Han-Wen Nienhuys <[EMAIL PROTECTED]> writes:
> OK, here 's my second take, I realize that I was a little confusing.
> Methinks that 8va braces are typesetting details, sort of a weird
> clefs if you like, and should be handled as such, so you enter the
> pitches like they should be played. In other words, I would advocate
> syntax like
>
> \spanrequest \start "8va"
> ...
> \spanrequest \stop "8va"
>
> This makes it easy to filter out 8va's automatically, or use separate
> voices to control typesetting details. A syntax like
>
> \octavate +1 { a' }
>
> would make it difficult to start a 8va brace halfway a triplet, which
> I think is a reasonable thing to do.
Hmm... I agree that it should be implemented as a spanner (I had
already sort of decided that). Let me first describe the notation in
more detail for those unfamiliar with it.
The 8ve brackets look like a little `8ve' (or just `8' in some scores)
above (or below) the staff followed by a dotted line which extends out
to the right for the duration of the section. The dotted line should
make a sharp right angle at the end for clarity. The meaning is to
play that voice at an octave above (or below) where it is written.
For the 8ve brackets, actually writing the notes in the octave where
they are performed might actually make sense. However, things break
down when we move to the con8ve notation.
The con8ve brackets look exactly like the 8ve brackets, save that they
are labeled `con8ve' instead of `8ve'. The meaning is to play the
notes in the voice *as well* as the notes one octave above (or below)
them. Obviously, we don't want necessarily to write this out as
chords. (Or do we?)
The notations are so similar, I'd like them to be consistant. What do
you think?
--
Michael Duggan
([EMAIL PROTECTED])
