Kieren, ________________________________________ From: Kieren MacMillan [kieren_macmil...@sympatico.ca] Sent: 28 June 2011 16:39 To: James Lowe Cc: Lilypond-User Mailing List Subject: Re: [Best Practices] instrument changes
Q1: When you have a doubler-switch in the middle of a passage, do you use two different variables and combine them [sequentially] later, or do you have a single variable with \instrumentSwitch? A1: Well I did look at that when I first started using LP in anger a year or so ago - I'd only been setting simple stuff before that for my own use - I looked at \instrumentSwitch and it looked, frankly, a bit over complicated for what I needed. I hadn't really thought about it again until your last response, I had in the past either used quotes or cue notes explicitly in the parts - I find it easier to create specific cue/quote parts within the same .ly file rather than cue/quote from a whole ly file (I know this sounds like double the work) but usually I am only cueing or quoting max of 10 measures so it's easier for me in the short run to handle the cue/quote in such a small fragment - I just add R*[X] before the quote using bar numbers as my R*[X] reference (if that makes sense). Q2: Do you use \tag for things like clef differences (e.g., bass clarinet showing in treble clef in the part, but bass clef in the conductor's C score)? I'm trying to avoid \tag when possible -- since it mixes presentation in with my content -- but it seems unavoidable. =( A2: Not personally no. Again it is/seems a bit overly complicated for my needs. I just use cue/quote in the appropriate clef and with \cueClef commands. It will depend on the player but also on the conductor I guess. I only work with one conductor and she is very good at transposing / transcribing on the fly - so it is always driven by the player's capability generally. I'm sure there are people reading this shaking their heads about how inefficient this probably is :) - all that duplication - but I am not usually writing my own full score from scratch but either copying a score for multiple parts and in this case the conductor will guide me - sometimes I will simply be asked to put in a second voice for a passage or two and I'll just use << / >> and accidentals if I need to (i.e. if not in the same pitch) and add a \markup to indicate the instrument, or I resort to my cue/quote method. Or in the above case were I to get it (Bass clarinet in Treble part) and depending on the player I'd either use cues/quotes or see if the player could handle a bass in a treble clef part or vice versa (depending on the range of the notes). If not I'd just think about if the music variable needed no clef and to put the clef in the \score { } as well. But that is the flexibility of LilyPond. James _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user