Noeck <[email protected]> writes: > Hi, > > reading about \partcombine recently stirs up some questions. I always > considered it a tool for orchestra scores (violins of flutes). But > perhaps it's not limited to that. > > > My questions (and some short reasoning): > > 1. Does \partcombine make sense for combining *soprano and alto* into > one staff or should I use voices?
Voices in my opinion. > I see pros (+) and cons (-): > > - The fact that I would prefer the 'apart' style everywhere makes me > think that it's perhaps not what \partcombine is intended for. > = From a quick test, \partcombineApart is equivalent to two voices. > Are there exceptions? > + The positioning of dynamics is better for partcombine. > Why are all dynamics below the staff for the voices-setup by default? > > > 2. Does \partcombine make sense for *piano music* with different voices > starting here and there? > > - Probably not as the 2...n voices are never used independently, so > I'd be better off writing voices explicitly as necessary. I think it makes sense for piano _extracts_. For original piano scores, you usually want to be in control of the voicing. -- David Kastrup _______________________________________________ lilypond-user mailing list [email protected] https://lists.gnu.org/mailman/listinfo/lilypond-user
