Re:

[Xavier Scheuer]

On 24 November 2012 18:22, ed stuckems  wrote:
> What's special about the \clef command in the following:
>
> (snip)
>
> So my question is "why does adding the \clef also require adding the
> "\new Staff" when section 2.2.1 suggests otherwise?"  What have I
> missed?

Hi,

I'd say that's probably because clefs are engraved by the
"Clef_engraver", which is (by default) part of the Staff context.

But my general advice would be to never trust "implicit" context
creation and instead *always* use explicit contexts (\new Staff,
\new Voice) and parallel construct as the desired output.

Cheers,
Xavier

-- 
Xavier Scheuer 

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Re:

[Xavier Scheuer]

On 25 November 2012 14:21, Xavier Scheuer  wrote:
>
> Hi,
>
> I'd say that's probably because clefs are engraved by the
> "Clef_engraver", which is (by default) part of the Staff context.
>
> But my general advice would be to never trust "implicit" context
> creation and instead *always* use explicit contexts (\new Staff,
> \new Voice) and parallel construct as the desired output.

Sorry, I just saw the other replies, which were in a separate thread
in my inbox.

Cheers,
Xavier

-- 
Xavier Scheuer 

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Harp lever changes

[Bill Restemeyer]

A question for Helge Kruse:  were you ever able to find a solution for harp 
lever changes?

I have several arrangements for Harpsicle that I would like to score.

Thanks,

BillR
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Re: review of a Mutopia file (why TabStaff gives error here?)

[Federico Bruni]

Il 24/11/2012 22:53, Nick Payne ha scritto:

BTW, given that guitar right-hand fingering in a score is indicated by
the letters "p", "i", "m", and "a", I think that the source is easier to
read if you define

P=\rightHandFinger #1
I=\rightHandFinger #2
M=\rightHandFinger #3
A=\rightHandFinger #4

rather than

#(define RH rightHandFinger)


Yes, it's better.
Added, thanks

--
Federico

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Re: Collision avec lignes supplémentaires

[Keith OHara]

elmamyra wrote

Je copie une partition polyphonique (à 3 voix),



\relative c'' {
  << \new Voice {\voiceOne \repeat unfold 4 e2} \\
 \new Voice {\voiceTwo \scaleDurations 2/3 {\repeat unfold 8 {r8 e,
e}}} \\
 \new Voice {\voiceFour \repeat unfold 2 e,1} >>
}



Je trouve que le mi grave est trop près du mi de la voix central.


LilyPond omit de donner assez de l'espace pour les hampes, en ce cas.
On peut
\override Stem #'extra-spacing-width = #'(-0.7 . 0.7)

(Si cette \override fait trop de l'espace autre fois, peut-etre il faut 
\once\override ... )

Aussi, les voix centrales s'indique avec plus grandes nombres-de-voix, pour 
placement meilleure en les cases où LilyPond reussit.
  \new Voice {\voiceFour
\override Stem #'extra-spacing-width = #'(-0.7 . 0.7)
\scaleDurations 2/3 {\repeat unfold 8 {r8 e, e}}}
  \new Voice {\voiceTwo \repeat unfold 2 e,1} >>


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Re: Collision avec lignes supplémentaires

[Keith OHara]

Sorry.  Wrong list.
(Email is hard.)

On Sun, 25 Nov 2012 12:17:58 -0800, Keith OHara  wrote:

elmamyra wrote

Je copie une partition polyphonique (à 3 voix),



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\breathe at the bottom in \voiceTwo ???

[Werner]

Hello,

i have two voices in one staff. I would like to get breathe-signs for the lower 
voice at the bottom line instead of the top line of the stave.

Is there a possibility to get that behavior?

greetings

Werner


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Re: \breathe at the bottom in \voiceTwo ???

[Thomas Morley]

2012/11/25 Werner :
> Hello,
>
> i have two voices in one staff. I would like to get breathe-signs for the 
> lower
> voice at the bottom line instead of the top line of the stave.
>
> Is there a possibility to get that behavior?
>
> greetings
>
> Werner
>
>
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Hi Werner,

how about

\version "2.16.0"

I =
\relative c'' {
\voiceOne
c1
\breathe
d

}

II =
\relative c' {
\voiceTwo
c1
\override BreathingSign #'Y-offset = #-2
\breathe
d
}

\new Staff
<<
\new Voice \I
\new Voice \II
>>


-Harm

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Re: \breathe at the bottom in \voiceTwo ???

[David Kastrup]

Werner  writes:

> Hello,
>
> i have two voices in one staff. I would like to get breathe-signs for
> the lower
> voice at the bottom line instead of the top line of the stave.
>
> Is there a possibility to get that behavior?

\new Staff <<
  { c'' \breathe c'' c'' c'' } \\
  { c' c' c' \tweak #'Y-offset #-2 \breathe c' }
>>

Maybe this should be the default.

-- 
David Kastrup


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Re: \breathe at the bottom in \voiceTwo ???

[Werner]

Thank you for the solution!!
I just insert it in every voiceTwo:



\voiceTwo 
{   
% to get breathing-signs at bottom line instead of top line for lower voice:
\override BreathingSign #'Y-offset = #-2
... 
}



Werner


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MIDI channel

[Gerard McConnell]

Hello,
Sorry to repost this, I've checked the manual pretty thoroughly, I think,
and can't find the answer.
I don't mean to be a nuisance, I won't post this again.
Is it possible to specify a channel for MIDI output?
Also, is there a choice of encoding that will allow me to read the contents
of the .mid file in jEdit?
Thanks for any help,
Gerard
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Re: specify MIDI channel?

[Federico Bruni]

Il 19/11/2012 22:11, Gerard McConnell ha scritto:

Hello,
I understand that I can send information to separate (sequential) MIDI
channels by using different staves.


You can also send each voice to a different channel, see Notation 
Reference 3.5.1, Instrument Names, selected snippets (which uses the 
Staff_performer).



There's also this context property:

midiChannelMapping (symbol)
How to map MIDI channels: per instrument (default), staff or voice.

*But it's not documented*, AFAICS.  That's why I'm CCing lilypond-bug

All I can find is here:
http://lilypond.org/doc/v2.14/Documentation/changes/index.html



Is it possible to specify a specific MIDI channel for a staff?


I don't know...
In the tracker I could find only this open issue:
http://code.google.com/p/lilypond/issues/detail?id=2278

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simple choral example: warnings/clashes and no midi

[ivan . k . kuznetsov]

I am still relatively new to lilypond.
I have a simple four voice choral attached.


(1)
This example produces numerous warnings about
clashing notes which look like:

choral-beethoven-moonlight-01-simple.ly:16:62: warning: ignoring too many 
clashing note columns
e'2  e'2   e'2   fs'2fs'2  e'2   ds'!2   ds'cs'

Why is this happening?

(2)
Also, this example fails to produce a midi file.
Can someone explain what I am doing wrong?


(3)
As far as the structure of my file:

  \new PianoStaff
  <<
 \new Staff = "up"
 {
   <<
   \new Voice = "up" { }
   \new Voice = "up" { }
   >>
 }
 \new Staff = "down"
 {
   <<
   \new Voice { }
   \new Voice { }
   >>
 }
  >>
  }

Is this considered an example of "best practice", or how
might others structure a four voice choral.


(4)
Finally, at the beginning of the four measure in
the soprano and alto, the d# and c# collide.
I would have thought lilypond would have taken care
of this.  What do I need to do to fix this?



Thank you very much for your time and patience.



\version "2.16.0"
\include "english.ly"

\score {

  \new PianoStaff
  <<
 \new Staff = "up"
 {
   \clef "treble"
   \time 4/4
   \key cs \minor
   <<
   \new Voice = "up"
   {
  e'2  e'2   e'2   fs'2fs'2  e'2   ds'!2   ds'cs'
   }
   \new Voice = "up"
   {
  cs'2  cs'2  cs'2 d'2  bs2  cs'2  cs'2   bs2  gs2
   }
   >>
 }
 \new Staff = "down"
 {
   \clef "bass"
   \time 4/4
   \key cs \minor

   <<
   \new Voice
   {
  \stemUp
  gs2 gs2 a2 a2   gs2 gs2 gs2 fs2   e2
   }
   \new Voice
   {
  cs2 b,2 a,2 fs,2 gs,2  gs,2  gs,2  gs,2   cs2
   }
   >>
 }

  >>
  }

  \layout {

\context {
   \Score
   \override SpacingSpanner
   #'base-shortest-duration = #(ly:make-moment 1 8)
}
  }
  \midi {
 \context {
   \Score
   tempoWholesPerMinute = #(ly:make-moment 72 4)
 }
  }






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Re: review of a Mutopia file (why TabStaff gives error here?)

[Nick Payne]

On 24/11/12 13:34, Keith OHara wrote:

barre = #(define-music-function (parser location
strg music) (number? ly:music?)
#{
  \set TabStaff.minimumFret = $strg
  \set TabStaff.restrainOpenStrings = ##t
  \once\override TextSpanner #'(bound-details left text)
= #(format #f "B ~@r" strg)
   %{ ... Nick's other style settings ...%}
  <>\startTextSpan
  $music
  <>\stopTextSpan
  \unset TabStaff.minimumFret
  \unset TabStaff.restrainOpenStrings
#})


I was testing this barre function without the tabstaff stuff for use 
with scores in standard notation, and added a few extra TextSpanner 
settings to get the output that I want. One problem that I can't fathom 
is that if I add \override TextSpanner.bound-details.right-broken.text = 
##f, so that the small vertical line at the RH end of the spanner is not 
drawn at the end of a staff when the barre wraps to the following staff, 
then the line also doesn't get drawn if the barre ends at the right hand 
end of a staff, without being broken. Why is lilypond thinking that the 
TextSpanner is breaking across staves when it isn't? In the example 
below, the end of the second TextSpanner is missing the vertical line 
unless the override of TextSpanner.bound-details.right-broken.text = ##f 
is commented out.


\version "2.17.6"

% Function contributed by Thomas Morley:
% http://lsr.dsi.unimi.it/LSR/Item?id=857
barre =
#(define-music-function (parser location strg music)(number? ly:music?)
#{
%\set TabStaff.minimumFret = $strg
%\set TabStaff.restrainOpenStrings = ##t
  \once\override TextSpanner.bound-details.left.text = #(format #f 
"~@r" strg)

  \once\override TextSpanner.font-shape = #'upright
  \once\override TextSpanner.bound-details.left.stencil-align-dir-y = 
#CENTER

  \once\override TextSpanner.style = #'line
  \once\override TextSpanner.bound-details.right.text = \markup 
\draw-line #'(0 . -1)

  \once\override TextSpanner.to-barline = ##t
  \once\override TextSpanner.bound-details.right.padding = #1.5
  \once\override TextSpanner.bound-details.right-broken.padding = #0.5
  \once\override TextSpanner.bound-details.left-broken.padding = #2
  \once\override TextSpanner.bound-details.left-broken.text = ##f
  \once\override TextSpanner.bound-details.right-broken.text = ##f
  <>\startTextSpan
  $music
  <>\stopTextSpan
%\unset TabStaff.minimumFret
%\unset TabStaff.restrainOpenStrings
#})

\relative c'' {
  \key c \major
  \barre3 { \repeat unfold 48 { d4 } }
  \barre3 { \repeat unfold 20 { d4 } }
  \break
  \repeat unfold 20 { d4 }
}


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Re: simple choral example: warnings/clashes and no midi

[Thomas Morley]

2012/11/26  :
>
> I am still relatively new to lilypond.
> I have a simple four voice choral attached.
>
>
> (1)
> This example produces numerous warnings about
> clashing notes which look like:
>
> choral-beethoven-moonlight-01-simple.ly:16:62: warning: ignoring too many 
> clashing note columns
> e'2  e'2   e'2   fs'2fs'2  e'2   ds'!2   ds'cs'
>
> Why is this happening?

Because of "many clashing note columns"  ;)
To avoid this use \voiceOne and \voiceTwo, or write chords

>
> (2)
> Also, this example fails to produce a midi file.
> Can someone explain what I am doing wrong?

\midi should be _in_ score:

\score {
\new PianoStaff { ... }
\layout { ... }
\midi { ... }
}

> (3)
> As far as the structure of my file:
>
>   \new PianoStaff
>   <<
>  \new Staff = "up"
>  {
><<
>\new Voice = "up" { }
>\new Voice = "up" { }
>>>
>  }
>  \new Staff = "down"
>  {
><<
>\new Voice { }
>\new Voice { }
>>>
>  }
>   >>
>   }
>
> Is this considered an example of "best practice", or how
> might others structure a four voice choral.
>
>
> (4)
> Finally, at the beginning of the four measure in
> the soprano and alto, the d# and c# collide.
> I would have thought lilypond would have taken care
> of this.  What do I need to do to fix this?

See above.

HTH,
  Harm

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Re: simple choral example: warnings/clashes and no midi

[ivan . k . kuznetsov]

Thank you very much for you answers!


Thomas Morley  writes:
> 
> 2012/11/26  :
> >
> > This example produces numerous warnings about
> > clashing notes which look like:
> > [...]
> > Why is this happening?
> 
> Because of "many clashing note columns"  ;)
> To avoid this use \voiceOne and \voiceTwo, or write chords
> 
> >
> > (2)
> > Also, this example fails to produce a midi file.
> > Can someone explain what I am doing wrong?
> 
> \midi should be _in_ score:
> 
> \score {
> \new PianoStaff { ... }
> \layout { ... }
> \midi { ... }
> }



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include header conflicts

[Kieren MacMillan]

Hello all!

I've got an individual .ly file for each cue (song or orchestral interlude) in 
my musical. I want to include them in a complete score .ly file, but when I do 
that the header variables conflict (e.g., the first or last 'title' or 'piece' 
value gets printed in the header of all scores).

It's probably something small that I'm doing wrong — so rather than try to 
build a minimal example, I was hoping someone out there might be able to 
diagnose the problem from past experience and give me a hint on how to solve it.

Thanks,
Kieren.
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Re: Aleatoric / modern notation

[David Nalesnik]

Hi Jeffrey,

On Sat, Nov 24, 2012 at 11:47 AM, Jeffrey Trevino
 wrote:
> Hi David,
>
> Yes, I think it's reasonable to confine the frame to a single line, even
> though the arrow must be breakable.
>
> I'm also having problems using the construct on parallel staffs within a
> score. It works fine for a single staff, but when I try to use the same
> construct on two staffs simultaneously, I get, "
>
> warning: No start to this box.
> Preprocessing graphical objects...frameEngraver4.ly:124:23: In procedure
> ly:grob-property in expression (ly:grob-property frame (quote
> padding)):frameEngraver4.ly:124:23: Wrong type argument in position 1
> (expecting Grob): ()
>
> "
>
> I don't know how the Scheme is working here, so maybe you can try out two of
> these in parallel and let me know if it's working for you.
>

Nope, I get the same error...  Argh!  I'm not sure why this is
happening.  As soon as I get some time, I'll need to go over the
engraver with a fine-toothed comb.  I know how to approach the issue
of the broken extender line, but I want to make sure I'm working from
a sound base first.

-David

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Re: review of a Mutopia file (why TabStaff gives error here?)

[Keith OHara]

Nick Payne  internode.on.net> writes:

> 
> On 24/11/12 13:34, Keith OHara wrote:
> > \once\override TextSpanner #'to-barline = ##t
> >   <>\startTextSpan
> >   $music
> >   <>\stopTextSpan

> Why is lilypond thinking that the 
> TextSpanner is breaking across staves when it isn't? 

This function stops the Text Spanner at the first opportunity /after/ 
$music so if $music ends on a line-break, the spanner continues to the 
first note on the next line.  'to-barline=#t is the option to omit 
drawing the short section on the next line.

The other barre function at
> % http://lsr.dsi.unimi.it/LSR/Item?id=857
disassembles $music to insert a \stopTextSpan just before the final note.
This assumes that $music is a single sequence, not something like 
   << {...} // {...} >>
but it would work better with your method of handling line breaks.

> I was testing this barre function without the tabstaff stuff 

You could instead   \set Staff.minimumFret ...
so it works with- or without the Tab Staff


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Re: include header conflicts

[Christopher R. Maden]

On 11/25/2012 08:12 PM, Kieren MacMillan wrote:
> I've got an individual .ly file for each cue (song or orchestral 
> interlude) in my musical. I want to include them in a complete
> score .ly file, but when I do that the header variables conflict
> (e.g., the first or last 'title' or 'piece' value gets printed in
> the header of all scores).
> 
> It's probably something small that I'm doing wrong — so rather
> than try to build a minimal example, I was hoping someone out there
> might be able to diagnose the problem from past experience and give
> me a hint on how to solve it.

This should probably become a FAQ.

You need to split each cue into two files: foo_music.ly contains the
actual music (staves, notes, phrasing, etc.) and variable definitions
(e.g., fooTitle = "Foo"), while foo.ly has \include foo_music.ly and
the headers with things like title=\fooTitle).  Then, in your complete
score, you \include all of the *_music.ly files with appropriate
headers for the full score.

~Chris
-- 
Chris Maden, text nerd  http://crism.maden.org/ >
 “Always remember where you came from, and honor your ancestry,
  But don’t be afraid to defy anyone who would tell you what to be.”
  — Chris Vaughan, “Freedom”
GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9  A210 4A51 DBAC 5C5C 3D5E

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Re: include header conflicts

[Kieren MacMillan]

Hi Chris,

> You need to split each cue into two files: foo_music.ly contains the
> actual music (staves, notes, phrasing, etc.) and variable definitions
> (e.g., fooTitle = "Foo"), while foo.ly has \include foo_music.ly and
> the headers with things like title=\fooTitle).  Then, in your complete
> score, you \include all of the *_music.ly files with appropriate
> headers for the full score.

I feared that was the problem and workaround…
This does encourage redundancy, unfortunately — but it is what it is.

Thanks,
Kieren.
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Tuplets

[Mark Stephen Mrotek]

Hello:

 

Please refer to the attached.

 

Must the command "\times 2/3" be entered for every tuplet?

 

Thank you for your kind attention.

 

Mark Stephen Mrotek

\version "2.16.0"


global = {
  \key e \major
  \time 2/2
}

rightOne = \relative c'' {
  \global
  \mergeDifferentlyHeadedOn

  s2 \times 2/3 { cis,4 cis8 } \times 2/3 { gis'4 gis8 } | s1 |
  cis4~ \times 2/3 { cis4 b8 } gis4 a~ | a2 fis |
  
  %5
  
  gis r4 cis |
  
}

rightTwo = \relative c'' {
  \global
 \override TupletNumber #'stencil = ##f
  \times 2/3 { cis,8 [ gis' e ] } \times 2/3 { cis [ gis' e ] } \times 2/3 { cis [ gis cis ] } \times 2/3 { gis' [ e gis ] } |
  \times 2/3 { dis [ e dis ] } \times 2/3 { cis [ gis e' ] } \times 2/3 {  gis [ e gis ] } \times 2/3 { gis [ eis b' ] } |
  \times 2/3 { cis, [ gis' a ] } \times 2/3 { fis [ a b ] } \times 2/3 { gis [ bis, fis' ] } \times 2/3 { a [ dis, fis ] } |
  \times 2/3 { fis [ bis, dis ] } \times 2/3 { dis [ gis, bis ] } \times 2/3 { gis [ bis dis ] } \times 2/3 { gis, [ bis dis ] } |
  
  %5
  
  \times 2/3 { gis, [ cis e ] }  \times 2/3 { gis, [ cis e ] } \times 2/3 { cis [ eis gis ] } \times 2/3 { fis [ a cis ] } |
  
}

left = \relative c' {
  \global
  
  < cis,, cis' >2 < bis bis' > | < a a' fis' >4 2 < eis' eis' d' >4 | < fis fis' >2 < dis dis' > |
  < bis bis' > < gis gis' > |
  
  %5 
  
  < cis cis' >2. < fis fis' >4 |
}

\score {
  \new PianoStaff \with {
instrumentName = "Piano"
  } <<
\new Staff = "right" << \rightOne \\ \rightTwo >>
\new Staff = "left" { \clef bass \left }
  >>
  \layout { }
}
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Re: Tuplets

[SoundsFromSound]

Mark Stephen Mrotek wrote
> Hello:
> 
>  
> Please refer to the attached.
> 
>  
> Must the command "\times 2/3" be entered for every tuplet?
>  
> 
> Thank you for your kind attention.
> 
>  
> 
> Mark Stephen Mrotek
> 
> Tuplets.ly (1K)
> ;

Hi there Mark,

On one hand yes, you do input tuplets in that manner, however would this be
of help to you? -->


Entering several tuplets using only one \times command

The property tupletSpannerDuration sets how long each of the tuplets
contained within the brackets after \times should last. Many consecutive
tuplets can then be placed within a single \times expression, thus saving
typing.

In the example, two triplets are shown, while \times was entered only once.

Tuplets Link
  

Also here:
Writing more than one tuplet but only use \TIMES once
  



-
composer | sound designer
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Re: Tuplets

[Nick Payne]

On 26/11/12 14:47, Mark Stephen Mrotek wrote:


Hello:

Please refer to the attached.

Must the command "\times 2/3" be entered for every tuplet?



Not if the tuplets are contiguous:

\relative c'' {
  \set tupletSpannerDuration = #(ly:make-moment 1 4)
  \times 2/3 {
\repeat unfold 48 { c8 }
  }
}
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RE: Tuplets

[Mark Stephen Mrotek]

SoundsFromSound:

Thank you for the reference. Citing documentation allows me to investigate
further.

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
SoundsFromSound
Sent: Sunday, November 25, 2012 8:00 PM
To: lilypond-user@gnu.org
Subject: Re: Tuplets

Mark Stephen Mrotek wrote
> Hello:
> 
>  
> Please refer to the attached.
> 
>  
> Must the command "\times 2/3" be entered for every tuplet?
>  
> 
> Thank you for your kind attention.
> 
>  
> 
> Mark Stephen Mrotek
> 
> Tuplets.ly (1K)
>  ly>

Hi there Mark,

On one hand yes, you do input tuplets in that manner, however would this be
of help to you? -->


Entering several tuplets using only one \times command

The property tupletSpannerDuration sets how long each of the tuplets
contained within the brackets after \times should last. Many consecutive
tuplets can then be placed within a single \times expression, thus saving
typing.

In the example, two triplets are shown, while \times was entered only once.

Tuplets Link
  

Also here:
Writing more than one tuplet but only use \TIMES once
  



-
composer | sound designer
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Re: include header conflicts

[David Kastrup]

Kieren MacMillan  writes:

> Hello all!
>
> I've got an individual .ly file for each cue (song or orchestral
> interlude) in my musical. I want to include them in a complete score
> .ly file, but when I do that the header variables conflict (e.g., the
> first or last 'title' or 'piece' value gets printed in the header of
> all scores).

You could suck the whole file into one score and get just the music back
out again using ly:score-music, something like

#(ly:score-music #{ \score { \include "xxx.ly" } #})

The music will already be "scorified" (repeat chords expanded, \\
replaced and other things), so you just need to add it to your book or
whatever.

-- 
David Kastrup


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dynamics alignment

[Werner]

Hello,

I write four-voices in a system of two staves with two voices in each stave.
With ^\f or _\f e.g. I can get dynamics over the upper voice or under the 
second.
I also found out, that I can align them with e.g.

\override DynamicLineSpanner #'staff-padding = #4.0

Unfortunately I don't understand, what means

\override DynamicLineSpanner #'Y-extent = #'(-1.5 . 1.5)

That is my first question.

Second:

I would like to have dynamics for the single voices (I use ^ for voiceOne 
and _ for voiceTwo) but also dynamics for all 4 voices. These should be 
aligned just in the middle between the two staves.

Do I have 
to write a fifth voice containing only s s s ... for that 
or
to override DynamicLineSpanner again and again in one of my four voices
or 
is there in lilypond a smarter possibility?

Greetings

Werner


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PS (dynamic alignment)

[Werner]

> I would like to have dynamics for the single voices (I use ^ for voiceOne 
> and _ for voiceTwo) but also dynamics for all 4 voices. These should be 
> aligned just in the middle between the two staves.
> 
> Do I have 
> to write a fifth voice containing only s s s ... for that 
> or
> to override DynamicLineSpanner again and again in one of my four voices
> or 
> is there in lilypond a smarter possibility?

It would be good, to have the possibility to use in first voice something like:

if dynamicUp: DynamicLineSpanner default
if dynamicDown: \override DynamicLineSpanner #'staff-padding = #4.0

c2.
_\f % for all 4 voices
c8 c | c4 c r2
_\p % for all 4 voices
| b
^\mp\< % only for 1. voice
b h h | c1 
^\mf % only for 1. voice

Is that somehow possible?


(I could use \dynamicUp in 3. voice; \dynamicDown is the default in 2. and 4. 
voice.)


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