I’m looking for where to find the <> articulation. It looks like a backwards and forwards accent.
Does Dorico have this? I can’t find it. It is hard to kludge it with the <> cresc/decresc, given the editing challenges that presents.
In the example below, I chose the notes I wanted (click on first & ctrl-click on last if not tied).
- Then I used SHIFT-D to call up the Dynamics popover.
- I typed in the popover and pressed Enter.
- That gave me the result.
The cresc/dim did not play back, but it notated okay.
I know how to do what you did, but I want an above-notehead articulation, not a dynamic. It should look like a backwards accent next to a regular accent, centered over the notehead
I have never seen that in music. Do you have a musical example that shows its use?
It’s another notation for a messa di voce- fairly common in 19th century editions.
This is the end of the 2nd movement of Schubert 9 (edited by Brahms).
Here is another, from Brahms’s Requiem (not that it is applied to instruments and voices). Rob is correct that it’s essentially a miniaturized messa di voce. Dorico doesn’t have that “articulation,” just the later form of messa di voce that fills the width of the note.
In SMUFL, these are called soft accents.
I think you can add one via Shift-X, choosing Bravura Text and pasting in the glyph from that website.
Wow, Ian, that’s the one! Thank you.
Schoenberg also used them (you see them in Pierrot, attached).
Learn something new every day!!!
These are actually hairpins that suffer from the bars being cramped!
It is interesting – the first time I saw this articulation, and figured out it from the context and the meaning of the mark itself that it meant a kind of kindler, gentler accent (see in the Schoenberg that it is used for the top notes of each of those chords, passed around to create a “Klangfarbenmelodie” – and an accent would be too much), I realized that the accent itself is a fast and cramped hairpin! In 18/19 cent manuscripts, it isn’t always easy to tell the difference between a short hairpin and a messy accent.
Yes, there is a difficulty herre, particularly in Schubert who had a habit of writing accents and diminuendo hairpins that are hard to distinguish on visual grounds. For instance the same score of the Great C Major Symphony referred to above has a long diminuendo on the last note of the finale, as at the end of Dvorak’s New World Symphony. It is nowadays generally agreed that this was intended by Schubert as an accent at the beginning of the note.