Re: best practice(s) for divisi choral works

Hi all, Following up on this thread from December… Attached is an example containing the choral parts from the first verse of my “Wither’s Carol”. (If you’re interested, you can find more information on the piece, including a recording, at .) My goal

Re: best practice(s) for divisi choral works

- Original Message - From: "Kieren MacMillan" To: "Lilypond-User Mailing List" Sent: Thursday, December 25, 2014 2:23 AM Subject: best practice(s) for divisi choral works Hello all! I’m about to dive in to [re]engraving a choral piece. Like many choral

Re: best practice(s) for divisi choral works

On 25 December 2014 at 13:23, Kieren MacMillan wrote: > Hello all! > > I’m about to dive in to [re]engraving a choral piece. > > Like many choral works, it regularly alternates between “choral unison” > (which can effectively be displayed using a single staff), homophonic > sections (which requi

Re: best practice(s) for divisi choral works

Hi Kieren, no answer but I'm extremely interested in the topic too as I'm very soon going to tackle the choir parts of our Fried score. Urs Am 25. Dezember 2014 03:23:01 MEZ, schrieb Kieren MacMillan : >Hello all! > >I’m about to dive in to [re]engraving a choral piece. > >Like many choral wor

best practice(s) for divisi choral works

Hello all! I’m about to dive in to [re]engraving a choral piece. Like many choral works, it regularly alternates between “choral unison” (which can effectively be displayed using a single staff), homophonic sections (which require two staves), and polyphonic stuff (which require more than two s