David Wright <[email protected]> writes: > On Wed 09 Feb 2022 at 14:24:14 (+0000), Valentin Petzel wrote: >> >> I think Alasdair does not want to specify relative at toplevel, but >> he has his voices in multiple consecutive parts, and he wants the >> whole voice to be relative, instead of each part being separately >> relative. This can of course simply be done using \relative pitch >> {\partA \partB ...}. > > I think you've misinterpreted "part" as part of a movement, rather > than part being an instrumental part. > > The OP will want to set the music as: > > movement1_part1 = { notes, notes, and more notes } > movement2_part1 = { notes, notes, and more notes } > movement3_part1 = { notes, notes, and more notes } > > to do what they posted, ie, > > \relative c { \movement1_part1 \movement2_part1 \movement3_part1 } > > This will enable them to set part2 for a high- or low-pitched > instrument with one modification, and without changing the > pitch of part1: > > \relative c' { \movement1_part2 \movement2_part2 \movement3_part2 } > > or > > \relative c, { \movement1_part2 \movement2_part2 \movement3_part2 }
I find that a pretty bad idea since changes in \movement1_part1 can shift the octave of movement2_part1 around. I think it makes more sense to do octave shifts via \transpose rather than tieing the internals of one passage to the next passage at a completely different place in the source. -- David Kastrup
