Hi Keith,
> By saying "reedPlayer stores written pitches", I meant only that the
> \transpose{...} operations, to tell LilyPond which notes should be printed at
> which transposition, were included in the variable reedPlayer.
Thanks for the clarification.
> You could try the attached modification (to avoid transposition of cues) of
> Jan-Peter's method.
> part = { g'4 b' d'' fis'' R1
> \instrumentSwitch "cl Bflat" \bar"||"\key\default
> g'4 b' d'' fis'' R1
> \instrumentSwitch "flute" \bar"||"\key\default
> g'4 b' d'' fis'' R1 }
> global = { \key g\major s1*4 }
> \new Staff \with { \printTransposition }
> \new Voice << \global \part >>
This is really great, IMO!
So…
1. What do others think?
2. What would be required so that the \bar "||” \key \default stuff could be
avoided (e.g., could be abstracted either in the global, or somewhere better)?
Because right now, writing
\new Staff \with { \printTransposition } \new Voice << \global \part >>
\new Staff \new Voice << \global \part >>
one gets [as expected] the key signature(s) unnecessarily reprinted at each
switch point in the second (concert) score.
3. In a perfect world, either \instrumentSwitch would take two music
expressions (i.e., one for the “prep” period, one for the “playing” period), or
there would be an \instrumentPrep macro — primarily to deal with the markup
activities (e.g., “take clarinet”), but possibly for other things. Which do you
think is ultimately a better solution?
Thanks!
Kieren.
_____________________
Kieren MacMillan, composer
www: <http://www.kierenmacmillan.info>
email: i...@kierenmacmillan.info
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