On 13/09/13 05:54, Curt wrote:
- Hairpins are surprisingly difficult. Most instruments do not have a natural
decay, so hairpins don't necessarily start or end right at the note
boundaries. It's necessary to use "fake voices" in these cases. Even
with this, it didn't support having a decrescendo end at the Fine bar -
I had to make it end at a note value before the Fine bar. And
if you have ties over these fake voices, you have to know about
\set tieWaitForNote = ##t
This is for me one of the single most frustrating things with Lilypond.
Hairpins that don't begin or end with a notehead or rest are such a typical
musical notation, so easy to do by hand or with a WYSIWYG score editor, and
really annoying and finnicky to do with Lilypond.
- The alignment of the flat sign in text markup like "Clarinet in Bb" is
difficult.
I gave up on this one because the approach to make it look right felt
too
hard-coded.
I "solved" this in some scores by defining an entity \Bflat that was the B
combined with the flat sign in the right relative position and size. Imperfect
but doable.
- It was extremely hard to specify a subito dynamic right after a hairpin. This
is a relatively common use-case, but I had to pull in a pretty
complicated
scheme function, and modify it, to make it work as expected. This one
requirement
probably took around six hours.
If I recall right, doesn't this stem from the fact that default minimum hairpin
length is expected to _include_ the dynamic mark's width? So any dynamic mark
which contains more than 1 letter can mess up the display of the hairpin (I've
even seen cases where the hairpin itself was so narrow it was pretty much a
single vertical line -- the angle between its arms was a full 180 degrees!).
I think the solution here is probably that there be a real minimal length for
the hairpin alone -- this matches what one sees in e.g. the Henle hand-engraved
scores, where (if you remember the video that was posted) the very smallest
hairpins are not hand-engraved but stamped with a custom die.
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