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## Re: Document <> and improve other simultanous music documentation. (issu

 From: Keith OHara Subject: Re: Document <> and improve other simultanous music documentation. (issue 6248080) Date: Sat, 02 Jun 2012 18:36:28 -0700 User-agent: Opera Mail/11.64 (Win32)

On Sat, 02 Jun 2012 12:42:36 -0700, David Kastrup <address@hidden> wrote:


if the next note starts with a dynamic, the "smorz." will merge into
that dynamic which is not wanted for.


Presumably because the hairpin is a \> and the next note is \f in this case.
Often, though, we do want a \> to continue into a \p.

Mostly I wanted to talk you out of this worry :


It would seem that _trailing_ <> are not really something we should
lightly suggest since it is unknown what their articulations will
attach themselves to.


We can make it clear that <>\! attaches the end of the hairpin to the following
note (or bar-line if there is no note) by saying ...


"Keith OHara" <address@hidden> writes:


"... but can take articulations and notations,
which will be engraved as if they were attached to a note
starting at the musical moment of the empty chord."


So your use of <>\! gives the same output as if you ended the hairpin on the
following note, c\!\f, and we already know that LilyPond aligns such a hairpin to the
\f.

The empty chord does make it any easier to end crescendos just before the next note;
for that we need parallel music, or grace timing, or whatever your \atLast does.
Nevertheless, trailing <>\! or s1*0\! reduces my rate of forgetting to end
decrescendos:

\relative c'{ \key e\major \time 3/4
fis8(\> gis e2) s2.*0\!
\bar"||" \key g\major
\barNumberCheck#2
R2.*8
d'2.\p ~ | d2. }