[prev in list] [next in list] [prev in thread] [next in thread] 

List:       lilypond-user
Subject:    Re: Consistency of engraving of hairpin
From:       Nick Payne <nick.payne () internode ! on ! net>
Date:       2013-11-28 6:05:55
Message-ID: 5296DD43.1060300 () internode ! on ! net
[Download RAW message or body]


On 28/11/13 14:45, Keith OHara wrote:
> Nick Payne <nick.payne <at> internode.on.net> writes:
>
>> See below. In bar 1, where the starting point of the hairpin in the top
>> voice is a rest, the hairpin starts at a point midway between that rest
>> and the following note. If the hairpin starts on a note, or if the
>> hairpin is move to another voice consisting of only spacer rests, then
>> the behaviour is different.
>>
> Apparently hairpins are expected to *end* differently on notes versus
> rests, and it seems the fix for that issue
>    <http://code.google.com/p/lilypond/issues/detail?id=154>
> also changed where the hairpins begin.
>
> Presumably you expect the hairpins to begin on the left edge, whether
> there is a rest or not.

Well yes - I actually want the hairpin to start at that point, and the 
note values in the lower voice don't easily allow the hairpin to be 
attached there. In guitar music, notation set out like this, where a 
rest is notated in the upper voice where there is a note in the lower 
voice, is quite common, and is more a notational convention rather than 
an indication that one should actually damp the string at that point. As 
an example, I've attached a scan of the first couple of bars of Stanley 
Yates' transcription of the prelude to BWV1007, which is set out in this 
manner.

Nick

["yates.png" (image/png)]

[prev in list] [next in list] [prev in thread] [next in thread]