Hello there,
Han-Wen Nienhuys wrote:
>
> [EMAIL PROTECTED] writes: For example Brahms Klavierstücke Op. 118,
> > Nummer 1, Intermezzo (a minor), Henle Urtextausgabe. In the first
> > full measure an 8'th note broken a minor chord starts in the left
> > hand and continues in the following measure in the right hand. The
> > whole figure has a common phrazing slur moving from the lower to the
> > upper staff along with the figure.
> >
> > I suppose this is meant by 'slurs crossing staves'. This feature is
> > supported by MusiXTeX.
>
> Yes, but now give me an example, where there is no voice (with notes)
> crossing along with the slur -- which was the original question.
>
You will see this in some scores, to indicate a phrasing which
switch instrumentation or the like, f.x.:
Schoenberg, Pierrot lunaire op 21, 9. Gebet an Pierrot. measure 5, Pno..
G. Ligeti, Stringquartet nr. 2, 1. part, measure 86.
...(and in many other Ligeti scores from that period).
Debussy, Preludes (several examples), 2em livre, VII measure 19-20.
but well the notes are also there, so if lily can handle a staff
+ instrument switch, and apply the phrasing to the notes, not to
their staves, then the answer is we can't(however note in the Debussy
example that there is no other indication of the staff switch,
than the slur).
Most far out examples is in contemporary scores, which is not
the main playground for lily anyway, so maybe you are safe not
putting in exception rules regarding this, as it is also a
controversial notation, like the cross barline beaming, and
in the cases where you need it, it may be notated as clearly
using other methods.
+++
An example to what is also used is a line from one staff to
another:
I. Strawinsky, Agon, Male Dancer-refrain, p. 71 in B&Hawkes
Pocket score no. 701.
This is on the other hand a very useful notation for ensemble
scores, as an aid to conductors, so this is recommended if the
polyphonic structure is very complicated.
+++
A completely different thing is whether it would be an idea to
think of splitting some experimental notation stuff from this
century out from the typesetting engine, and maybe apply it
via a backend to lilypond which is more like a vectorgraphics
drawing program, rather than messing up the internal design
in mudela. (I off cause speak of the hypothetical experimental
stuff ;-)).
_________
__________ /
/freehand / /
/ / /
/ post / lily /
/processing/ pond /
/.ps /
/______/
________/
This interests me personally, so I might play around with that
after I have learned the Metafont stuff.
Also many lines, shapes, doodles, trills, appogiaturas, and
so on, can be written as Metafonts programs. But to get
unspecified stuff inserted into lilypond we maybe will need some
sort of generic symbol, whose meaning lily dont know about ,
but will place according to some relative (x..y) box specification,
or am I completely wrong here ?
Anyway, I think music typesetting gets complicated, not just
because the typesetting rules are very special, but also because
music typesetting is often conceptually somewhere between
vectorgraphics, and textprocessing.
i.o.w. - do you "draw" scores on paper, or do you "spell" them.
Best regards,
Michael Nyvang
The Foobar Bazaar, http://home16.inet.tele.dk/mnyvang/
