Or as I just found out, you can override the Voice naming of "1" and
"2", with
\score { \new Staff { \new Voice = "soprano" \relative c' { c8 d e( <<
\context Voice = "soprano" { f) } \\ { d } >> } } }
In this case you don't need the explicite voice set up for the temporary
part.
Bertalan Fodor (LilyPondTool) wrote:
It is important for the same voices to remain in the same Voice context.
So if you have this:
\new Voice = "soprano" { c8 d e } and you want to go to S1 and S2, you
should use this construct:
\score { \new Staff { \new Voice = "soprano" \relative c' { \voiceOne
c8 d e( << { f) } \new Voice = "s2" { \voiceTwo d } >> } } }
<< means "simultaneous music", and nothing more. That's why I'm using
\voiceOne and \voiceTwo to set the stem, slur etc. directions.
Note, that I have no \\ in the middle of the to voices, as \\ would
create automatically two voices called "1" and "2", but you want to
stay in the "soprano" context for the first part, and thus you
explicitly create a new Voice for s2.
northofscotland wrote:
I have a question about the best way to produce music when it divides for
maybe only a few bars in a piece. I often come across this when setting
SATB vocal works. Straight forward SATB with a single voice to a line is
simple enough, but I am struggling to find an elegant (and simple!) way to
deal with a part that may divide into, say, S1 and S2 perhaps only for a few
notes in the whole piece. The way I have sorted it so far is to duplicate
the S line, put in the changed notes and substitute the common notes with
skips, then combine them with something like
\new Voice = "sopcombo" {\voiceOne << \global \sopMusic \sopDiv >> }
Whilst this seems to work reasonably well I do seem to lose some
articulations, slurs etc in the process, and it does seem rather cumbersome.
Division such as this is common enough in such music and I would have
thought it could have a simple solution. Published music and the products
of eg Sibelius seem to readily produce such results. Any ideas? Thanks
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