Re: HaraKiriStaffContext for French? style orchestral parts

[Graham Percival]

(cc'd back to lilypond-user -- it's useful to have these discussions in the
archives)

On Sun, 27 Apr 2003 23:38:56 -0700
Paul Scott <address@hidden> wrote:
> Graham Percival wrote:
> >If you're producing a score (with all instruments), then I see no
> >problem at all.  If you're producing parts (for example, music that has
> >th two Clarinet parts on it, or the viola part, or whatever), then don't
> >use HaraKiri.
>
> I realize now that my example showed the problem but I didn't really 
> explain the reason for using HaraKiri.  The HaraKiri allows me to switch 
> to one staff when the two instruments play the same part which is, of 
> course, labelled "a2".  This, of course, saves paper.

What's your ultimate goal here?  I can think of two possibilities:
- you're trying to make a part for the two wind instruments (say, clarinet
I and II).  AFAIK, this is normally done with two voices on the same staff.
- you're tring to make a part for cello and bass (or a violin part with divisi
sections, etc).  In this case, I'd use a "hanging staff":

c4 c c c  %normal cello/bass part
<
{d4 d d d}   % cello part, divisi
\context Staff=bass {\clef bass b4 b b b}   % bass part, divisi
>
c4 c c c   % normal cello/bass part again

(I _think_ that the syntax is correcy, but it might need a few tweaks.  I hope
that you get the general idea.)


I wouldn't involve HaraKiri at all -- suicide is a pretty extreme measure.  :)

> >If you really need to use HaraKiri context but don't want the rests to
> >disapper, then use "r1" instead of "R1".
> >  
> >
> That doesn't allow multimeasure rests, doesn't it?

You're right; it doesn't.

Cheers,
- Graham