Re: Automatic ottava handling

[Gilberto Agostinho]

Hi David,


David Nalesnik-2 wrote
> I'm not going to venture into automating the process described in the
> manual for having an ottava apply to one voice, but not the other.

That would be indeed painful to implement... this is exactly the type of
notation that a human can spot as "okay" in some cases, even though it
breaks some conventions for a brief moment. Nevertheless, this is quite a
rare case - and I still would avoid using it at all, I'd rather create a new
stave if necessary, which is a more contemporary approach to these types of
passages.


David Nalesnik-2 wrote
> Maybe best would be to throw a warning and completely ignore the << >>
> passage.  Certainly easier from my standpoint!

I guess this would be a very fair solution. Your function already handles
chords (it always considers the bottom note for treble clef and the top note
for bass clef, am I right?), which is wonderful. If someone is dealing with
more complex polyphony, then better do it manually.


David Nalesnik-2 wrote
> There is no access to context properties from within a music function.  So
> determining the clef relies on its explicit creation within the music
> expression that \ottavate considers.  Otherwise, it can only assume treble
> clef.

What about adding a optional variable to set the clef? So if the music
starts with a different clef, the user would have to explicitely have to
inform this.

And here is a minor thing I just spotted: there is also a small
inconsistense with the negative values in your function. Try this:

{
  \ottavate #'(4 . 7) #'(-4 . -7) ##f { f''' g''' \clef bass g,, e,,}
}

So up to (inclusive) 4 ledger lines above the treble cleff is displayed
without ottavation, but only notes with less (not inclusive) than 4 ledger
lines are displayed without ottava bassa in the bass clef. 

Best,
Gilberto



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