On Thu, Jul 24, 2003 at 05:04:14PM +0000, John Chambers wrote: > Bernard Hill writes: > | In message <[EMAIL PROTECTED]>, I. Oppenheim > | >The & operator may be used to temporarily overlay > | >several voices within one measure. The & operator > | >separates these voices from each other. Example: > | > > | >A2 E2 G2 A2|A B c d e f g a & A A A A A A A A & A G F E > | >D C B, A,|] > | > > | > > | > | So what does that mean? > > You first have to undo the line wrapping. ;-) Then you get > something that is equivalent to: > > [V:1] A2 E2 G2 A2 | A B c d e f g a |] > [V:2] | A A A A A A A A |] > [V:3] | A G F E D C B, A,|] > > This should all be on one staff, of course. With only two > bars, it's not very motivating. But if you only have a few > bars like this in a larger piece of music, it can save you > a lot of typing and futzing with two voices that are mostly > silent.
It occurs to me that part of the problem here is that the '&' just doesn't stand out visually against the notes. I wonder if it would be possible to re-use the existing V: notation - lowercase v: doesn't seem to be in use (oh dear, cue "we're running out of letters") A2 E2 G2 A2 | [v:1] A B c d e f g a [v:2] A A A A A A A A [v:3] A G F E D C B, A,|] Is that any more readable ? I think so, but I'm not sure. In fact, the numbers aren't necessary, it's just substituting a different marker (though the colon would be, to distinguish it from an up-bow, and I bet someone else'll suggest the numbers if I don't ...) > (For some reason, this example reminds me of the piano > piece by Mozart, which ended with widely separated chords > for the left and right hands, plus one note in the middle > to be played with your nose.) grin. -- Richard Robinson "The whole plan hinged upon the natural curiosity of potatoes" - S. Lem To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
