Yes, I am compiling as I go along (not always merrily....)
Mike Dean
On Mon, Mar 24, 2014 at 1:46 PM, Mike Dean <dean...@aquinas.edu> wrote:
> 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 <m...@hohlart.de> 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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