I guess I haven't figured the two indicators out correctly...
\score {
\tempo \markup { \bold "Lento Lontano, e molto legato"}
\mark \markup { "Chorale-like" }
places "Chorale-like" above the tempo indicator, and aligns with the edge
of the staff.
What I haven't found is getting the Chorale-like line under and aligned
with Lento lontano, as follows
*Lento Lontano, e molto legato*
*Chorale-like*
I think I found it:
\tempo \markup \column { \bold "Lento Lontano, e molto legato"
"Chorale-like"}
is producing the desired output
Mike Dean
On Mon, Mar 24, 2014 at 1:05 PM, Marc Hohl <[email protected]> wrote:
> Am 24.03.2014 15:45, schrieb Mike Dean:
>
> Hi Marc:
>> Thanks for the feedback!
>>
> Hi Mike,
>
> please don't forget to reply to all, so that others can join the
> discussion.
>
>
> I have a further question lining up the two marks in question 5....
>> having implemented your suggestion has resulted in the "Chorale-like"
>> markup above the "Lento lontano..." and the latter is lined up with the
>> time sig, with the "Chorale-like" lined up with the edge of the staff...
>>
>
> Why two marks? You should have \tempo and \mark instead.
>
>
> I'm still trying to get a handle on the paper sizing variables... I
>> found the ragged-bottom = ##t option, but it didn't add a couple of
>> blank lines before the \score block, so I'm not doing something quite
>> right.
>>
>
> Did you try changing the markup-system-spacing?
>
>
> More about polyphony...the part I am transcribing starts out in unison,
>> but abruptly switches into a polyphonic format.
>> What I have is this:
>>
>> \score {
>>
>> \relative c' {
>>
>> | \time 4/4 c2.\) f,4\( |
>>
>> e d a' g | \time 2/4 f g ( | \time 4/4 < f a >2. ) \) g4\( |
>>
>>
>> In which the polyphony starts in the 2/4 measure and ends with the
>> dotted half note in the next measure.
>>
>> What I am having a trouble grasping is how to make the temporary
>> polyphony work...
>>
>> Looking at the temporary polyphonic construct:
>>
>>
>>
>> << { \voiceOne ... }
>> \new Voice { \voiceTwo ... }
>>
>>> \oneVoice
>>>>
>>>
>>
>> So would that mean that I can do the following
>>
>>
>> << { \voiceOne f4 g | \time 4/4 a2. }
>> \new Voice { \voiceTwo f4 g | \time 4/4 f2. }
>>
>>> \oneVoice g4
>>>>
>>>
>>
>> And would the temporary polyphony have to start at the beginning of a
>> measure?
>>
>> r2 r4 << { \voiceOne d4\f | \time 2/4 d' bf \time 4/4 f2 }
>> \new voice { \voiceTwo d4 | \time 2/4 g d | \time 4/4 bf2 }
>>
>>> \oneVoice r2
>>>>
>>> So I'm not sure where to put the hairpin diminuendo at the end of the
>> snippet, if it would have to go on voiceTwo...
>>
>
> Did you actually *compile* the examples you provide?
> It probably makes sense to start the polyphony at the beginning of a
> measure.
>
> You may also have a look at the << ... \\ ... >> shortcut for small
> polyphonic parts.
>
> HTH,
>
> Marc
>
>
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