Hermann Lauer wrote:
>1) shifted alto clef:
>\setclef14
>\setsign1{1}
> produces the sharp # above the top line of the staffs, in the score I'm
>excerpting from, the sharp is noted one octave deeper - How could this be
>changed ?
>Is the usual notation to note the sharp above the highest staff line ?
>2) a \tslur after a \ibsluru seems to terminate with a beam expected, to make
>it terminate on the note itself I must give an incorrect pitch to \tslur (see
>example below), how is the right way to terminate without a beam ?
>
>3) I need a \turn symbol with a (short) vertical bar through it (This seems to
>be an equivalent notation for a \backturn used in older scores, but I'm not
>shure they are really equivalent), how can that be achieved ? (I'm not TeXpert,
>so maybe knowing how to overlay two symbols may all I need to know).
The practice for putting the accidentals and even more so the signs for
ornaments have changed during music history very much. The present rules
are: put prescribed accidentals always within the line system and never
double them: if two of them fit into the line system (e.g. two sharps
in the G key) take only the higher one. I think there were no conventions
in earlier time, and each composer had the liberty to write as it seemed
appropriate for him. If you want to reproduce the
ornaments from the english virginalists, or the french
harpsichord masters, you would have to create numerous new fonts.
If you are an expert on Metafont, you may do it, otherwise one has to
stick to the modern conventions.
Preprocessors save a lot of typing and are highly recommended.
I use pmx for instrumental and mtx for vocal music. mtx
is a preprocessor for pmx; therefore you do not have
to learn two different systems. I have made only a few half-hearted
attempts to try out other preprocessors; I therefore am not able to compare.
Christof
