> [EMAIL PROTECTED] writes:
> > > * For things with many bugs, eg. the ottava bracket, I would
> > > prefer a complete description of how things should look, if
> > > possible with a scan from a printed edition.
> >
> > I don't have a scanner, sorry. For crowded piano music with all
> > bells and whistles have a look into Beethoven's late piano
> > sonatas, for example op. 106, op. 111, etc.
>
> And which publisher do I look for?
A German one I suggest, since most of lilypond is based on German
engraving tradition.
> > . Rehearsal marks in the first bar of a staff must be positioned
> > right to the clef, not at the beginning of the line.
>
> I cannot figure out a clean solution for this. As a temporary
> measure, I included a function call that shifts the mark at the
> start of the line.
I think I can offer a solution. Assume that rehearsal marks aren't
really centered on bar lines but are offset to the right by an
extremely small delta value. This is, rehearsal marks belong to the
bar following the bar line. As an example, here the different
behaviour of a fermata and a rehearsal number w.r.t. barlines. The
`/.\' is the fermata, `1' the rehearsal number, and `G' a clef.
Before line splitting:
1
/.\
|G------|------------|----------|------------|
After line splitting:
/.\
|G------|------------|
1
|G------|------------|
Now introduce a new invisible grob which behaves similar to notes but
with two different properties: zero horizontal width and no minimum
distance to other grobs. If you center rehearsal marks on such a grob
it should do automatically what we want.
Werner
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