Re: More post-divisi oddities

[Guy Stalnaker]

Gentlemen,

Thanks for your replies.

Vaughan,

Your attachment was filtered out as a binary file by my email server.
The GNU.org archives also shows it as a .bin file so I cannot 'see'
what you've done. If you would, please attach it as a reply to this
email.

David, I think I understand what you mean here:

<quote>
I have no idea what you mean with "are being picked up by the
reduction" and "are directed at the full score".  His "reduction"
places _everything_ (with the exception of the side voices) into a
single
voice.  Of course, this voice will share stem directions, slur
directions, and every other property.

He might want to look at \partcombine.
</quote>

Several questions and clarifications. The piano reduction code is what
Frescobaldi creates when one uses its score wizard to create a score.
I confess I do know understand exactly how it does what it does in
getting stems/rests to not collide up to the point where the temporary
polyphonic passage (TPP) is first used, but you can see from the
example that the Frescobaldi code does set things rightly (this
snippet is an extraction from a significantly larger work and the
piano reduction for everything up to the TPP looks as one would expect
it to look). By your comment, to see if I understand, you say that
using \oneVoice following the TPP in each voice causes LP to set both
parts on the piano reduction staff as one which it previously set as
two before the TPP. That makes sense though it is unfortunate as
\oneVoice following the TPP is required for proper steming/rest
placement in the vocal staves and correct setting of lyrics.

I had already taken a look at \partcombine following the examples here:

http://www.lilypond.org/doc/v2.16/Documentation/snippets/vocal-music#vocal-music-vocal-ensemble-template-with-automatic-piano-reduction

and here:

http://lilypond.org/doc/v2.16/Documentation/notation/multiple-voices

Unfortunately using the piano reduction from the first and the
\partcombine expample from the second do the same thing as the piano
reduction that Frescobaldi generates. I think this is so because the
/oneVoice directives are still in the parts for the reasons I stated
above. As using \partcombine seemed no better than the original I did
not include them in my test ly file when I posted to the list.

Guy Stalnaker
address@hidden