After many tries at correcting condensing errors (probably user errors) I have to get this score out the door. So my workaround solution (only the 4 Horn parts are condensed) is to not use the condense feature at all. I’ll edit the Horn parts and print them out (paper and PDF). Then in the score rename “Horn 1” to “Horn 1 & 2” and do a “Paste Special” of Horn 2 into a downstem voice in Horn 1. I will then add "a2"s and "div"s as necessary. Repeat procedure for Hn 3 & 4. Then delete the Horn 2 and 4 staves from the score.
Hi. I don’t understand what you are describing… Don’t horn parts have their own part, or at least their own staff in the part? I mean, condensing is especially useful for the conductor who’s using the full score, not for individual players… Or did I miss something important here?
Perhaps he has woodwinds that he doesnt want condensed.
I am still trying to figure out how best to condense horn parts in the score where the horns change keys. I have kicked this decision down the road – pro tem… 
David
I think Reber is describing using single staves to replicate condensing “the old-fashioned way” for the score, because they aren’t getting the visual results they want using the condensing feature.
You don’t have to change the parts themselves - keep the separate 4 horn players but just remove them from the full score, so they don’t appear there; add in two extra players that you want to display in the score, if that’s really necessary.
Sorry I can’t look at your project myself, but here are a few tips when you’re not getting the condensing result you want:
-
switch to galley view, check for any discrepancies between parts’ slurs, dynamics etc. Even if dynamics look the same, their gradual duration might be different; they might be grouped for one player but ungrouped for the other. These are all differences that prevent a single-voice condensing result
-
if players “really should” be in unison but aren’t condensing into one voice, delete one player’s music for the affected bars and copy/paste from the other (to make sure they really are definitely the same). There’s a chance something ended up slightly different, and if that’s not what you intended, copying/pasting won’t hurt. Obviously don’t do this for parts in rhythmic unison but with different notes
(although you can then still repitch) -
as a last resort, use manual condensing (dialog info here). Be aware that this forces music into the set configuration from that point onwards until the end of the flow; if later phrases require a different configuration, you need to reset condensing or change it again as required. Work left to right, it’s easiest.
3 Likes
Depending on the complexity or simplicity of the parts often horn parts (as well as 2nd&3rd clarinet and cornet parts in concert band works) are printed with both parts on a single piece of paper. It used to be very common, less so now but still occurring. Some older band arrangements had trombones 1&2 on the same piece of paper. In more complex music where the parts are vastly different usually they all get their own separate piece of paper, but when the two parts are mostly playing the same rhythm a 3rd, 4th, 6th apart, having them on the same piece of paper for the players isn’t a problem.
1 Like
Hi all. Thanks very much for the interest and concern. I truly appreciate the input and advice. As usual @Lillie_Harris is correct - I am going to revert to “the old-fashioned way” of condensing the horns in the score while retaining individual parts for the players. This will “get the score out the door” this time and I will be more careful in the future to check condensing as I go along instead of trying to correct it after all of the score data is entered. Thanks again. This is a great and helpful community.