Re: wrong transposition of horn

[Werner LEMBERG]

> Then why couldn't you then add something like 
> \oldStyleHornBassClef = {
>   \once \override OctavateEight #'transparent = ##t 
>   \clef "F^8" }
> ?

Lilypond shall handle this automatically.  Additionally, the clef
changes in a horn part are normally different from the clef changes in
the full score.  See the attached image.

> I don't really understand the difference between clef F^8 and what
> you are asking for.. to me the "old" \clef F syntax just looks like
> sloppy notation for F^8; in the same manner as \clef G often is used
> in place of \clef G_8 in many mandola and guitar scores.

But in guitar scores you always use treble clef, right?  Here another
example: Take the pocket score of `Ein deutsches Requiem' (Brahms,
Edition Eulenburg) and look at page 2, bar 12/13: The horn part in F
is notated as

  \notated = \relative c' { \clef treble g1 | \clef bass c,,1 }

but it sounds like this:

  \sounding = \relative c { \clef bass c1 | f,1 }

What I want is that a new property is added:

  \set Voice.transposeClefs = #'(treble . 0    % as-is, default
                                 bass   . -7)  % octave down
  \transpose f c' \sounding

This should then yield the same result as \notated.

BTW, I withdraw my second request for another property to control the
split point between automatically switching treble and bass clef.  The
idea is not bad but I think it is impossible to implement in a
sensible way.


    Werner