Hi everybody again!. Sorry for my constant questions in recent days. I have only been working with Dorico for a few projects and I have still many gaps. Here is another one:
Is there a way to have independent horizontal spacing among different instruments? I’m working with a score where there are some random elements and I would like the spacing of one instrument/staff not to affect that of another. Changing the horizontal spacing in Engrave mode would be of course the solution, but is there a way to make staves’ horizontal spacing independent? Or a good workaround?
Thank you very much for all your answers, the community of this forum is really impressive!
For staves in the same system and in the same layout, you can’t easily detach spacing rules: each system is considered as one block for horizontal spacing.
You could use different tuplet ratios for example, to make sure notes on each staff are in different note spacing columns? You can use the “independent of spacing column” note spacing tool as well? Although these options are layout-specific, they won’t carry across to the parts.
Perhaps you could share a screenshot of this passage in particular so people can offer more precise alternatives or ideas that might help you?
I would like the piano spacing not to affect the cello spacing. It happens a lot of times in the score, not only here. Maybe using grace notes would make it easier to adjust every circular handling in engrave mode.
Reducing the amount of hair on the string is something you don’t need to specify to a string player if they’re supposed to play pppp… It’s like telling a wind player to blow softly, or a keyboard player to not hammer on the keys. Don’t tell a musician how their instrument works.
For those who have shown interest, it is about playing extremely sul ponticello so that part of the bow’s hair rubs the bridge, so that the sound has a certain noise and pitch content. It is not about bow’s pressure. The indication is just a temporary note for myself and first rehearsals, it has to be better described in a footnote.
Do you mean the bow is precisely on the bridge, with part (½) of the hair behind it, presumably also making sound on the piece of string towards the tailpiece? That’s very specific. Rubbing the wood of the bridge itself will not produce much audible sound at all, just a very soft shuffle, which will drown in the high overtones of the sul pont. strings. But in general, I think it’s over-notating to specify the amount of hair for a soft passage.
BTW, I also never heard of crini before, but I’m not a native English speaker. If crini means ‘horse hair’ (as opposed to other types of hair), I’m not sure it’s necessary to call it so. No other types of hair are in use AFAIK, and even if there would be, it’s totally irrelevant. String players in my world just call it hair. Maybe it’s a fancy word a luthier would use? There is no other hair on a violin (normally).
