
\override Stem.neutral-direction = #'()
}
}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%% The music:
chant = \fixed c' {
\clef "petrucci-c2"
\key d\minor
\time 2/2
\cadenzaOn
r\longa r\longa r\breve r1
a\breve g1 a bes g c'2. bes4 a2 g f e d1 e f1. 2 a1 c'1 \brk
bes2. a4 g2 2 f1 a f\breve f r\longa r1 g2\rest
a2. f4 g2 a4 g f e d c f1 e2 f1 r\breve g2\rest a2. e4 f2 \brk
g2. f4 e d e2 c d c e f d g\rest a2. f4 g2 a4 g f e d2 bes a f1 e2
f\breve r1 g2\rest g2 a2. 4 \brk
1 r g2\rest g2 a2. 4 1 2 2 bes1 g2. f4 e d e1 c2 g1 a g2\rest
a c'\breve 1 g2\rest f g bes \brk
a4 g f e f1 d2. e4 f2 e g1. e2 r1 r\breve r2
d e g f2. e4 d c bes,2 c g, d1 2. e4 \brk
f4 c f1 e4 d e1 f\breve r\longa r\breve r1 r2 f f
bes2. a4 2 g f g1 2 c'1 2 \breve bes2 f2. g4 a2 \brk
d1 f1 2 2. g4 a2 d1 f1 \breve r\longa r\breve g2\rest
c'2. bes4 a g a2 f1 g2. f4 e d e2 f2. e4 d c d1 c \brk
c'2. bes4 a g a1 f bes a2 g\rest c'2. bes4 a g a1 f2
bes2. a4 g f g1 a4 g f e f2 g1 f e2 f\longa
\override Score.BarLine.extra-offset = #'(-.2 . 0) \bar "|"
}
verba = \lyricmode {
\ftOn
Dum com -- ple -- ren -- tur di -- _ _ es pen -- te -- co -- stes
e -- rant om -- nes pa -- _ _ ri -- ter di -- cen -- tes,
al -- le -- lu ia, __ _ _ _ _ _ _ _ _
al -- le -- lu -- ia, __ _ _ _ _ _ _ _ _ _ _
al -- le -- lu -- ia, __ _ _ _ _
\ftOff
[al -- le -- lu -- _ ia,]
\ftOn
et su -- bi -- to, et su -- bi -- to,
fa -- ctus est so -- _ _ _ _ nus, so -- nus de cae -- lo,
al -- le -- lu -- ia, __ _ _ _ _
\ftOff
al -- le -- _ lu -- _ ia,
\ftOn
al -- le -- lu -- ia, __ _ _ _ _ _ _
al -- le -- _ _ _ _ lu -- _ _ ia,
tam -- quam spi -- ri -- tus ve -- he -- men -- tis,
et re -- ple -- vit -- to -- _ _ tam
do -- mum, to -- _ _ tam do -- mum, al -- _ _ _ _ le --
lu -- _ _ _ _ _ _ _ _ _ ia,
al -- _ _ _ _ le -- lu -- ia,
al -- _ _ _ _ le -- lu -- _ _ _ _ ia, __ _ _ _ _
al -- le -- lu -- ia.
}
%%% The score:
\header {
title = \markup
\fontsize #-2
\override #'(font-name . "Goudy Old Style")
"DUM COMPLERENTUR DIES PENTECOSTES"
composer = \markup
\override #'(font-name . "Goudy Old Style")
\override #'(baseline-skip . 2.2)
\fontsize #-4
\right-column { "IO. PETRI ALOYSII" "PRÆNESTINI" }
piece = \markup
\override #'(font-name . "Goudy Old Style")
\fontsize #-3 "S E X T U S"
tagline = ""
}
\score {
<<
\new Voice = "melody" \chant
\new Lyrics \lyricsto "melody" \verba
>>
\layout {
indent = 26
\context {
\Staff
instrumentName = \markup
\override #'(font-name . "Goudy Initialen")
\fontsize #13 "D"
}
}
}
Okbenwiggy wrote: ↑17 Jul 2020, 07:37[...] Well, yes, I could have matched the paper size, and staff size, and various other details. I haven't done ligatures, either. Some of the glyphs in my font don't really match.
I didn't really plan to make a facsimile, but just a little bit of fun of how to approach that style of notation using software that's designed for totally rules of notation. [...]
Ben, would you consider the double key signature as a mistake?