Hi David,
> I am curious as to what are the "killer" use cases?
I compose and arrange music theatre works (amongst other things). In the pit,
we almost always have a multi-wind player. A very normal part would see that
one person playing:
mm 1-10 on Bb clarinet
mm. 20-42 on [C+8] piccolo
mm. 54-72 on Bb-8 bass clarinet
mm. 84-100 on [G] alto flute
etc.
where the key(s) of the CONCERT-PITCH MUSIC (i.e., not just the TRANSPOSITION
of the instrument) might change between instrument switches, or even
mid-instrument block.
I want to write:
wind_notes = {
\switchInstrument #”cl”
cl. music here, in concert pitch
\switchInstrument #”picc”
picc. music here, in concert pitch
\switchInstrument #””
b.cl. music here, in concert pitch
\switchInstrument #”picc”
a.fl. music here, in concert pitch
}
> Another way of asking this is, what is so terrible with the obvious approach?
You have to put the key information redundantly in each instrumentalist’s music.
A better [i.e, more maintainable and “object-oriented”] approach is this:
global = {
\key a \minor s1*8
\key e \minor s1*4
\key c \major s1*10
}
and then in both part and full score use
\new Staff << \global \wind_notes >>
In the part, all the instrumental transpositions should apply; in the score, I
should be able to choose (C score or transposed).
Makes sense?
Best,
Kieren.
----------------------------------
Kieren MacMillan, composer
www: <http://www.kierenmacmillan.info>
email: i...@kierenmacmillan.info
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