Hi Andre,
thanks for the interesting question you brought up. I have several
comments:
(i) I understood your problem slightly differently from Olivier, so
my answer also differs slightly, but the idea is the same. Here
it is:
==================================
2 1 2 4 2 4 0 -2
1 1 20 .03
bt
./
w500
Iipipi
Apl
AI1.2
\\interstaff{16}\
r8+6 Ct f45 za zf+ o. su e8n o. s za- zf Cb |
r8+6 f44u za zf+ o. su+5 e8n-- o. su+5 za- zf |
r+6 Ct f44u zb zd zf o. su+5 Cb f8-- o. su+5 zd zb zf | //
f22 | f2 | b- | /
d45 s .c s | d45 s .c s | b r | /
==================================
(ii) I don't see what it has to do with MIDI: once the PMX code
works the way you want it, MIDI does the right thing in this
case (clef changes have nothing to do with transpositions, where
MIDI indeed creates havock),
(iii) Olivier wrote that "it seems that key changes can occur only in
the main voice" (meaning the first of the two voices in the
staff, as coded in PMX).
In a sense, that is exactly true, but it's only part of the
answer (as I found out only today, experimenting with this!).
Actually,
* PMX will do what you expect from the clef change when it is
in the first voice.
* PMX will NOT do the clef change at all if found in the
second voice, BUT, if you use absolute pitch notation after
the clef change (which is advisable in any case, I guess),
it will produce the correct notes as intended (albeit written
in the original clef), and so MIDI also will not become
confused.
* Although the clef change appears in one voice only, it
applies to BOTH voices of the staff FROM THE POINT ON where
it appeared in the first voice.
This is pretty logical, as the clefs by neccessity sit
on predetermined lines and thus cannot (not easily) be
associated with one of the voices only. That's the way
a piano player would read the score, anyway. In very
large printed orchestra scores, you will sometimes
find 2 voices, e.g. 2 horns, on one staff, and when a
clef change applies to one only there will be an
explicit remark, such as "muta corno II in F bassa",
or similar. But that is obviously useful (if at all!) for
the conductor/reader only, not for the player.
* Things become complicated when the other voice (the one that
does NOT contain the clef change) has a long note the
duration of which extends beyond the point where the clef
change appears: then that note will remain unchanged to its
end, but the note immediately following will be in the new clef.
This is quite intuitive, of course, to the human reader/player,
and in most (simple) cases neither PMX nor
MIDI will get confused by this. But if you try to SUBDIVIDE
this long note in an xtuplet, e.g., you may get some
(unpleasant) surprises! (I suspect similar surprises with
beamed notes, but didn't yet experiment on this).
Of course, the best strategy is to avoid all such
extravagances: after all, the raison d'etre for clef changes
is to SIMPLIFY reading, not to complicate it.
I am attaching a sample which exemplifies most of what I have
said above. In the light of your question, I guess that both the
text and the example in my PMX manual (on clef changes in staffs
with 2 voices, p.49) need amplification/clarification, and I
will add that in the next version.
Thanks for rubbing my nose on this.
ccn.
--
On Fri, 5 Dec 2003, Andre Van Ryckeghem wrote:
> I know this is not possible, but is there a way around (that preserves the
> midi)?
> In this example i can solve the first mesure by interchanging the 2 voices,
> because the clef change extends to the end of the mesure.
> The second mesure looks ugly, so i want the chord after the rest (r8)
> between clefs (Ct ... Cb) but i cannot manage it, also in line TeX (with bad
> midi) does not work.
>
> ==============================
> 2 1 2 4 2 4 0 -2
> 1 1 20 .03
>
> bt
> ./
> w500
> Apl
> AI1.2
> \\interstaff{16}\
> r8+6 Ct f45 za zf+ o. su e8n o. s za- zf Cb |
> f2--- b- //
> f22 Cb |
> %staying xith a \bass clef
> r8+6 f44 za zf+ o. s+5 e8n-- o. s+5 za- zf |
> r+6
> % i want this one with a \treble clef
> Ct f44 zb zd zf o. s+5
> % i want this one with a \bass clef
> Cb f8-- o. s+5 zd zb zf /
> d45 s .c s d45 s .c s b r /
> =============================
>
> Thanks on advance for helping
> Andre
>
> _______________________________________________
> Tex-music mailing list
> [EMAIL PROTECTED]
> http://icking-music-archive.org/mailman/listinfo/tex-music
>
--
............................................................
Prof.Dr. Cornelius C. Noack Phones:
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Universit"at Bremen secretary: -2422
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............................................................1 1
4 4 0 6
0 -3
1 2 16 .0
%
b
./
w150m
It60ivc
Aepl
\\nobarnumbers\
%
% Cleft changes in 1st voice of the staff:
% bar 1 :
f43u c4+u Ct f44u au //
c03 | /
% bar 2 :
Cb f43u c4+u Ct f44u au //
r4-3 c2d3l | /
% bar 3 :
Cb f43u c4+u Ct f44u r+5 Rd //
r4-3 c23l c4l | /
%
% Cleft changes in 2nd voice of the staff:
% bar 1a:
Cb c03 //
f43u c4+u Ct f44u au | /
% bar 2a:
r4-3 c2d3l //
f43u c4+u Ct f44u au | /
% bar 3a:
r4-3 c23l c4l //
Cb f43u c4+u Ct f44u r+5 | /
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