On the tie, I had thought about using horizontal offsets and moving the start to a different voice, but the inline method gives more precise positioning.
The music itself looks interesting. But I'm sorry, I still don't understand which instruments play which staves. It might make sense for the organ to play everything in the first 2 systems of the example except for the last note in the top staff, and then with that note a vibraphone solo starts. However, that would require the organ to play the bottom line in the first 2 systems on the pedals, which would go against the rule you stated about the curly bracket. Then in the 3rd system, does the vibraphone play the chords? I didn't think it could even play 4-note chords plus a melody...that would require 5 mallets. The only other possibility I see is that the organ plays the chords in the 3rd system, but then why would it be connected to the top system with the curly bracket when they're two separate instruments. And what about the notes in the bottom staff of the 3rd system? At the start is says "senza ped." but you implied the whole reason for moving the curly bracket up was to allow that staff to represent pedal note. None of this makes much sense. --Don > -----Original Message----- > From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of Andre > Van Ryckeghem > Sent: Sunday, April 02, 2017 10:13 AM > To: Werner Icking Music Archive <tex-music@tug.org> > Subject: Re: [Tex-music] transforming instruments > > Thank you very much, Don > > The name of this score is: Concertino for Vibrafone and Organ > > The problem with the tie is solved by using 'tl t+0+5' and 'tl+0-4 t'. > > The componist said that the pedalboard never must have an accolade. > > As a demonstration, i put the second movement here: > > http://www.avrmar.be/avr/concertoii.pdf > > Andre > > -----Oorspronkelijk bericht----- > From: Don Simons > Sent: Sunday, April 2, 2017 2:00 AM > To: 'Werner Icking Music Archive' > Subject: Re: [Tex-music] transforming instruments > > OK, here it is in PMX. In case you don't really want the double bar at the end > of system 2, just remove \setdoubleBAR from the redefinition of \setstaffs. > > Two other items: First, the octave in the top voice, 3rd system looks wrong. > You didn't specify it explicitly at the start of the input block. That's always iffy, > and here it's just dangerous, in light of all the changes in voice numbering. > Better to set it explicitly. > > Second, there's a problem with the tie across the movement break too. > Easiest solution is to put it in with inline TeX. > > I do have a question about this whole thing. Why?? What are the > instruments, and why would anyone want to change the staves per > instrument this particular way? > > --Don > > ========================= > 3 -2 2 1 4 4 4 4 0 0 > 1 3 20 .04 > > > bbt > ./ > ArbdI.8 > \\nopagenumbers\ > \\sepbarrules\ > \\centerline{II. ARIA}\ > d4- d+ d d- e e d d / > a4 zcs zd zfs a- zcsi zd zfsi a- zcsi zd zfsi a- zcsi zd zfsi e zb zg e+ zb zg g zd g zd / > a4l zcs zd zfs a-l zcsi zd zfsi a-l zcsi zd zfsi a-l zcsi zd zfsi > e4+ zb zg e+ zb zg e zb zg e+ zb zg // > %rbp rb2 r4 r8 e84 tl / > rbp rb2 r4 r8 \itied10\ e84 / > %14 > %\\\let\stst\setstaffs\def\setstaffs#1#2{\stoppiece\stst{#1}{#2}\let\setstaf > fs\stst}\ > \\\let\stst\setstaffs\def\setstaffs#1#2{\setdoubleBAR\stoppiece\stst{#1}{# > 2} > \let\setstaffs\stst}\ > \\\let\nmt\newmovement\def\newmovement#1#2#3{\let\newmovement > \nmt}\ > \\\let\alat\alaligne\def\alaligne{\contpiece\let\alaligne\alat}\ > L3Mi.0cn221bbt > rp D"Senza ped." rp rp / > b4+ zg zcs- b+ zg zcs- d+ zfs- zcsc d+ zfsi- zcsi > d+ zfs- zb- d+ zfsi- zb- a+ zfsc zcs+ ze a- zfsi zcsi+ ze > g- zbf zd zfn g- zbfi zd zf e- zgs zbn zd e- zgsi zb zd / rbp rbp rbp // > %e8 D"\ppff Solo vibr."+20-2 t fs g4x3 a b e8 c4s b8 c4s g2s f8s gs a d4 c8sa b > fs g4x3 a b / \ttie1\ e84 D"\ppff Solo vibr."+20-2 fs g4x3 a b e8 c4s b8 c4s g2s > f8s gs a > d4 c8sa b fs g4x3 a b / > =================================== > > > > > > > > -----Original Message----- > > From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of Don > > Simons > > Sent: Saturday, April 01, 2017 12:46 PM > > To: 'Werner Icking Music Archive' <tex-music@tug.org> > > Subject: Re: [Tex-music] transforming instruments > > > > The attached tex file mostly remedies the problem. Although I'm pretty > sure > > it would be possible, I haven't yet worked out a way to do it in PMX. > > It > would > > involve redefining various commands. > > > > The problem stems from the order in which PMX posts the various > > commands that reset the staves per instrument, relative to where it > > draws the barline at the end of the 2nd system. Specifically, at the > > new > movement > > command, first PMX posts the changes in staves per instrument. Next, > > it posts \newmovement, which in this case doesn't do much at all > > except add \setdoubleBAR to the definition of \stoppiece. Finally PMX > > posts > \alaligne, > > which is just \stoppiece\contpiece. Problem is that \stoppiece is what > causes > > the double bar to be drawn, and the earlier \setstaffs commands > > already altered it to the form needed for system 3. > > > > --Don > > > > > -----Original Message----- > > > From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of > > > Andre Van Ryckeghem > > > Sent: Saturday, April 01, 2017 8:04 AM > > > To: Werner Icking Music Archive <tex-music@tug.org> > > > Subject: [Tex-music] transforming instruments > > > > > > I have an example where the lower instrument has 2 staves and the > > > upper > > 1. > > > Then, on system 3 the lower instrument must have 1 staff and the > > > upper > > > 2 staves. > > > I must work with '\sepbarrules' because the left accolade and the > > > barlines must correspond. > > > I can manage the accolades but the end bar of the 2nd system is wrong. > > > > > > Can someone help me? > > > > > > Thanks > > > > > > (i searched the email archive to find the solution for the new > > > movement error, but i did not found it) > > > > > > ============ > > > 3 -2 2 1 4 4 4 4 0 0 > > > 1 3 20 .04 > > > > > > > > > bbt > > > ./ > > > ArbdI.8 > > > \\nopagenumbers\ > > > \\sepbarrules\ > > > \\centerline{II. ARIA}\ > > > d4- d+ d d- e e d d / > > > a4 zcs zd zfs a- zcsi zd zfsi a- zcsi zd zfsi a- zcsi zd zfsi e zb > > > zg > > > e+ > > zb zg g zd g zd / > > > a4l zcs zd zfs a-l zcsi zd zfsi a-l zcsi zd zfsi a-l zcsi zd zfsi > > > e4+ zb zg e+ zb zg e zb zg e+ zb zg // > > > rbp rb2 r4 r8 e84 tl / > > > %14 > > > L3Mi.0cn221bbt > > > rp D"Senza ped." rp rp / > > > b4+ zg zcs- b+ zg zcs- d+ zfs- zcsc d+ zfsi- zcsi > > > d+ zfs- zb- d+ zfsi- zb- a+ zfsc zcs+ ze a- zfsi zcsi+ ze > > > g- zbf zd zfn g- zbfi zd zf e- zgs zbn zd e- zgsi zb zd / rbp rbp > > > rbp // > > > e8 D"\ppff Solo vibr."+20-2 t fs g4x3 a b e8 c4s b8 c4s g2s f8s gs > > > a > > > d4 > > c8sa b fs > > > g4x3 a b / ================ > > > > > > ------------------------------- > > > TeX-music@tug.org mailing list > > > If you want to unsubscribe or look at the archives, go to > > > http://tug.org/mailman/listinfo/tex-music > > ------------------------------- > TeX-music@tug.org mailing list > If you want to unsubscribe or look at the archives, go to > http://tug.org/mailman/listinfo/tex-music > > ------------------------------- > TeX-music@tug.org mailing list > If you want to unsubscribe or look at the archives, go to > http://tug.org/mailman/listinfo/tex-music ------------------------------- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
