On 7/12/2018 8:46 AM, Kieren MacMillan wrote:
Hi Ben,
I didn’t follow this entire thread closely, so I’m not 100% sure whether the
functions herein would change my answer, but…
Just one final curiosity question:
Say you were engraving a full orchestra piece, where many instruments had 1,2
or 3 parts (i.e. flute 1,2,3, trumpet 1,2, etc).
Would you set up each instrument part (1,2,3) separately as variables and then
part combine them on a staff in the score
or
would you compose them on one staff/variable, "inline" where you just create
'voices' as you go along.
(assuming that there is a decent amount of independence between the parts of
the same instrument.)
I would set each up separately, and then part combine them in the score(s).
Would that encourage one approach over the other, or would you always do it the
same way even if the parts (1,2,3) were 99% identical in the score of the same
instrument?
I would always do it the same way regardless, using quotes to reduce (hopefully
eliminate!) redundant note code.
Hope that helps!
Kieren.
Kieren,
I threw together this crude example for partcombine, but it's not
functioning the way I had thought it would.
Why is the quarter note rest not showing up, *and *thus causing the
E-stem to be wonky too?
(see attached)
Thank you!
%%%%%%%%%%%%
\version "2.19.81"
fluteone =
\relative c'' { c d e f r4 e4 f f a1}
flutetwo =
\relative c' { c2 d e f g f e d c }
{ \partcombine \fluteone \flutetwo }
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