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List:       lilypond-user
Subject:    RE: [Best Practices] instrument changes
From:       James Lowe <James.Lowe () datacore ! com>
Date:       2011-06-28 20:58:07
Message-ID: DDFAF00DC0C80042BAB7BBA1B3838AF914E63F9B () Mail-FTL1 ! datacoresoftware ! com
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Kieren,
________________________________________
From: Kieren MacMillan [kieren_macmillan@sympatico.ca]
Sent: 28 June 2011 16:39
To: James Lowe
Cc: Lilypond-User Mailing List
Subject: Re: [Best Practices] instrument changes

Q1: When you have a doubler-switch in the middle of a passage, do you use two \
different variables and combine them [sequentially] later, or do you have a single \
variable with \instrumentSwitch?

A1: Well I did look at that when I first started using LP in anger a year or so ago - \
I'd only been setting simple stuff before that for my own use - I looked at \
\instrumentSwitch and it looked, frankly, a bit over complicated for what I needed. 

I hadn't really thought about it again until your last response, I had in the past \
either used quotes or cue notes explicitly in the parts - I find it easier to create \
specific cue/quote parts within the same .ly file rather than cue/quote from a whole \
ly file (I know this sounds like double the work) but usually I am only cueing or \
quoting max of 10 measures so it's easier for me in the short run to handle the \
cue/quote in such a small fragment  - I just add R*[X] before the quote using bar \
numbers as my R*[X] reference (if that makes sense). 

Q2: Do you use \tag for things like clef differences (e.g., bass clarinet showing in \
treble clef in the part, but bass clef in the conductor's C score)? I'm trying to \
avoid \tag when possible -- since it mixes presentation in with my content -- but it \
seems unavoidable.  =(

A2: Not personally no. Again it is/seems a bit overly complicated for my needs. I \
just use cue/quote in the appropriate clef and with \cueClef commands. It will depend \
on the player but also on the conductor I guess.

I only work with one conductor and she is very good at transposing / transcribing on \
the fly - so it is always driven by the player's capability generally. 

I'm sure there are people reading this shaking their heads about how inefficient this \
probably is :) - all that duplication - but I am not usually writing my own full \
score from scratch but either copying a score for multiple parts and in this case the \
conductor will guide me - sometimes I will simply be asked to put in a second voice \
for a passage or two and I'll just use <<  /  >> and accidentals if I need to (i.e. \
if not in the same pitch) and add a \markup to indicate the instrument, or I resort \
to my cue/quote method. Or in the above case were I to get it (Bass clarinet in \
Treble part) and depending on the player I'd either use cues/quotes or see if the \
player could handle a bass in a treble clef part or vice versa (depending on the \
range of the notes). If not I'd just think about if the music variable needed no clef \
and to put the clef in the \score { } as well.

But that is the flexibility of LilyPond.

James


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