But this caused the cresc., decresc pair to line up horizontally and no longer be equally wide as they were in the example, when they were each attached to four eighth notes. In order for them to be equally wide again, the crescendo would have to end and the decrescendo would have to start on a note in the center of the measure. I figured out that this is possible, using triplets.
s4\< s8 \times 2/3 { s s\> s } s s s\!The example looks like
<<
{ gis( e') e'-. e'-. e'-. e'-. e'-. e'-. }
{
\override TupletBracket #'bracket-visibility = ##f
\override TupletBracket #'number-visibility = ##f
s4\< s8 \times 2/3 { s s\> s } s s s\! }
>> |By the way, I should have used \oneVoice instead of \stemNeutral when using polyphony in order to get the articulations to work normally. Just changing the stem direction alone didn't work in all cases.
Notice how I hid the triplet bracket. The overrides must be reverted at the next triplet.
Stephen
----- Original Message ----- From: "Mats Bengtsson" <[EMAIL PROTECTED]>
To: "Stephen" <[EMAIL PROTECTED]>
Cc: <[email protected]>
Sent: Tuesday, March 22, 2005 5:01 AM
Subject: Re: hairpin cresc. and decresc. do not line up.
If you end the crescendo at the same note as you start the diminuendo, then LilyPond will make sure that they line up. I don't understand why you use the extra line of spacing notes in your example, you could just as well insert the dynamic indications directly at the notes.
However, if you want the change between crescendo and diminuendo to be typeset just before the middle of the bar, you could do << { \stemNeutral gis( e') e'-. e'-. e'-. e'-. e'-. e'-. | } { s4..\< s16 \!\> s4. s8\! } >>
for example.
/Mats
Stephen wrote:In the Beethoven Horn Sonata Op. 17 Rondo., horn part arranged for trumpet, I am having trouble with the dynamics overwiting each other and not lining up with each other. In the example below, my main concern is that the hairpin decrescendo under the stacatto e eighths does not line up with the crescendo hairpin preceeding it under the g-sharp eighth:
\version "2.4.3"
\paper { #(set-paper-size "a5") linewidth = 60\staffspace indent = 0\mm }
\transpose c c'{ #(set-accidental-style 'modern-cautionary) \partial 2 \clef treble \key c \major \time 2/2 \set Staff.midiInstrument = "trumpet" \set Score.skipBars = ##t
g'4-\markup { \dynamic "mf" \italic \bold \bigger "espress." } g' \noBreak \mark 6 g'2 f'8( e' d' cis') | %79 \set Score.currentBarNumber = #79 \acciaccatura e'8 d'( cis' d' e') f'4-.(\< f'-.)\! | f'4.->(\> e'8) d'( c' b a)\! | << { \stemNeutral gis( e') e'-. e'-. e'-. e'-. e'-. e'-. | } { s8\< s s s\! s\> s s s\! } >> e'2\< d'8( c' b a)\! | f'2.\sf \dim d'4( | e') e'-.( e'-. e'-.) | \enddim a r r2 | }
Stephen ------------------------------------------------------------------------
------------------------------------------------------------------------
\version "2.4.3"
\paper { #(set-paper-size "a5") linewidth = 60\staffspace indent = 0\mm }
\transpose c c'{ #(set-accidental-style 'modern-cautionary) \partial 2 \clef treble \key c \major \time 2/2 \set Staff.midiInstrument = "trumpet" \set Score.skipBars = ##t
g'4-\markup { \dynamic "mf" \italic \bold \bigger "espress." } g' \noBreak \mark 6 g'2 f'8( e' d' cis') | %79 \set Score.currentBarNumber = #79 \acciaccatura e'8 d'( cis' d' e') f'4-.(\< f'-.)\! | f'4.->(\> e'8) d'( c' b a)\! | << { \stemNeutral gis( e') e'-. e'-. e'-. e'-. e'-. e'-. | } { s8\< s s s\! s\> s s s\! } >> e'2\< d'8( c' b a)\! | f'2.\sf \dim d'4( | e') e'-.( e'-. e'-.) | \enddim a r r2 | }
------------------------------------------------------------------------
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-- ============================================= 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 =============================================
--------------------------------------------------------------------------------
<<attachment: horn-page1.png>>
\version "2.4.3"
\paper {
#(set-paper-size "a5")
linewidth = 60\staffspace
indent = 0\mm
}
\transpose c c'{
#(set-accidental-style 'modern-cautionary)
\partial 2
\clef treble
\key c \major
\time 2/2
\set Staff.midiInstrument = "trumpet"
\set Score.skipBars = ##t
g'4-\markup { \dynamic "mf" \italic \bold \bigger "espress." } g' \noBreak \mark 6 g'2 f'8( e' d' cis') |
%79
\set Score.currentBarNumber = #79
\acciaccatura e'8 d'( cis' d' e') f'4-.(\< f'-.)\! | f'4.->(\> e'8) d'( c' b a)\! |
<<
{ gis( e') e'-. e'-. e'-. e'-. e'-. e'-. }
{
\override TupletBracket #'bracket-visibility = ##f
\override TupletBracket #'number-visibility = ##f
s4\< s8 \times 2/3 { s s\> s } s s s\! } % triplet allows hairpins to meet in center of measure
>> |
e'2\< d'8( c' b a)\! | f'2.\sf \dim d'4( |
e') e'-.( e'-. e'-.) | \enddim a r r2 |
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