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

[Mike Dean]

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 <address@hidden> 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