Christian Mondrup wrote:
> Christian Mondrup wrote:
>
> > Angelo Pagan wrote:
> >
> > > The meaning is very simple: suppose you have a "d" with transitus
> > > irregularis followed by "c" numbered "2". You should execute on the first
> > > "d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
> > > the harmony of the following "c". Just the opposite of the continuation of
> > > the prior harmony over a new bass note.
> > >
> >
> > Then I would suggest using musixtex's \Shake. The negative number parameter
> > points to position on the notesystem (under the first noteline) regardless of
> > the current cleff.
> >
> > Meter: C/
> > Flats: 1
> > Style: piano
> > Bars/Line: 4
> >
> > f4 g a b | f g g4d f8 | f0
> > d4 c f d 6 | d 5 \Shake{-4}\ d8 c b4 c | f0-
>
> Or musically a bit less clumsy:
>
> Meter: C/
> Flats: 1
> Style: piano
> Bars/Line: 4
>
> f4 g a c | f- g g4d f8 | f0
> d4 c f e 6 | d 5 \Shake{-4}\ d8 c b4 65 c | f0-
Werner Icking has just drawn my attention to the pmx variable \figdrop determining
- would I suppose - the current position of thorough bass figures. Thus a score
using "transitus irregularis" should rather be coded like this:
Meter: C/
Flats: 1
Style: piano
Bars/Line: 4
f4 g a c | f- g g4d f8 | f0
d4 c f e 6 | d 5 \Shake{-\figdrop}\ d8 c b4 65 c | f0-
Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07
