Oops, forgot to send this to the list also.
-----Original Message-----
From: Jeff Henrikson [mailto:[EMAIL PROTECTED]]
Sent: Thursday, November 30, 2000 1:51 PM
To: Ben Tordoff
Subject: Agreed: my two-penneth
Accents and rehearsal marks are also very important to me. Right now for me the
former is bothersome and the latter are being done
by hand (like with a pencil).
Actually, I should generalize upon the rehearsal mark thing. Not only are numbers for
rehearsal marks not enough, I need to be
able to put arbitrary numbering schemes, for example
I
A
A_9
A_17
A_25
B
B_9
B_17
B_25
C
All in large square boxes. The computer doesn't really need to understand this, and
it's a comparatively short amount of labor to
do by hand. But so far as I understand, I can't do the foo^"escape-to-TeX" thing
unless I am anchoring to a note. I need to
anchor to a barline in this and many other cases.
Again, this is a special case of a general problem: text anchoring is insufficient. I
need to be able to put different kinds of
text below, above, and way above the staff, (perhaps all three at once) and all these
distinct from articulation marks, in such a
way that they don't interfere with one another. I have not had any luck getting more
than the simplest tempo marking up, unless
for example I go to the extent of creating a separate invisible staff and putting
s2^"my happy text" all over the place. I got
complicated jazz chord changes to print that way.
Is this architecturally difficult, or has it just not been thought of? To see
examples of heavy dependence on text, look at any
percussion music (eg, for wind band or modern orchestra).
How difficult would it be to just have a special kind of invisible staff explicitly
for text markings that would be kinder to the
layout than the usual defaults? It would be nicer for extracting parts since you only
want one rehearsal mark on the score, but
always when printing parts.
I can explain this further if it isn't clear.
Jeff Henrikson
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