Hi Simon,
> It always uses a consistent number of staves for the music (which might also
> be due to the music)
This (i.e., the last bit) is the salient point. Look at essentially any opera
or musical score (full or pianovocal), and a large proportion of [modern]
choral scores, and you will see a great deal of frenching and part-combining
and choral-unison-with-occasional-polyphony.***
And whether or not the particular example ("Wither’s Carol” mm. 1-17) that I
included should or should not be in four staves is irrelevant.
I think it’s the perfect example to work out the best practices by which larger
scores can/should be coded. I’m not really interested in tackling the final
engraving of my 25-minute holiday suite for double orchestra, double choir,
barbershop quartet, and children’s choir as the “test example”. ;)
Cheers,
Kieren.
*** p.s. I couldn’t even find one example, in all my scores of pieces composed
before 1900, containing a choral unison section of more than four consecutive
measures. Anyone [counter]examples out there?
________________________________
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: [email protected]
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