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Re: HaraKiriStaffContext for French? style orchestral parts

From: Andrei Mircea
Subject: Re: HaraKiriStaffContext for French? style orchestral parts
Date: Sun, 4 May 2003 13:13:44 +0200

Nu inteleg explicatiile tale, de aceea iti dau informatiile cerute:
Apartamentul este la etajul 2 pe strada Feroviarilor 1, colt cu Calea Grivitei, 
nu departe de piata Chibrit (numele nou nu-l mai stiu dar este capul nordic al 
caii Grivitei si al caii Filantropiei). De obiceiu usa de intrare in imobil 
este incuiata, trebuie sunat la apartamentul 4 (familia Millea). Pe partea 
cealalta a strazii Feroviarilor, deci tot pe calea Grivitei, este o biserica.
Privind pe Ionel, te rog foarte mult sa ma tii la curent fiindca daca se 
intampla ceva doresc sa vin si eu in tara. Sanatate

On Sat, 03 May 2003 17:26:32 -0700
Graham Percival <address@hidden> wrote:

> On Mon, 28 Apr 2003 21:40:29 -0700
> Paul Scott <address@hidden> wrote:
> > Graham Percival wrote:
> > >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.
> Not too often (I'm a string player, not wind).  If there's a lot of divisi
> stuff, it normally splits into two staffs.  I don't find it hard to read,
> but I've been training for decades.  :)
> I certainly sympathize with your desire to make the music as easy as possible
> 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":
> >
> > 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.
> That description reminds me of something like \partcombine.  I don't know
> exactly what, or how, it's used, but IIRC Lilypond has some way of combining
> two voices (in the same staff) in the manner you describe.  That's why I
> suggested using two voices and telling your players to "get used to it".  :)
> The problem with using hanging staffs for that kind of stuff is that you need
> to specify it all manually.  If you used \partcombine, you could just write
> each part on its own, and the Lilypond would automatically figure out what
> parts need to be written seperately and which parts can be printed together.
> If you program a bit, you might be able to hack \partcombine or make a new
> fuction that works on multiple staffs.
> > >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.
> Sorry, I don't completely understand this part.
> Cheers,
> - Graham
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