Ken Williams <[email protected]> writes:
> On Mon, Oct 16, 2017 at 11:53 AM, David Kastrup <[email protected]> wrote:
>
>> Simon Albrecht <[email protected]> writes:
>>
>> > On 16.10.2017 18:01, David Kastrup wrote:
>> >> Chris Yate<[email protected]> writes:
>> >>
>> >>> Many choral basses can't read treble clef, and tenors might sing the
>> wrong
>> >>> pitch, as they're used to reading octave treble...
>> >> Tenors (and basses) are supposed to be singing one octave lower in
>> >> "unisono" passages.
>> >
>> > That’s why the OP clarified that he meant “true unison, not octaves”.
>>
>> Oh. That's going to be a puzzler for all men, I guess. Quite unusual.
>>
>
> That's a question for the composer, not the engraver. And it is
> legitimate for a composer to request unison.
If the engraver indicates unison in a manner that everybody else uses
for expressing an octave split between male/female voice types, he is
not going to satisfy the composer's idea of an actual unison.
> Really hoping that LilyPond will be a suitable platform for
> experimenting with stuff like this, I'm a well-experienced programmer
> and musician, but pretty new to LilyPond.
This is not as much a problem of telling LilyPond what you want to do
but of telling the singers. At any rate, something like
\version "2.19.65"
{
\new StaffGroup
{
<< \new Staff \repeat unfold 16 c''1
\new Staff \repeat unfold 16 g'1
\new Staff = "tenor" \repeat unfold 16 e'1
\new Staff \repeat unfold 16 c'1
>>
\new Staff \with { alignAboveContext = "tenor"
\override VerticalAxisGroup.staff-affinity = #CENTER }
{
\repeat unfold 16 { c'4 e' g' e' c'1 }
}
}
}
appears to do the trick.
--
David Kastrup
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