[EMAIL PROTECTED] writes:
> Take a look at bars 1-4 of houseontheocean.ly--it isn't as simple as you
> would think... For example, in the bass clef you have two eigth notes
> followed by a half. In order to do it the way you suggest, I would have to
> change the half note to an eighth note, which is *not* what the composer
> intended... Instead, to get what you see you have to start the half note in
> the upper staff then cross it down to the lower and vice versa to get the
> upper line--very inelegant, and very confusing.
I'll have another think about this; the trouble is in the overlap of
the notes. A temporary solution would be:
{ f8( c8 < f2
{ s8 \translator Staff=upper s4. } >
c f )a }
> Isn't that what computers are for? To simplify things for the end user
> (should the end user so desire)?
Perhaps, but remember that I am here to have fun hacking, not
to cater for end users.
> Actually, I can't imagine a situation where you would *need* more
> than one phrase mark,
Have you ever heard of polyphonic music? See
mutopia/J.S.Bach/wtk1-fugue2 for examples. It is conceivable to have
such pieces where multiple slurs cross staffs and not follow any
nesting rules.
> As for how to handle the inevitable collision with 'E' and 'F', you could
> simply raise the phrase mark vertically and/or turn the stems down on 'E'
> and 'F'.
That's not the question; the question is how do you decide which slur
reacts to which notes. Before a collision can be corrected, the slur
has to `know' that a note is there. Knowing that notes are there is
also done using notation contexts.
> BTW, I'm not trying to tear you down, I think what you have now is pretty
> damned awesome! I'm only trying to suggest ways to make Lily even better...
> ;-p
I am not trying to tear *you* down. It's just that you have no idea
how Lily works, so your implementation suggestions are quite useless
to me. :)
--
Han-Wen Nienhuys, [EMAIL PROTECTED] ** GNU LilyPond - The Music Typesetter
http://www.cs.uu.nl/people/hanwen/lilypond/index.html
