Hi Jon, hi list,
Jonathan Kulp wrote:
I always put each voice in a separate variable in situations like
this, rather than use constructs like <<{ } \\ { }>>. Sometimes a
voice will have many bars of "skips," (e.g. s1*24 makes 24 bars of
skips in 4/4 time) but this is fine. To control the stem and slur
direction I use \voiceOne, \voiceTwo, \oneVoice, and such commands as
much as possible.
Thanks for your helpful suggestions, Jon. Can I ask you what exactly
your motivation for using \voiceOne, \voiceTwo etc. over <<{ } \\ {
}>> is? I was under the impression that the latter is just a
convenient way of "automating" the introduction of new voices, but
from what you are saying it seems to me that the level of control over
stem and slur direction might be better with \voiceOne, etc.?
The downside, I suppose, is that code for each voice is separated by
some distance in your source file
Yes, I had been hoping that I might be able to get the best of both
worlds, but it doesn't look like it, does it.
but as long as you comment the file with bar numbers adequately this
is not too much trouble.
True.
You set up the \score block to include all the voices for the whole
piece, but the voices come and go as you wish according to whether
the voices' variables have notes, rests or skips at a given moment.
But making a voice "(dis)appear" equals using skips, right? Or is
there a way of saying (at the coding level, not only the layout
level), my third voice starts in bar 34 and ends in bar 42, and I
don't wanna bother entering skips for before and after that?