I'm actually not sure how useful the hack from the example
"3.2.4 Piano centered dynamics" really is. It seems to me that
you could get more or less the same result by keeping the dynamics
definitions in one of the staves and simply adjusting the staff-padding
property for the dynamics. For example, in the example template in the
manual, simply replace the \score{...} block by
\score {
\context PianoStaff <<
\context Staff=upper <<
\upper
\dynamics
>>
\context Staff=lower <<
\clef bass
\lower
\pedal
>>
>>
\layout {
\context{
\Staff
\override DynamicLineSpanner #'staff-padding = #3
\override SostenutoPedalLineSpanner #'staff-padding = #3
\override SustainPedalLineSpanner #'staff-padding = #3
\override UnaCordaPedalLineSpanner #'staff-padding = #3
}
}
}
This should also solve the problem you report.
/Mats
Trevor Baca wrote:
You have to have hairpins in a separate context (like the 3.2.4
template) to get this, but when you do you'll find that hairpins take
their horizontal start- and stop-points from the *width of lyric text*
happening at the same rhythmic moment, rather than from the *width of
noteheads* happening at the same rhythmic moment, which can lead to,
for example, really confusing your pianist.
The example here shows this point through a series of four progressive
examples that should render on a single page.
You'll need 2.7.4 to render the \wordwrap correctly and read the explanations.
Possibly a workaround for this already exists? Or possibly the
Dynamics context I've built here for these examples is somehow
deficient. Or perhaps Lily's default behavior for hairpin spanning
should change?
Trevor.
%%%%%%%%%%% hairpin-lyrics interaction %%%%%%%
\version "2.7.4"
\markup {\wordwrap {\bold {Hairpin-lyrics interaction.} Here is some
music. The hairpins attach inline to notes, directly in the note
entry. The hairpins are very beautiful. They each start from left
note-edge and stop at right note-edge:}}
theWords = \lyricmode {
text and even more text,
words and even more words
}
\score {
<<
\new Staff <<
\clef treble
\time 4/4
\context Voice = "theNotes" {
c'2.\< c'4\! |
c'2.\> c'4\! |
c'1\< |
r1\!
c'2.\< c'4\! |
c'2.\> c'4\! |
c'1\< |
r1\!
}
\lyricsto "theNotes" \new Lyrics \theWords
>>
>>
}
\markup {\wordwrap {Here is the same music, but with dynamics in a
special Dyanmics context like the one in template 3.2.4. Here the
hairpins are not so beautiful. They each start at left lyric-edge and
stop at right lyric-edge:}}
\score {
<<
\new Staff <<
\clef treble
\time 4/4
\context Voice = "theNotes" {
c'2. c'4 |
c'2. c'4 |
c'1 |
r1
c'2. c'4 |
c'2. c'4 |
c'1 |
r1
}
\lyricsto "theNotes" \new Lyrics \theWords
>>
\new Dynamics {
s2.\< s4\! |
s2.\> s4\! |
s1\< |
s1\!
s2.\< s4\! |
s2.\> s4\! |
s1\< |
s1\!
}
>>
\layout {
\context {
\name "Dynamics"
\type "Engraver_group_engraver"
\consists "Axis_group_engraver"
\consists "Skip_event_swallow_translator"
\consists "Dynamic_engraver"
}
\context {
\Score
\accepts "Dynamics"
}
}
}
\markup {\wordwrap {The same hairpin-stretching effect obtains no
matter where we put the special Dynamics context:}}
\score {
<<
\new Staff <<
\clef treble
\time 4/4
\context Voice = "theNotes" {
c'2. c'4 |
c'2. c'4 |
c'1 |
r1
c'2. c'4 |
c'2. c'4 |
c'1 |
r1
}
\lyricsto "theNotes" \new Lyrics \theWords
>>
\new Staff {
c'2. c'4 |
c'2. c'4 |
c'1 |
r1
c'2. c'4 |
c'2. c'4 |
c'1 |
r1
}
\new Dynamics {
s2.\< s4\! |
s2.\> s4\! |
s1\< |
s1\!
s2.\< s4\! |
s2.\> s4\! |
s1\< |
s1\!
}
>>
\layout {
\context {
\name "Dynamics"
\type "Engraver_group_engraver"
\consists "Axis_group_engraver"
\consists "Skip_event_swallow_translator"
\consists "Dynamic_engraver"
}
\context {
\Score
\accepts "Dynamics"
}
}
}
\markup {\wordwrap {The idea that hairpin bounds match lyric bounds is
unusual. The following snippet from the first of the Brahms German
folksongs probably gives a good idea why when we look carefully at the
hairpins on either side of the barline between the first two
measures:}}
brahmsLyrics = \lyricmode {
of -- fen schon, komm |
nur in mei -- ne | Hütt __ Ach |
}
\score {
<<
\new Staff <<
\context Voice = "melody" {
\clef treble
\time 6/8
c''4 e''8 d''4 f''8 |
e''4 d''8 c''4 d''8 g'4. ~ g'4 c''8 |
}
\lyricsto "melody" \new Lyrics \brahmsLyrics
>>
\new PianoStaff <<
\new Staff {
\clef treble
\time 6/8
r8 <e' c'' e''>8[ r8 <f' b' e''>8 r8 <d' f' b'>8] |
r8 <c' e' c''>8[ r8 <e' g' c''>8 r8 <c' fis' a'>8] |
r8 <g b g'>8[ r8 <g e' g'>8 r8 <g c' fis' g'>8] |
}
\new Dynamics {
\time 6/8
s8 s4\< s4\> s8\! |
s4. \< s4. | s4. s4 s8\! |
}
\new Staff {
\time 6/8
\clef bass
fis,4( g,4 gis,4) |
a,4( a4 d4) |
g,4( c4 a,4) |
}
>>
>>
\layout {
\context {
\name "Dynamics"
\type "Engraver_group_engraver"
\consists "Axis_group_engraver"
\consists "Skip_event_swallow_translator"
\consists "Dynamic_engraver"
\override Hairpin #'extra-offset = #'(0 . 1.5)
}
\context {
\PianoStaff
\accepts "Dynamics"
\override VerticalAlignment #'forced-distance = #5
}
}
}
\markup {\wordwrap {The end effect is to render the hairpins such that
they frequently look like y have nothing to do with the rhythmic
timevalues in the piano. Maybe we should reconsider this nment
principle?}}
%%%%%%%%%%% hairpin-lyrics interaction %%%%%%%
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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
=============================================
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