Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR

[Marc Hohl]

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