On 7/13/2018 10:52 AM, Kieren MacMillan wrote:
So what's the best way to do this in your opinion? Should every instance of brief rests
like this in one part but not the other be prefaced with "once...apart"
If I recall correctly, I settled on the fact that part combinations (and the related
visuals/texts) are PRESENTATION layer, and not CONTENT layer… so I used the
edition-engraver to "inject" commands and markups as desired.
(I’ve set aside some time in late August to deal with some long-standing Lilypond-related
initiatives; I’ll tack the part-combiner on to that list and get back to you when I’ve
put together a "best practices" demo. I know that doesn’t help you now… sorry!)
Best,
Kieren.
I see. That makes me think though, about this injection stuff, vs tags
or something...
Question then:
If you have a full orchestra score, with Flutes 1 & 2 on one staff in
the score and also separated out parts via partcombine, where/how do you
place a dynamic then so that it applies to both locations without
*redundant* markings?
I'm not speaking about the obvious dynamic marking above the staff for
Flute 2, and the 'normal' location under the staff for Flute 1, that's a
given - I mean in the full score there "usually" is just one dynamic
marking /under/ the flute staff which implies the flutes (plural) take
that mark.
So do you use the edition engrave to "hide" these duplicate above the
staff dynamics in the full score but then somehow re-locate them to
under the staff in the part (under the staff, of course since there is
only one voice/instrument on the part) :)
Specifically: I'm confused how to relocate the Flute 2's
above-the-staff-dynamic in the full score to the normal under-the-staff
location for Flute 2's part, single staff page. Do I need to input each
dynamic mark twice?
I hope you follow what I mean. Sorry long week for me!
Thank you so much!
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