Kieren MacMillan wrote
>> In regards to tempo markings, it is a different matter, since any change
>> in
>> tempo needs to apply to each and every voice in the system. It makes
>> perfect
>> sense that the \tempo marking always goes to the System - I just don't
>> understand why it is much more difficult to give a ritardando or
>> stringendo
>> the same behavior.
>
> It’s not… I do exactly this all the time.
> Simply put your ritardando or stringendo in the same global variable as
> your \tempo and \mark items.
Hi. Not sure if you have seen my earlier posts - but I don't have my \tempo
and \mark items in a global variable. I wrote the quartet part (starting at
approx. bar 70) in a separate file, making proofreading and finetuning a lot
quicker than the combined score. In the first part of the score (bars 1-70)
the \time, \tempo and \key changes are defined in the main choir part, since
the quartet is doing nothing. In the latter part, the \time and \tempo
changes are defined in the quartet file, as this is the dominant part from
bar 70.
If there is a simple way of "blanking" all music from a voice, effectively
replacing all content with full bar rests (while obeying the time signature
in each bar), that could be a useful approach in my case. I moved the
quartet to the desired spot (bar 70) by copying bars from more or less
inactive voices and manually modifying them to be all rests. If there is a
smarter way to accomplish this - either in Frescobaldi or directly in
Lilypond - I'd be happy to learn it
In effect - if there is someway to have \voiceA changed to \voiceAA in the
example below, it would be a lot easier to make the global skeleton that
seems to be needed.
voiceA = {
\time 2/4
\tempo Hurtigere 4 = 126
r4\mp gis, |
\time 3/4
gis gis ais |
\time 2/4
b b |
\time 3/4
ais cis b |
ais2.\fermata ~ |
}
voiceAA = {
\time 2/4
R2 |
\time 3/4
R2. |
\time 2/4
R2 |
\time 3/4
R2. |
R2. |
}
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