Re: Dynamic mark at the end of a bar

[David Sumbler]

On Wed, 2015-05-27 at 16:52 -0500, David Nalesnik wrote:
> Hi David,
> 
> On Wed, May 27, 2015 at 3:03 PM, David Sumbler <address@hidden>
> wrote:
>         > 
>         But both of these are "work-arounds" for something which is
>         actually
>         fairly normal musical notation.  They are work-arounds because
>         one
>         method implies that a note is not really the length that it
>         appears to
>         be, and the other method implies that the dynamics actually
>         belong to
>         another, silent voice.  Neither of these is true in reality.
> 
> 
> Actually, I think I was a little imprecise talking about attaching the
> dynamics to a new voice here.  I created SimultaneousMusic, rather
> than another Voice context.  Note that this is done commonly enough by
> users parameterizing their input: one variable is used to store the
> notes, and another to store the dynamics.

Simon also made this point - which I accept.

> (This is not to say that there isn't some hackery at work here :) )
> 


>         Ideally one shouldn't have to use trial and error, varying the
>         length of
>         the second invisible rest, to get an acceptable appearance.
>         We know
>         exactly where the final dynamic should go: it should be
>         immediately
>         before the bar-line.
> 
> 
> Yes, but what of more complex examples, where a composer indicates a
> number of inflections on a single note?  There are a number of
> examples of that here: https://www.youtube.com/watch?v=uav-OYUJ7BQ
> (including a simple one at the very beginning).  How else could you
> notate these cases without the simultaneous music approach?

True, but in these cases we actually want the dynamics to be at
particular points within a bar, so the simultaneous music approach is
logical.  In my case, I want the dynamic to appear at the end of the bar
- this, of course is the same moment in time as the start of the next
bar+, but is not the same point on paper.  The simultaneous music
approach, however, requires us to pretend that we want the dynamic at
some arbitrary moment just before the end of the bar.  And the choice of
that moment will vary, depending on how busy the music is on other
staves in the same bar.  It might also mean that we have to use one
value for the score and another for the individual part - yet, in
reality, we just want the dynamic to appear immediately before the
bar-line regardless of what is happening elsewhere in the ensemble.

David

David