Re: Displaying string number above fingering

[Olivier Biot]

On Wed, Dec 12, 2012 at 10:25 AM, David Kastrup <address@hidden> wrote:

Keith OHara <address@hidden> writes:

> Eluze <eluzew <at> gmail.com> writes:
>
>> maybe this could be merged into
>> https://code.google.com/p/lilypond/issues/detail?id=2830
>
> That issue is about fingering and string numbers inside chord brackets <>,
> documenting how the order of input works together with script-priority
>
>     <d-1\2>8( <e-\thumb\1> <d-1\2>)
>     <b-2\1>( <a-\thumb\2> <g-1\3>)
>
> articulations coming earlier in the input are printed closer to the
> note.

New_fingering_engraver

> The irregular behavior Oliver sees occurs when there is no <> chord
> indication.

Fingering_engraver

> I think it is a separate bug, but I am confused right now.  There are
> two or three separate pieces of code setting fingerings and scripts
> according to different combinations of rules, some similar to what
> Nick posted just now.  (Too many people write new code without looking
> at the existing code first.)

Outside of chords, articulations with an event listener are funneled off
rhythmic events and just announced at the same time.  Inside of chords,
they remain stuck on the individual rhythmic events which are then
passed to the New_fingering_engraver in some manner.

> Then there is the problem \thumb is different than other fingerings...

We should likely try doing something about that, though.

Thanks!

By the way, for cello:
1. \open means "open string"
2. \0 (finger zero) sometimes is used as a synonym for open string
3. \flageolet means "touch the string at the flageolet position" - often played with the 3rd finger; in this case, the flageolet mark resides closest to the note head, then the finger number
4. \thumb means "played with the thumb". I suspect that it might be combined with the flageolet sign to distinguish between stopping the string (pressing it against the fingerboard) and touching the string with the thumb at the desired flageolet position (typically one octave above the open string, i.e., at the half string length a.k.a. first thumb position).
4. \harmonic is used for playing artificial harmonics by stopping the string at a given note and touching the remainder of the string to excite the desired harmonic (e.g. a fourth above the stopped note). The harmonic sign can be accompanied by a finger number.

I have a strong suspicion that the same applies to other bowed string instruments, but I can't state this with full confidence since I'm only familiar with cello (playing) and violin/viola/double bass from reading their sheet music.
 

> It seems if we give Fingerings and StringNumbers different
> script-priorities by default, as David suggested, it would render a
> lot of this (buggy) code moot.

I am not sure this would cure the double-engraver scenario, but it might
make some sense trying to at least make both engravers use the same kind
of tie-breaking in comparable situations.

The main problem I see is that /maybe/ some "articulations" behave differently for different instruments. The most remarkable example being the classical guitar (with p/i/f/a fingering) versus cello.

How about creating a system similar to the drumset definition for assigning the proper per instrument priorities to these scripts?

Best regards,

Olivier