Re: [Spam] Re: Partcombine not working for orchestral parts?

[Rutger Hofman]

On 16-07-18 17:29, Ben wrote:
> On 7/13/2018 2:25 PM, Kieren MacMillan wrote:
> > Hi Ben,
> >
> > > I probably confused you with my wording, sorry! I just meant it's above the 
> > > staff when it's supposed to be (in rare situations where dynamics are 
> > > technically different between the same instrument parts)...and then it's below 
> > > for the part 'extraction' single staff file. ;) Right?
> > Correct! In the score: dynamics unique to Flute 1 appear above the staff, 
> > dynamics unique to Flute 2 appear below the staff, and shared dynamics appear 
> > [once only] below the score; in the parts: dynamics appear below the staff.
> >
> > Magic.  =)
> > K.
> > ________________________________
> >
> > Kieren MacMillan, composer
> > ‣ website:www.kierenmacmillan.info
> > ‣ email:address@hidden
>
> Question please:
>
> Say you have a large orchestral piece, and for the majority of one 
> movement the flutes 1 & 2 share the same music. Suppose they have only 
> about 5-10 measures out of several hundred measures in the movement that 
> are different, requiring separate voices.
>
> I know you can simplify and reduce typing of the music by using 
> variables and such, however I am wondering: how would you go about 
> setting up the instrument for Flutes 1/2, as well as Flute 1 and Flute 
> 2? If you use temporary \\ backslash polyphony in those measures, that 
> won't translate to partcombine of course (because they would 'live' in 
> the same variable, so I can't do \partcombine fluteone and have it 
> work)...The only way to use partcombine then, would be to have two 
> variables correct?
>
> So, how can you *not* re-type or copy-paste the music into the other 
> flute variable for partcombine? I'm looking at this the wrong way I 
> know, perhaps one of you could straighten me out.
>
> I'd like to use partcombine throughout this piece so ideally I'd like to 
> keep the variables separate, but one movement out of the many do not 
> have the need for polyphony so I am unsure how to proceed. But is it 
> sometimes not advisable to use partcombine if the ratio of polyphony is 
> low? I'm wondering what the common consensus is of when to use 
> partcombine vs. when to manually single-variable input everything << >> 
> inline.

My policy in this kind of situation is to use \quoteDuring, \partcombine 
and the \partcombine{Apart,Chords,Unisono,SoloI,SoloII} commands, like 
in this sub-minimal example:

\version "2.19.82"    % some recent version

fluteI = { .... flute I and unisono music ... }
\addQuote fluteI { \fluteI }

fluteII = {
   \partcombineUnisono \quoteDuring fluteI {
        s1*33 | % duration of common music
   } \undo partcombineUnisono
   ... different music for flute II ...
   \partcombineUnisono \quoteDuring fluteI {
        s1*33 | % duration of common music
   } \undo partcombineUnisono
   % etc.
}

Then the separate setup for parts and score:

parts:
\score {
   \new Staff { \fluteI }
}

\score {
   \new Staff { \fluteII }
}

full score:
\score {
    \new Staff {
        \partcombine
            \fluteI
            \fluteII
    }
}

Beware that there are limitations here. quoteDuring cannot quote quoted 
music, for instance, and the partcombiner, when switching mode (Apart, 
Chords, Unisono etc), gets confused by spanner-type stuff (hairpins, 
text spanners, etc).

Rutger

P.S. If you require that the flute parts are sometimes on one staff, 
sometimes on 2, then you would want to get familiar with the so-called 
divisi engraver, which makes use of the Keep_alive_together_engraver, 
the VerticalAxisGroup.remove-layer property and the utility function 
targetstaff.