Am 07.08.2014 16:02, schrieb Urs Liska:
Am 07.08.2014 15:08, schrieb Alex Loomis:
In my copy of Dvorak 8 the parts use a2 for isolated unison passages
and double stems for passages where the voices are also split at some
point.
Oh, I didn't think of that possibility. I'll check to see if it makes
sense. At least it sounds reasonable.
Thanks for the report (my pocket scores aren't at home that's why I
didn#t look myself).
Urs
Ah no, it's still inconsistent. There is a tendency towards your
suggested approach, but still inconsistently handled. For example: A
phrase is unisono for two pages/systems but splits at the beginning of
the third system - the first pages are "a 2" and then simply split to
two voices.
I have the impression it's a mixture of efficiency and suggestion.
Sometimes having two stems simply looks more powerful.
Given that situation I'll vote for following Werner's suggestion of
making it consistent and document the differences.
Best
Urs
On Aug 7, 2014, at 8:49 AM, Urs Liska <u...@openlilylib.org> wrote:
Hi folks,
I have a large romantic score in front of me. In the handwritten
score the \partcombine stuff is done inconsistently for unisono
sections: sometimes it's written as one voice with "à 2", sometimes
as two voices, i.e. one notehead with stems up and down. So far I
can't see any reason for this inconsistency.
What would people with more experience with orchestral scores suggest:
- transcribe everything as it is in the model?
- make it consistent:
- use "à 2" always?
- use voices always?
Best
Urs
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