Multiple Parts on Single Page

[Yinyue]

Hi Forum,

I'm preparing a recording session where players record from their home equipment (Covid…)

Could someone show me a few examples of how the layout should be done to fit multiple parts (e.g.: Tpt. 1 & 2) on the same page?

I'm not thinking of grouped staffs, but one part following another on single staff layout.

Much appreciated,
Best,
Yinyue

[Schneider]

Hi Yinyue,

I'm not sure to understand your question. Is it for a specific notation program?
Anyway, with LilyPond I'd simply do:

Code: Select all

\version "2.20.0"

partOne = { s1*50 \bar "||" }
partTwo = { s1*50 \bar "||" }
partThree = { s1*50 \bar "|." }

\paper { ragged-last-bottom = ##f }
\header { title = "3 Parts On The Same Page" }
\score { \partOne \header { piece = "Part 1" } }
\score { \partTwo \header { piece = "Part 2" } } 
\score { \partThree \header { piece = "Part 3" } } 

Which would result: http://lilybin.com/vx6m38/3
HTH, cheers,
Pierre

[OCTO]

The question is: you want to have one part (=sheet of music) and on it two instruments, one under another?

Usually in older orchestral music there are shared parts (Tpt 1 + 2) but they are written as a single (double) staff. I haven't seen them shared "one under another", ...well they may exist.

The best would be to check on IMSLP these parts (Ravel, Debussy, Strauss, Wagner...).

[Yinyue]

The question is: you want to have one part (=sheet of music) and on it two instruments, one under another?

Ye, that's what I mean, Octo.

Same here, I know they exist, but have never seen them in action.

I would just prefer to go with an existing layout standard rather than my gut; as that particular organ can sometimes be quite misleading…

Anyways, if someone wants to pop into the discussion, feel free to do so.

Thx,
Yinyue

[OCTO]

Maybe there are such for ensembles where one stand is needed with a single sheet (military band music etc).
Personally I would prefer grouped parts as you said, it is easier to follow other musicians particularly keeping in mind that it will be done in that Covid-way.

[hautbois baryton]

Elgar's Enigma Variations are written in the 2 parts/1 page/2 staves format. Page turns are not good.

[OCTO]

Usually parts made around 1900 are doubled. Such is Daphnis & Chloe:

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[John Ruggero]

A. Arnstein sometimes did doubled wind parts for operas because it reduced the total number of pages and thus the copying costs, which were considerable and often paid by foundations with limited budgets.

He also felt that it could be helpful to the players for cuing, and if the players wanted to switch parts for some passages. For example, if the first flute player was ill, the second flute player and the substitute could divide up the two parts in a way that made it easier for both.

[OCTO]

The most important feature, except that of saving paper and following another players, is saving the physical space, particularly when playing operas in crowded, small spaces, the wind instruments shared stand/desk as strings do. It is far more easier to share a stand for wind players than for string players.
If you check the percussion parts of the Ravel above, you will noticed that all instruments have separated parts, only because they need to be physically distributed regardless of how many musicians are going to play.
Nowadays this practice is almost completely abandoned for no reason.

[John Ruggero]

Indeed!

However, Arnstein did not approve of dividing the percussion parts and we always provided a percussion score (which excluded the timpani, of course). His reasoning was that the percussionists divide up the instruments differently depending on the circumstances. This opinion was also held by the percussionists that we dealt with, who loved his percussion scores. He copied them himself, since it was the most challenging part and the one he loved to do!