There following excerpt is from George Lawrence Stone’s “Stick Control”, a method book for percussionists.
While I know it goes against engraving best practices, is there any way to recreate the vertical alignment of noteheads between systems?
Would you be able to upload a screenshot of what is actually happening in your project?
I would think this would mostly align by default, since everything is almost identical in terms of content.
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I agree, that’s what prompted me to ask for a screenshot.
Sorry, I wasn’t clear: it’s more about what happens when there’s not an equal number of notes on each system. For instance, is there any way to get the bar lines vertically aligned between systems? In the example below, measures 7 and 8 would be equally spaced.
The trick in Sibelius to do this used to be to create an instrument, add something like 16th notes to that voice , then hide it (at least, that’s how I think it used to work).
Again, while I realize this isn’t a best practice in engraving, drum/percussion books commonly use this type of alignment.
Thank you.
Yes, you can do a similar thing here. Put in 16th notes in a downstem voice, then hide them all.
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Changing the spacing ratio to 2 might help, as that will make 16th notes exactly half the space of 8th notes.
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Unfortunately that didn’t seem to work.
This may be the route I try, but I’m having a hard time figuring out how to create a down stem voice in a single-line instrument (like snare drum).
One way to get single-line percussion measures of equal width is to start with a pitched one-line instrument. I created a copy of the Treble staff instrument in Library > Instruments and gave the copy one staff line and a percussion clef. I put the desired notes in an up-stem voice and full bars of 16th notes in a down-stem voice. Then I hid the stems, noteheads and ledger lines of the down-stem notes in engrave mode. Finally, I selected the rests and set the Rest pos. property to zero:
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Thank you very much, this works well!
I think @dan_kreider deserves most of the credit for the solution here. He was the one who suggested putting 16th notes in a down-stem voice and hiding them. I simply suggested using a pitched one-line instrument to make it easier to work with multiple voices.
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