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Re: HaraKiriStaffContext for French? style orchestral parts

From: Paul Scott
Subject: Re: HaraKiriStaffContext for French? style orchestral parts
Date: Mon, 28 Apr 2003 21:40:29 -0700
User-agent: Mozilla/5.0 (X11; U; Linux i586; en-US; rv:1.3) Gecko/20030327 Debian/1.3-4

Graham Percival wrote:

(cc'd back to lilypond-user -- it's useful to have these discussions in the

Thanks.  I forgot to readdress it as I usually do.

On Sun, 27 Apr 2003 23:38:56 -0700
Paul Scott <address@hidden> wrote:
Graham Percival wrote:
If you're producing a score (with all instruments), then I see no
problem at all.  If you're producing parts (for example, music that has
th two Clarinet parts on it, or the viola part, or whatever), then don't
use HaraKiri.
I realize now that my example showed the problem but I didn't really explain the reason for using HaraKiri. The HaraKiri allows me to switch to one staff when the two instruments play the same part which is, of course, labelled "a2". This, of course, saves paper.

What's your ultimate goal here?  I can think of two possibilities:
- you're trying to make a part for the two wind instruments (say, clarinet
I and II).  AFAIK, this is normally done with two voices on the same staff.

I know that is often done. How often have you been the instrumentalist reading such a part? Most of my friends complain when trying to read these parts. This may be fine for a keyboard player but for a single line player it's often very hard to read.

- you're tring to make a part for cello and bass (or a violin part with divisi
sections, etc).  In this case, I'd use a "hanging staff":

c4 c c c  %normal cello/bass part
{d4 d d d}   % cello part, divisi
\context Staff=bass {\clef bass b4 b b b}   % bass part, divisi
c4 c c c   % normal cello/bass part again

(I _think_ that the syntax is correcy, but it might need a few tweaks.  I hope
that you get the general idea.)

Maybe that is the answer. I'll check it out. I wrote the next part before I reread your second choice but my solution does seem reasonable if the above isn't what I want.

The third choice often occurs in French (and other) orchestral music. This is the choice I am trying to describe. The clarinets or flutes, etc. are written in a staff group consisting of two (or more if relevant) staves if they are playing different notes and one staff when they are playing the same notes.

I wouldn't involve HaraKiri at all -- suicide is a pretty extreme measure.  :)

As a programmer HaraKiri seems to be the perfect mechanism. It would only require that the algorithm would display one staff of rests if there were notes in all of the parts. I don't think this would affect its intended use since there should be no need for a score where nothing (including rests) was to be "played."

If you really need to use HaraKiri context but don't want the rests to
disapper, then use "r1" instead of "R1".
That doesn't allow multimeasure rests, doesn't it?


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