On Thu, 23 Aug 2001, Don Simons wrote:
> Alexander Jolk wrote:
> >
> > "Cornelius C. Noack" <[EMAIL PROTECTED]> writes:
> >
> > > % If in pmx, you try to insert a caesura/breath after the last note
> > > % of a bar, pmx simply ignores it: the caesura does not show up in
> > > % the .tex file! (if you include the command in the .tex file by
> > > % hand, it is properly executed by musixtex.)
> >
> > When I ran into this problem a year ago, I eventually worked around it
> > by redefining the tex command for grace notes. (They are set right
> > before the bar line, which is where I wanted my caesura.)
> >
> > % dirty trick: instead of grace notes, give me a caesura
> > %% {\normalnotesize\caesura}\let\grcl\grcu
> >
> > e0 o_+10 \caesura\ GWxe | e4 o_+10 e4 o_+10 e4 o_+10 e4 o_+10 | e2 e2 |
> >
>
> Using the spacing of the "Way-after" grace note is a really clever
> touch! But here are a few comments:
>
> (1) In my own experiments, placing \caesura\ after the last note of a
> bar has the same effect as placing it before the first note of the next
> bar, provided there is a next bar in the same input block. In Neil's
> original example he terminated the input block after the end-of-bar
> caesura and it was completely ignored.
>
> (2) According to the definition of \caesura in musixtex.tex, the symbol
> is left-offset by 0.5\noteskip from the insertion point. To get the
> desired position you could insert it on the prior note and rightshift
> it, or if you put if on the 1st note of the next bar and move it as
> desired, e.g.
>
> e04 o_+10 \loffset2{\caesura}\ | e4 o_+10 e4 o_+10 e4 o_+10 e4 o_+10 |
> e2 e2 /
>
> (3) When I run Alexander's example I get two caesura's, touching each
> other so they look like one thick one. The explicit \caesura\ is showing
> up, 0.5\noteskip to the left of the first note in the second bar.
>
> (4) If you want to use or adapt Alexander's suggestion, for safety you
> should probably save the original definition of \grcu and then redefine
> it back to the original after you use it.
>
> (5) Alexander's solution does not give the proper positioning if used in
> the middle of a bar. That's because the "way-after" grace note is
> handled differently at the end of a bar, where it is inserted from
> within a \znotes, which sets \noteskip=0pt. When used in the middle of
> a bar, \noteskip is not zero and \caesura offsets the character by
> .5\noteskip as it normally does.
>
> Since this has come up several times already, I suppose I should
> consider including the \caesura as an ornament in PMX (even though I've
> never had occasion to use it myself).
>
> --Don Simons
>
Thanks everbody for the helpful hints!
Don: 1) your point (5) is well taken; but then, in the middle of a bar,
in-line use of the regular \caesura works flawlessly, so there's
no need to bother with any extra gimmicks,
2) I strongly support the idea to include \caesura in PMX
(in whateverwhich way, as an ornament, or in a separate option
to Gw...). It's important not only as a help for performers, but
also as a way of describing a composers intentions; the most
famous example I can think of is in the last movement of
Stravinskys Symphony of Psalms ("laudate, laudate, laudate
Do -- mi -- \caesura num".
But if/when you make it available in PMX, please remember to
include \cbreath as well; I myself found \cbreath
[in the form of \def\Sbreath{\adv@box{\raise\si@\internote
\hbox\@to\noteskip{\hss\bigfont'\hss}}}
instead of the regular musixtex
\def\cbreath{\adv@box{\raise\si@\internote
\hbox\@to\noteskip{\hss\BIGfont'\hss}}} ]
more esthetically pleasing than a \caesura in most cases,
3) when I tried Alexanders trick, I first inserted the redefined
\def\grcu#1 (by the way, why is there an argument ???) in the
preamble of pmx, instead of fiddling with musixtex.tex; but that
was somehow completely ignored: I got a regular way-after grace
note instead. It's not so important; but: why ?? (When I change
replace the \def in musixtex.tex, it works).
By the way: general thanks for all your good work!
ccn
---
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