Griffschrift: Unterschied zwischen den Versionen

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K (Score for diatonic accordion)
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3. For each pull- or push-part translate the piano notes to the according tabulature representation.
 
3. For each pull- or push-part translate the piano notes to the according tabulature representation.
 +
 +
===Code===
 +
{{Scode}}<pre>\version "2.19.49"
 +
verse = \lyricmode { Wie gross bist du! Wie gross bist du! }
 +
 +
harmonies = \new ChordNames \chordmode {
 +
  \germanChords
 +
  \set chordChanges = ##t
 +
  bes8 bes8 bes8
 +
  es2 f
 +
  bes1
 +
}
 +
 +
NoStem = { \hide Stem }
 +
NoNoteHead = \hide NoteHead
 +
ZeroBeam = \override Beam.positions = #'(0 . 0)
 +
 +
staffTabLine = \new Staff \with {
 +
  \remove "Time_signature_engraver"
 +
  \remove "Clef_engraver"
 +
} {
 +
  \override Staff.StaffSymbol.line-positions = #'(0)
 +
  % Shows one horizontal line. The vertical line
 +
  %  (simulating a bar-line) is simulated with a gridline
 +
  \set Staff.midiInstrument = #"choir aahs"
 +
  \key c \major
 +
  \relative c''
 +
  {
 +
    % disable the following line to see the noteheads while writing the song
 +
    \NoNoteHead
 +
    \override NoteHead.no-ledgers = ##t
 +
 +
    % The beam between 8th-notes is used to draw the push-line
 +
    %How to fast write the push-lines:
 +
    %  1. write repeatedly 'c c c c c c c c |' for the whole length of the song
 +
    %  2. uncomment the line \NoNoteHead
 +
    %  3. compile
 +
    %  4. Mark the positions on which push/pull changes.
 +
    %    In the score-picture click on the position
 +
    %        the push- or pull-part starts
 +
    %          (on the noteHead, the cursor will change to a hand-icon).
 +
    %    The cursor in the source code will jump just at this position.
 +
    %  a) If a push-part starts there, replace the 'c' by an 'e['
 +
    %  b) If a pull-part starts there, replace the 'c' by an 's'
 +
    %  5. Switch into 'overwrite-mode' by pressing the 'ins' key.
 +
    %  6. For the pull-parts overwrite the 'c' with 's'
 +
    %  7. For every push-part replace the last 'c' with 'e]'
 +
    %        8. Switch into 'insert-mode' again
 +
    %  9. At last it should look like e.g.
 +
    %        (s s e[ c | c c c c c c c c | c c c c c c e] s s)
 +
    % 10. re-enable the line \NoNoteHead
 +
    \autoBeamOff
 +
    \ZeroBeam
 +
    s8 s s e[ c c c c c c e] | s s s s s
 +
  }
 +
}
 +
 +
% Accordion melody in tabulator score
 +
% 1. Place a copy of the piano melody below
 +
% 2. Separate piano melody into pull- and push-parts
 +
%      according to the staffTabLine you've already made
 +
% 3. For each line: Double the line. Remark the 1st one
 +
%      (Keeps unchanged as reference) and then change the second
 +
%      line using the transformation paper
 +
%    or the macros 'conv2diaton push.bsh' and 'conv2diaton pull.bsh'
 +
% Tips:
 +
% - In jEdit Search & Replace mark the Option 'Keep Dialog'
 +
 +
AccordionTabTwoCBesDur = {
 +
  % pull 1
 +
  %<f' bes'>8 <f' a'>8 <d' bes'>8 |
 +
  <g'' a''>8 <g'' b''>8 <e'' a''>8 |
 +
  % push 2
 +
  %<g' c''>4 <f' d''> <g' ees''> <f' a'> |
 +
  <g'' a''>4 <d'' eisis''> <g'' bisis''> <d'' f''> |
 +
  % pull 3
 +
  % <f' bes'>2 r8 }
 +
  <g'' a''>2 r8 }
 +
 +
AccordionTab= { \dynamicUp
 +
  % 1. Place a copy of the piano melody above
 +
  % 2. Separate piano melody into pull- and push-parts
 +
  %      according to the staffTabLine you've already made
 +
  % 3. For each line: Double the line. Remark the 1st one
 +
  %      (Keeps unchanged as reference) and then
 +
  %      change the second line using the transformation paper
 +
  % Tips:
 +
  % - In jEdit Search & Replace mark the Option 'Keep Dialog'
 +
  % -
 +
  \AccordionTabTwoCBesDur
 +
}
 +
 +
 +
 +
\layout {
 +
  \context {
 +
    \Score
 +
    % The vertical line (simulating a bar-line) in
 +
    % the staffBassRhytm is a gridline
 +
    \consists "Grid_line_span_engraver"
 +
  }
 +
  \context {
 +
    \Staff
 +
    \consists "Grid_point_engraver"
 +
    gridInterval = #(ly:make-moment 4/4) % 4/4 - tact. How many beats per bar
 +
    % The following line has to be adjusted O-F-T-E-N.
 +
    \override GridPoint.Y-extent = #'(-2 . -21)
 +
  }
 +
  \context {
 +
    \ChoirStaff
 +
    \remove "System_start_delimiter_engraver"
 +
  }
 +
}
 +
 +
staffVoice = \new Staff = astaffvoice  {
 +
  \time 4/4
 +
  \set Staff.instrumentName = "Voice"
 +
  \set Staff.midiInstrument = "voice oohs"
 +
  \key bes \major
 +
  \partial 8*3
 +
  \clef treble
 +
  {
 +
    \context Voice = "melodyVoi"
 +
    {
 +
      <f' bes'>8 <f' a'>8 <d' bes'>8 |
 +
      <g' c''>4 <f' d''> <g' es''> <f' a'> |
 +
      <f' bes'>2 r8
 +
    }
 +
    \bar "|."
 +
  }
 +
}
 +
 +
staffAccordionMel =
 +
\new Staff  \with { \remove "Clef_engraver" } {
 +
  \accidentalStyle forget %Set the accidentals (Vorzeichen) for each note,
 +
  %do not remember them for the rest of the measure.
 +
  \time 4/4
 +
  \set Staff.instrumentName="Accordion"
 +
  \set Staff.midiInstrument="voice oohs"
 +
  \key c \major
 +
  \clef treble
 +
  { \AccordionTab \bar "|." }
 +
}
 +
 +
AltOn =
 +
#(define-music-function (mag) (number?)
 +
  #{ \override Stem.length = #(* 7.0 mag)
 +
      \override NoteHead.font-size =
 +
#(inexact->exact (* (/ 6.0 (log 2.0)) (log mag))) #})
 +
 +
AltOff = {
 +
  \revert Stem.length
 +
  \revert NoteHead.font-size
 +
}
 +
 +
BassRhytm = {s4 s8 | c2 c2 | c2 s8 }
 +
LyricBassRhythmI=  \lyricmode { c b | c }
 +
 +
staffBassRhytm =
 +
\new Staff = staffbass \with { \remove "Clef_engraver" } {
 +
  % This is not a RhythmicStaff  because it must be possible to append lyrics.
 +
 +
  \override Score.GridLine.extra-offset = #'( 13.0 . 0.0 ) % x.y
 +
  \override Staff.StaffSymbol.line-positions = #'( 0 )
 +
  % Shows one horizontal line. The vertical line
 +
  %  (simulating a bar-line) is simulated by a grid
 +
  % Search for 'grid' in this page to find all related functions
 +
  \time 4/4
 +
  {
 +
    \context Voice = "VoiceBassRhytm"
 +
    \stemDown \AltOn #0.6
 +
    \relative c''
 +
    {
 +
      \BassRhytm
 +
    }
 +
    \AltOff
 +
    \bar "|."
 +
  }
 +
}
 +
 +
\score {
 +
  \new ChoirStaff <<
 +
    \harmonies
 +
    \staffVoice
 +
    \context Lyrics = "lmelodyVoi"
 +
      \with { alignBelowContext = astaffvoice }
 +
      \lyricsto melodyVoi \verse
 +
    \staffAccordionMel
 +
    \staffTabLine
 +
    \staffBassRhytm
 +
    \context Lyrics = "lBassRhytmAboveI"
 +
      \with { alignAboveContext = staffbass }
 +
      \lyricsto VoiceBassRhytm \LyricBassRhythmI
 +
  >>
 +
}</pre>{{Scend}}
 +
 +
===Output===
 +
 
==Links==
 
==Links==
 
* [http://lilypond.1069038.n5.nabble.com/Bass-and-chords-td135858.html Bass and chords (Mailingliste)]
 
* [http://lilypond.1069038.n5.nabble.com/Bass-and-chords-td135858.html Bass and chords (Mailingliste)]

Version vom 25. August 2017, 13:52 Uhr

Allgemeines

Definieren einer Griffschrift für Steirische Harmonika in Lilypond

Codebeispiel I

Code

%%$ Versuch der Rosenzopf-Griffschrift auf lilypond, primitive Struktur, nicht für MIDI-Output geeignet.
%%$ Darf ohne Einschränkung kopiert, weitergegeben und verändert werden.
%%$ Diese Version liefert zwei Warnungen, kann aber als PS/PDF compiliert werden.
%%$ Compilation: Lilypond muss installiert sein, danach Befehl ausführen:~>lilypond diesedatei.ly
%%$ W3er, Juli 2010

\version "2.19.49"

\paper {
  line-width = 15.0\cm
  paper-height = 13\cm
  tagline = ##f
}

\header{
  subtitle = "La Paloma"
  %tagline = ##f % kein Footer
}

%{ "Stimme" wird unten mittels \DevNull ausgeblendet,
gibt nur den Rhythmus für den Bass vor, der in TextABC als Gesang notiert wurde
%}

Stimme = {
  \tag #'lyricrhythm
  {
    \partial 4 c \bar ".|:"
    \tuplet 3/2 { c c c } c c c c c c c c c c
    \tuplet 3/2 { c c c } c c c c c c
  }
}

TextA = \lyricmode {
  \markup { \musicglyph #"rests.2" }
  B B B B B B B B B B B B B B B B B B B B B B
}

TextB = \lyricmode {
  \markup { \musicglyph #"rests.2" }
  b b b b b b b b b b b b b b b b b b b b b b
}

TextC = \lyricmode {
  _ _ _ _ \markup { \note-by-number #3 #0 #DOWN }
  \markup { \note-by-number #3 #0 #DOWN } _ _ _ _ _ _ _ _ _ _ _
  \markup { \note-by-number #3 #0 #DOWN }
  \markup { \note-by-number #3 #0 #DOWN }
}


% Generiert die Analyseklammer, die mit \startGroup, \stopGroup aufgerufen wird und "Druck" bedeutet
\layout {
  \context {
    \Voice
    \consists "Horizontal_bracket_engraver"
  }
}

%Notensysteme, hier werden die Teile von oben eingebunden
\new Staff = "Noten" {
  \set Staff.instrumentName = \markup {
    \column {
      "Diatonische"
      \line { "Harmonika" }
    } \musicglyph #"clefs.tab"
  }

  <<

    \new Voice = "first" {
      \voiceOne \partial 4 <g' b'>
      \startGroup
      \bar ".|:" \tieDown <g'~ b'>1( %1
      <g' b'>8) <e' g'>4 <fisis' a'>8 <g' b'>4 <fisis'! aisis'>4 %2
      <c'' e''>8 <aisis' cisis''>4 <fisis' aisis'!>8 <cisis'' e''>4 <g' b'>\stopGroup %3
      <e'~ g'>1( %4
      <e' g'>2.) b'4 %5
    }
    % nächste Zeile macht "Stimme" (s.o.) unsichtbar
    \new Devnull="nowhere" \keepWithTag #'lyricrhythm \Stimme
    \new Lyrics \lyricsto "nowhere" \TextA
    \new Lyrics \lyricsto "nowhere" \TextB
    \new Lyrics \lyricsto "nowhere" \TextC
  >>
}

Output

LilyWiki Griffschrift1.gif

Codebeispiel II (Bayerland)

Code

%{
Beschreibung zur Griffschrift der Steirischen Harmonika
%}
\version "2.19.49"

\header{
  title = "Tabulaturreferenz zur Steirischen Harmonika"
  subtitle = "am Beispiel der vierreihigen Harmonika in G-C-F-B"
  tagline = "Lilypond Version 2.10.33 - PS file patched (noteheads.s2cross > accidentals.doublesharp)"
}

\paper {
  tagline = ##f
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      f,4^\markup { "Griffschrift:" }
      a,4 c4 e4 g4 b4_\markup{ \tiny { "»L«" } }
      d'4_\markup{ \tiny { "»O«" } } f'4 a'4 c''4 e''4 g''4 b''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      \override Stem.direction = #DOWN
      \override Stem.thickness = #'0.1
      } {
      \stopStaff
      \clef percussion
      % \set Staff.whichBar = ""
      \time 1/4
      \startStaff
      %a4
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      g,4^\markup { "Klang:" } b, d g b d' g' b' d'' g'' b'' d''' g'''
    }
  >>
  \header {
    piece = "Diskant, 1. (äußere) Reihe, auf Druck"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      f,4^\markup { "Griffschrift:" }
      a,4 c4 e4 g4 b4_\markup{ \tiny { "»L«" } }
      d'4_\markup{ \tiny { "»O«" } } f'4 a'4 c''4 e''4 g''4 b''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      \stopStaff
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      c4^\markup { "Klang:" } d fis a c' e' fis' a' c'' e'' fis'' a'' c'''
    }
  >>
  \header {
    piece = "Diskant, 1. (äußere) Reihe, auf Zug"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      g,4^\markup { "Griffschrift:" }
      b,4 d4 f4 a4 c'4_\markup { \tiny "»G«"} e'4 g'4 b'4 d''4 f''4 a''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      \startStaff
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      c4^\markup { "Klang:" } e g c' e' g' c'' e'' g'' c''' e''' g'''
    }
  >>
  \header {
    piece = "Diskant, 2. Reihe, auf Druck"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      g,4^\markup { "Griffschrift:" }
      b,4 d4 f4 a4 c'4_\markup { \tiny "»G«"} e'4 g'4 b'4 d''4 f''4 a''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      f4^\markup { "Klang:" } g b d' f' g' b' d'' f'' a'' b'' d'''
    }
  >>
  \header {
    piece = "Diskant, 2. Reihe, auf Zug"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      \override NoteHead.style = #'cross
      a,4^\markup { "Griffschrift:" }
      c4 e4 g4 b4 d'4_\markup { \tiny "»G«"} f'4 a'4 c''4 e''4 g''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      \startStaff
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      f4^\markup { "Klang:" } a c' f' a' c'' f'' a'' c''' f''' a'''
    }
  >>
  \header {
    piece = "Diskant, 3. Reihe, auf Druck"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      \override NoteHead.style = #'cross
      a,4^\markup { "Griffschrift:" }
      c4 e4 g4 b4 d'4_\markup { \tiny "»G«"} f'4 a'4 c''4 e''4 g''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      bes4^\markup { "Klang:" } c' e' g' bes' c'' e'' g'' bes'' d''' e'''
    }
  >>
  \header {
    piece = "Diskant, 3. Reihe, auf Zug"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      \override NoteHead.style = #'cross
      b,4^\markup { "Griffschrift:" }
      d4 f4 a4 c'4 e'4_\markup { \tiny "»G«"} g'4 b'4 d''4 f''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      \startStaff
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      bes4^\markup { "Klang:" } d' f' bes' d'' f'' bes'' d''' f''' bes'''
    }
  >>
  \header {
    piece = "Diskant, 4. Reihe, auf Druck"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      \override NoteHead.style = #'cross
      b,4^\markup { "Griffschrift:" }
      d4 f4 a4 c'4 e'4_\markup { \tiny "»G«"} g'4 b'4 d''4 f''4
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      s4 s4 s4 s4 s4 s4 s4 s4 s4 s4
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef treble
      \time 1/4
      es'4^\markup { "Klang:" } f' a' c'' es'' f'' a'' c''' es''' g'''
    }
  >>
  \header {
    piece = "Diskant, 4. Reihe, auf Zug"
  }
}

\markup {
  \column {
    \hspace #0
    \wordwrap {
      (7.) Für die Baßtasten werden Buchstaben bzw. Kurzzeichen unter der Diskantzeile aufgelistet.
      Diese beschreiben nur die zu betätigenen Tasten.
      Auch wenn diese leicht mit Akkordbuchstaben zu verwechseln sind, wird der klingende Akkord erst über die Stimmung des Instruments und dessen Funktionsstand (Zudruck oder Aufzug) bestimmt.
    }
  }
}
\markup {
  \column {
    \hspace #0
    \wordwrap {
      (8.) Sollte der Baß rhythmisch gegen den Diskant laufen, werden zusätzliche Notenköpfe (auf einheitlicher Höhe) zur Darstellung nötig.
    }
  }
}
\markup {
  \column {
    \hspace #0
    \wordwrap {
      (9.) Es gibt unterschiedliche Systeme für die Benennung der Baßtasten.
      Das System nach »Rosenzopf« scheint das verbreiteste zu sein.
    }
  }
}
\markup {
  \column {
    \hspace #0
    \wordwrap {
      (10.) Die Bässe werden grundsätzlich kurz (stakkato) gespielt. (MIDI-Ausgabe!)
    }
  }
}
\markup {
  \column {
    \hspace #0
    \wordwrap {
      (11.) Es sind ettliche unterschiedliche Baß-Tonbelegungen - vor allem in der zweiten Reihe beim Aufzug -  in Gebrauch.
      Das kann leider zu einer Inkompatibilität führen, wenn diese Tabulaturschriften auf anderen Instrumenten gespielt werden.
    }
  }
}
\markup {
  \column {
    \hspace #0
    \wordwrap {
      Die am Instrument der Marke »BAYERLAND« vorgefundene Baßbelegung entspricht im wesentlichen dem »derzeitigen Normalbaß (Bayern-Salzburg)«.
      Besonders zu erwähnen ist die Taste »X«, welche beide Reihen rechts abschließt; es folgt keine Akkordtaste dazu.
    }
    \hspace #0
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      s4^\markup { "Griffschrift:" }
      s s s s s s s s
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      \startStaff
      s4^"F" s4^"f" s4^"C" s4^"c" s4^"B" s4^"b" s4^"A" s4^"a" s4^"X"
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef bass
      \time 1/4
      bes,,4^\markup { "Klang:" }
      < d f bes >4
      f,4
      < c f a >4
      c,4
      < e g c' >4
      g,4
      < g b d' >4
      d,
    }
  >>
  \header {
    piece = "Baß, 1. (äußere) Reihe, auf Druck"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      s4^\markup { "Griffschrift:" }
      s s s s s s s s
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      s4^"F" s4^"f" s4^"C" s4^"c" s4^"B" s4^"b" s4^"A" s4^"a" s4^"X"
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef bass
      \time 1/4
      f,4^\markup { "Klang:" }
      < c f a >4
      c,4
      < c e g >4
      g,4
      < b, d g >4
      d,4
      < a, d fis >4
      a,,
    }
  >>
  \header {
    piece = "Baß, 1. (äußere) Reihe, auf Zug"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      s4^\markup { "Griffschrift:" }
      s s s s s s
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      \startStaff
      s4^"G" s4^"g" s4^"E" s4^"e" s4^"D" s4^"d" s4^"X"
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef bass
      \time 1/4
      d,4^\markup { "Klang:" }
      < d fis a >4
      a,4
      < cis e a >4
      e,4
      < b, e gis >4
      d,4
    }
  >>
  \header {
    piece = "Baß, 2. (innere) Reihe, auf Druck"
  }
}

\score {
  <<
    \new Staff {
      \clef tab
      \time 1/4
      s4^\markup { "Griffschrift:" }
      s s s s s s
    }
    \new Staff \with {
      \override StaffSymbol.line-count = #1
      \override StaffSymbol.thickness = #10
      \override Clef.transparent = ##t
      \override BarLine.stencil = ##f
      \override TimeSignature.stencil = ##f
      } {
      \stopStaff
      \clef percussion
      \set Staff.whichBar = ""
      \time 1/4
      s4^"G" s4^"g" s4^"E" s4^"e" s4^"D" s4^"d" s4^"X"
    }
    \new Staff \with {
      fontSize = #-3
      \override StaffSymbol.staff-space = #(magstep -3)
      \override StaffSymbol.thickness = #(magstep -3)
    } {
      \clef bass
      \time 1/4
      es,4^\markup { "Klang:" }
      < es g bes >4
      bes,4
      < d f bes >4
      f,4
      < c f a >4
      a,,
    }
  >>
  \header {
    piece = "Baß, 2. (innere) Reihe, auf Zug"
  }
}

Output

Die Steirische Harmonika - »steirisch« ist umgangssprachlich wienerisch für »ländlich, volkstümlich« - ist eine tonartgebundene (diatonische) Harmonika mit unterschiedlichen Tönen auf Zug und auf Druck. Sie enthält mehrere Tastenreihen, welche im Quintabstand (vgl. Quintenzirkel) jeweils im Zudruck die Töne der Tonika enthalten, im Aufzug im wesentlichen die Töne des Dominantakkords. Durch den Übergriff auf die benachberten Tastenreihen zur gerade gespielten Tonart werden die Durchgangstöne in Läufen ermöglicht.

Notiert wird dieses Instrument üblicherweise in einer Griffschrift (Tabulatur) auf den fünf Linien unsers bekannten Notensystens. Ein Balken unter der Tabulaturzeile zeigt an, daß zum Spielen der Balg zusammengedrückt werden muß. Für die zu drückenden Bässe werden Kennbuchstaben unter der Tabulaturzeile angegeben.

(1.) Die Diskanttasten der ersten (äußersten) Reihe werden mit runden Notenköpfen zwischen den Linien notiert.

(2.) Die Tasten der zweiten Reihe werden auch mit runden Notenköfen, aber auf den Linien, notiert.

(3.) Die Tasten der dritten Reihe werden mit Kreuz-Notenköpfen zwischen den Linien notiert. Jedoch wird nicht das einfache Kreuz wie bei den Schlagzeugnoten verwendet, sondern das Doppelkreuz-Vorzeichen [ ? ].

(4.) Die Tasten der vierten Reihe (sofern vorhanden) werden mit Kreuz-Notenköpfen auf den Linien notiert.

(5.) Als Ersatz für die Kreuz-Notenköpfe können runde Notenköpfe mit vorangestelltem Doppelkreuz (Ganztonerhöhung) verwendet werden.

(6.) Werden in einem Akkordgriff Töne aus mehreren Reihen zusammengefasst, so sollen die Notenköpfe der äußersten benutzten Reihe rechts des Notenhalses liegen.

Mit »L« ist der Orientierungston nach »www.volksmusik.cc/lehrgang/harmonika_noten.htm« bezeichnet, den ich aber lieber als »Linienton« bezeichnen würde (auf einer Linie mit den Gleichtönen). Mit »O« ist der sonst übliche Orientierungston bezeichnet - die Taste mit dem kleinsten Intervall zwischen Zug und Druck auf der ersten Reihe, welche in der Nähe des Gleichtons der zweiten Reihe liegt. Und mit »G« ist der Gleichton gekennzeichnet.


LilyWiki Bayerland1 LilyWiki Bayerland2 LilyWiki Bayerland3 LilyWiki Bayerland4 LilyWiki Bayerland5

Score for diatonic accordion

aus dem LSR (siehe Link unten)

A template to write a score for a diatonic accordion. - There is a horizontal staff indicating if the accordion must be pushed (thick line) or pulled (thin line)

- There is a small rhythmic staff with lyrics that describes the bass buttons to press. The bar lines are made from gridlines

- The tabulator staff for diatonic accordions shows the geographic position of the buttons and not (as for every other instrument) the pitch of the notes; the keys on the melody-side of the accordion are placed in three columns and about 12 rows

In the tabulator staff notation the outermost column is described with notes between lines, the innermost column is described with notes between lines and a cross as accidental, and the middle column is described with notes on a line, whereby the row in the middle is represented on the middle line in the staff.

Some words to transpose piano notes to the diatonic accordion:

1. Every diatonic accordion is built for some keys only (for example, for the keys of C major and F major), so it is important to transpose a piano melody to match one of these keys. Transpose the source code, not only the output because this code is required later on to translate it once more to the tabulator staff. This can be done with the command displayLilyMusic.

2. You have to alternate the push- and pull-direction of the accordion regularly. If the player has a too long part to pull the accordion gets broken. On the other hand, some harmonies are only available in one direction. Considering this, decide which parts of the melody are the push-parts and which the pull-parts.

3. For each pull- or push-part translate the piano notes to the according tabulature representation.

Code

\version "2.19.49"
verse = \lyricmode { Wie gross bist du! Wie gross bist du! }

harmonies = \new ChordNames \chordmode {
  \germanChords
  \set chordChanges = ##t
  bes8 bes8 bes8
  es2 f
  bes1
}

NoStem = { \hide Stem }
NoNoteHead = \hide NoteHead
ZeroBeam = \override Beam.positions = #'(0 . 0)

staffTabLine = \new Staff \with {
  \remove "Time_signature_engraver"
  \remove "Clef_engraver"
} {
  \override Staff.StaffSymbol.line-positions = #'(0)
  % Shows one horizontal line. The vertical line
  %  (simulating a bar-line) is simulated with a gridline
  \set Staff.midiInstrument = #"choir aahs"
  \key c \major
  \relative c''
  {
    % disable the following line to see the noteheads while writing the song
    \NoNoteHead
    \override NoteHead.no-ledgers = ##t

    % The beam between 8th-notes is used to draw the push-line
    %How to fast write the push-lines:
    %  1. write repeatedly 'c c c c c c c c |' for the whole length of the song
    %  2. uncomment the line \NoNoteHead
    %  3. compile
    %  4. Mark the positions on which push/pull changes.
    %     In the score-picture click on the position
    %        the push- or pull-part starts
    %           (on the noteHead, the cursor will change to a hand-icon).
    %     The cursor in the source code will jump just at this position.
    %   a) If a push-part starts there, replace the 'c' by an 'e['
    %   b) If a pull-part starts there, replace the 'c' by an 's'
    %  5. Switch into 'overwrite-mode' by pressing the 'ins' key.
    %  6. For the pull-parts overwrite the 'c' with 's'
    %  7. For every push-part replace the last 'c' with 'e]'
    %        8. Switch into 'insert-mode' again
    %  9. At last it should look like e.g.
    %        (s s e[ c | c c c c c c c c | c c c c c c e] s s)
    % 10. re-enable the line \NoNoteHead
    \autoBeamOff
    \ZeroBeam
    s8 s s e[ c c c c c c e] | s s s s s
  }
}

% Accordion melody in tabulator score
% 1. Place a copy of the piano melody below
% 2. Separate piano melody into pull- and push-parts
%      according to the staffTabLine you've already made
% 3. For each line: Double the line. Remark the 1st one
%      (Keeps unchanged as reference) and then change the second
%      line using the transformation paper
%    or the macros 'conv2diaton push.bsh' and 'conv2diaton pull.bsh'
% Tips:
% - In jEdit Search & Replace mark the Option 'Keep Dialog'

AccordionTabTwoCBesDur = {
  % pull 1
  %<f' bes'>8 <f' a'>8 <d' bes'>8 |
  <g'' a''>8 <g'' b''>8 <e'' a''>8 |
  % push 2
  %<g' c''>4 <f' d''> <g' ees''> <f' a'> |
  <g'' a''>4 <d'' eisis''> <g'' bisis''> <d'' f''> |
  % pull 3
  % <f' bes'>2 r8 }
  <g'' a''>2 r8 }

AccordionTab= { \dynamicUp
  % 1. Place a copy of the piano melody above
  % 2. Separate piano melody into pull- and push-parts
  %      according to the staffTabLine you've already made
  % 3. For each line: Double the line. Remark the 1st one
  %      (Keeps unchanged as reference) and then
  %      change the second line using the transformation paper
  % Tips:
  % - In jEdit Search & Replace mark the Option 'Keep Dialog'
  % -
  \AccordionTabTwoCBesDur
}



\layout {
  \context {
    \Score
    % The vertical line (simulating a bar-line) in
    % the staffBassRhytm is a gridline
    \consists "Grid_line_span_engraver"
  }
  \context {
    \Staff
    \consists "Grid_point_engraver"
    gridInterval = #(ly:make-moment 4/4) % 4/4 - tact. How many beats per bar
    % The following line has to be adjusted O-F-T-E-N.
    \override GridPoint.Y-extent = #'(-2 . -21)
  }
  \context {
    \ChoirStaff
    \remove "System_start_delimiter_engraver"
  }
}

staffVoice = \new Staff = astaffvoice  {
  \time 4/4
  \set Staff.instrumentName = "Voice"
  \set Staff.midiInstrument = "voice oohs"
  \key bes \major
  \partial 8*3
  \clef treble
  {
    \context Voice = "melodyVoi"
    {
      <f' bes'>8 <f' a'>8 <d' bes'>8 |
      <g' c''>4 <f' d''> <g' es''> <f' a'> |
      <f' bes'>2 r8
    }
    \bar "|."
  }
}

staffAccordionMel =
\new Staff  \with { \remove "Clef_engraver" } {
  \accidentalStyle forget %Set the accidentals (Vorzeichen) for each note,
  %do not remember them for the rest of the measure.
  \time 4/4
  \set Staff.instrumentName="Accordion"
  \set Staff.midiInstrument="voice oohs"
  \key c \major
  \clef treble
  { \AccordionTab \bar "|." }
}

AltOn =
#(define-music-function (mag) (number?)
  #{ \override Stem.length = #(* 7.0 mag)
      \override NoteHead.font-size =
#(inexact->exact (* (/ 6.0 (log 2.0)) (log mag))) #})

AltOff = {
  \revert Stem.length
  \revert NoteHead.font-size
}

BassRhytm = {s4 s8 | c2 c2 | c2 s8 }
LyricBassRhythmI=  \lyricmode { c b | c }

staffBassRhytm =
\new Staff = staffbass \with { \remove "Clef_engraver" } {
  % This is not a RhythmicStaff  because it must be possible to append lyrics.

  \override Score.GridLine.extra-offset = #'( 13.0 . 0.0 ) % x.y
  \override Staff.StaffSymbol.line-positions = #'( 0 )
  % Shows one horizontal line. The vertical line
  %  (simulating a bar-line) is simulated by a grid
  % Search for 'grid' in this page to find all related functions
  \time 4/4
  {
    \context Voice = "VoiceBassRhytm"
    \stemDown \AltOn #0.6
    \relative c''
    {
      \BassRhytm
    }
    \AltOff
    \bar "|."
  }
}

\score {
  \new ChoirStaff <<
    \harmonies
    \staffVoice
    \context Lyrics = "lmelodyVoi"
      \with { alignBelowContext = astaffvoice }
      \lyricsto melodyVoi \verse
    \staffAccordionMel
    \staffTabLine
    \staffBassRhytm
    \context Lyrics = "lBassRhytmAboveI"
      \with { alignAboveContext = staffbass }
      \lyricsto VoiceBassRhytm \LyricBassRhythmI
  >>
}

Output

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