> On 12 Sep 2021, at 02:17, Carl Sorensen <c_soren...@byu.edu> wrote:
>
>
>
> On 9/11/21, 1:03 PM, "lilypond-user on behalf of Hans Aikema"
> <lilypond-user-bounces+carl.d.sorensen=gmail....@gnu.org on behalf of
> hans.aik...@aikebah.net> wrote:
>
> Hi all,
>
> In a score I have two parts (Alto I and II) that’s for most of the score
> unisono.
>
> In order to be able to also generate rehearsal midis by voice (with the
> concerned voice highlighted by diminishing the volume of other voices) I
> would like to retain the full individual voices.
>
> When I want to do this, I use partcombine:
>
> \version "2.22"
> AltoIa = { \partCombineUnisono f'1 | \partCombineAutomatic f'1~ | f'1 |
> f'2( g'4 a'4) }
>
> AltoII = { f'1 | f'1~ | f'4( e' d' c') | f'4( e' g' a') }
>
> \score{\new Staff {
> \partCombine \AltoIa \AltoII
> \break
> }
> \layout{}
> \midi{}
> }
>
> \book {
> \bookOutputSuffix "AltoI"
> \score{
> \new Staff <<
> \new Voice = "AltoI" {\AltoIa}
>>>
> \midi{ }
> }
> }
>
> \book {
> \bookOutputSuffix "AltoII"
> \score{
> \new Staff <<
> \new Voice = "AltoII" {\AltoII}
>>>
> \midi{}
> }
> }
>
> I can share with you some bigger examples using the score wizard from
> Frescobaldi, if you'd like.
>
> Carl
>
Thanks Carl,
Exactly the kind of solution that fits for me. Even better than my examples as
the unisono parts are not constantly using the double stems which for this
piece makes the visual appearance a lot less crowded (out of the 71 measures
only two 3-measure phrases are non-unison).
I always had gotten the impression that \partCombine would ruin all the rest of
my templating, breaking the rehearsal midis, but your structure combines well
with my templating habits. Just using \partCombine (with no additional meddling
with the additional \partCombineXxx overrides) worked at least for this piece,
and if not, I know how to apply them to get the desired output.
Hans
