Noel,
I'm afraid what you write doesn't make any sense to me at all.
If the rhythms of two wind parts -- say, Flutes 1 & 2 -- are similar enough to be written on a single staff in the first place, than it's *much* easer (and more readable) to enter both parts in the same layer, so that share the same stem -- and, when the rhythms do diverge, in Layers 1 & 2 (or Voice 1 & 2) on a single staff. Everything is much faster this way -- assigning articulations, dynamics, hairpins, slurs, etc.
And TGTools makes it almost trivially easy to later explode that staff intelligently into separate Flute 1 and Flute 2 staves.
I see no advantage to doing things the other way around. I would recommend the exact opposite of what you wrote -- if you're going to have to separate, e.g., Flute 1 and Flute 2 into separate staves later on, it's best to wait until immediately before extracting parts before separating them into individual staves.
- Darcy ----- [EMAIL PROTECTED] Brooklyn, NY
On 04 Apr 2005, at 6:28 AM, Noel Stoutenburg wrote:
IN response to my comments about entering the parts for each instrument on a separate staff, and combining them later,
Lee wrote, in part
As a conductor, I really dislike scores in which the winds are (usuallyprompting me to note that I do not mean to suggest that the winds necessarily ought to be on separate staves in the finished product; simply that in my view (and, perhaps, only my view) that if one knows the winds are going to be on separate parts at some point anyway, it is likely to be better to start with the winds on separate staves and later combine them, then start with them on the same staff and later separate them.
unnecessarily) split out into separate staves, as it's much harder to read.
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