On Sun, 28 Sep 2003 17:20:32 -0400
Kieren Richard MacMillan <[EMAIL PROTECTED]> wrote:
> I write choral music that includes many different textures, including
> the following: extended sections in "unison" (i.e., SA in unison, TB
> in unison an octave lower), which can be written on a single line;
Merging two voices together is easy; look at the examples for the
"partcombine" stuff.
> homophonic sections, which can (often) be written on two staves; and
> polyphonic sections, which require four (or sometimes more) staves. In
> a single engraved score, I sometimes need to switch between these
> "modes", in order to improve readability, reduce errors, and save
> space.
This is far from ideal, but here's the best I can come up with:
When writing the parts, seperate each voice definition into sections.
So instead of this:
soprano = \notes { blah blah blah }
do this:
sopone = \notes { blah }
soptwo = \notes { blah }
sopthree = \notes { blah }
In your score, you can change the number of staves as necessary (by
having different \score contexts if necessary) and include the
appropiate \foonumber sections of notes included.
Here's a rough example:
\score {
\choirStaff <<
\staff { \sopone }
\staff { \altoone }
\staff { \tenone}
>>
}
\score {
\choirStaff <<
\staff { \partcombine { \soptwo \alttwo } }
\staff { \tentwo }
>>
}
This is written in "pseudolily" (like pseudocode), but I hope it'll
point you in the right direction.
It might also be useful to know that you can define a new staff from
within a piece -- IIRC one of the examples does this, but it's pretty
simple:
a4 a b b
<<
{c c d d}
\context Staff=other { % you could also use the "\new" command, but
% I haven't looked into that myself yet.
a a b b
}
>>
Cheers,
- Graham
_______________________________________________
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
