Actually, the function that does the actual typesetting differed between
ottava brackets and text spanners, but you can easily override that too
by setting the stencil property.
As far as I can see, the following should give exactly the same layout
as an octava bracket:
\override TextSpanner #'stencil = #ly:ottava-bracket::print
\override TextSpanner #'shorten-pair = #'(0.0 . -0.6)
\override TextSpanner #'staff-padding = #1.0
\override TextSpanner #'padding = #0.5
\override TextSpanner #'minimum-length = #1.0
\override TextSpanner #'dash-fraction = #0.3
\override TextSpanner #'text = #"8va"
\override TextSpanner #'edge-height = #'(0 . 1.2)
\override TextSpanner #'dash-period = #1.0
Do you specify the note pitches using absolute octaves or using the
\relative feature? In the former case, isn't it easier to solve your
problem by just adding an
\transpose c c'{ ... } around the octaviated section?
/Mats
Kirill wrote:
Forgot to mention why I need this at all.
I'm writing a plug-in for Sibelius to export scores in LilyPond format.
It runs a two-pass procedure (I'm giving a simplified picture):
Pass 1: Read through all notes/rests in the score or a selected pasage and
generate the corresponding .ly text for the notes/rests/chords (articulations,
dynamic marks etc. are also processed at this pass -- everything you can put on
a note). Also, all "lines" (in Sibelius terminology; this includes hairpins,
slurs etc.) are scanned and remembered for pass 2. The appropriate text for
"start of the line" is appended to a .ly note/rest/chord at this point.
Pass 2: Is needed to correctly terminate a "line". In Sibelius, lines are not
attached to notes. They are merely objects in a bar which have a start position
and a duration. If the start position of a line equals a start position of a
note/rest/chord -- it means the line starts on that note/rest/chord (and I
handle this in Pass 1). The end of the line in Sibelius is not necessarily
attached to a note, that is why in Pass 2 I scan through all the lines and find
a note on which this line should terminate (because in LilyPond it should start
and end on a note, right?).
So I handle many spanning objects this way (quite uniformly and extensibly). Now
suddenly I realised that the ottava line should be handled differently. If I
merely use (#set-octavation ...) for the start and end of the line, I will also
need to transpose the notes (as Sibelius reports the pitches of the notes as
they are written, i.e. not taking ottava into account) -- but in Pass 1 I have
already converted the notes into text!!! I don't want another pass just for the
octavation. So I would have to redesign my plug-in slightly to handle octavation
properly! At present, I thought, an emulation of ottava-line might work. Hence
my question.
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
--
=============================================
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=============================================
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
