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Re: [Best Practices] splitting and combining choral parts
From: |
Kieren MacMillan |
Subject: |
Re: [Best Practices] splitting and combining choral parts |
Date: |
Tue, 24 Nov 2015 18:01:18 -0500 |
Hi Simon,
> I’d vote to keep with four staves, at least in this example.
For the record, I sometimes do that. One good example is “Go Thy Way”, a score
of which you can see at
<http://kierenmacmillan.info/wp-content/uploads/2014/04/GoThyWay_octavo_20151111.pdf?f8f128>.
But that’s a short a cappella piece, with just enough polyphonic differences
(homophonic offsets, mostly) that it never makes sense to be in two staves for
very long. “Wither’s Carol” is longer and more complex; it has instrumental
parts (and/or a piano reduction); it alternates between a cappella,
instrumental, and combined-forces sections, etc. Ultimately, sticking to four
chorus staves doesn’t make much sense [in all score outputs], in my opinion.
By the way: the “Go Thy Way” score is “almost final”. That will give you a
sense of the amount of stylesheeting and edition-engraver tweaking I do to my
scores, to overcome Lilypond’s shortcomings (e.g., the BarNumber padding bug
you saw in the “minimal” example I supplied for this thread).
I would do even more, but there’s a point of diminishing marginal utility: at
some point, I’d rather compose a new piece than sit and tweak the engraving of
an old one. ;)
Thanks,
Kieren.
________________________________
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: address@hidden