Stefan Slapeta schrieb:
Juergen Reuter wrote:
Instead, my idea of the ultimate way of incipit creation is to have
an \incipit scheme function that automatically creates an incipit for
a given music expression.
[...]
I think this would be quite complicated as you have a lot more of
configuration than just setting a key signature etc.
The incipit shall give an idea of how original sources look like, and
it certainly must have the complete range of functionality available
from printing ancient music.
[...]
AFAICS, this is not in any way related to ancient time signatures in
lilypond as this problem is the same with modern ones (i.e. for 2/4
it's the same).
However, maybe I should indeed use the \times workaround.
I have never really seen alla breve for 2/4 in modern notation -- to me
the common use is really just 2/2 instead of 4/4. Some editions of
ancient music from the beginning of the 20th century faced this by
reducing the durations of the old notes in a way to get their modern
common durations -- which is not so much obeyed now anymore. Instead,
while you will need alla breve for 4/2 in 16th century music, you might
want it for 4/1 (two breves) in 15th century music. I think it is not
anyhow a bad way to use a "workaround" for this, since everything
actually _is_ about time scaling. In my option it doesn't matter if
there is a "proper" funktion that does the same, but in the background
it just scales notes/bars. The only question would be: is it better to
scale the bar or the note duration?
can I achieve somehow that the ambitus is printed at a certain
place? (i.e. after the incipit!)
No, this is currently not possible, since the ambitus is determined
once per score. Maybe Han-Wen is willing to implement kind of a
"\resetAmbitus" feature, if someones sponsors it.
It doesn't make much sense to print the ambitus as part of the
incipit, using ancient clefs etc., don't you think?
I think in general the incipit isn't really part of the score. That is
the reason why starting braces, ambitus and so on are printed only after
the incipit. I recall in most editions there is actually even some space
between the incipit systems and the actual system. That's way any way of
seperating the incipit from the score appears even more to me to be the
right solution for that.
I don't know what you can apply in front of the actual score: so far
there is only the instrument name, I think. But if this could be made
more general to include also any other engraving it might be a hook to
apply the incipit to. I am not so sure though, how this incipit function
should look like: there are more than one notation style, and it would
be desireble to make all of them accessible. If they are at some point
complete, this could be achieved with a \set before the incipit command.
In any case: if the incipit is not part of the score anymore there are
no problems with the score anymore: settings can be defaults, because
they don't have to be changed for the incipit. Also the bar numbering
will work out of the box.
Till
Stefan
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