Re: [SPAM] Re: Best practice with inconsistent "� 2"

[Urs Liska]

Am 07.08.2014 16:02, schrieb Urs Liska:
> Am 07.08.2014 15:08, schrieb Alex Loomis:
> > In my copy of Dvorak 8 the parts use a2 for isolated unison passages
> > and double stems for passages where the voices are also split at some
> > point.
>
> Oh, I didn't think of that possibility. I'll check to see if it makes
> sense. At least it sounds reasonable.
>
> Thanks for the report (my pocket scores aren't at home that's why I
> didn#t look myself).
>
> Urs

Ah no, it's still inconsistent. There is a tendency towards your 
suggested approach, but still inconsistently handled. For example: A 
phrase is unisono for two pages/systems but splits at the beginning of 
the third system - the first pages are "a 2" and then simply split to 
two voices.
I have the impression it's a mixture of efficiency and suggestion. 
Sometimes having two stems simply looks more powerful.

Given that situation I'll vote for following Werner's suggestion of 
making it consistent and document the differences.

Best
Urs

> > On Aug 7, 2014, at 8:49 AM, Urs Liska <address@hidden> wrote:
> >
> > > Hi folks,
> > >
> > > I have a large romantic score in front of me. In the handwritten
> > > score the \partcombine stuff is done inconsistently for unisono
> > > sections: sometimes it's written as one voice with "à 2", sometimes
> > > as two voices, i.e. one notehead with stems up and down. So far I
> > > can't see any reason for this inconsistency.
> > >
> > > What would people with more experience with orchestral scores suggest:
> > >
> > > - transcribe everything as it is in the model?
> > > - make it consistent:
> > >   - use "à 2" always?
> > >   - use voices always?
> > >
> > > Best
> > > Urs
> > >
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