There are at least two possibilities . . .

THOUGHTS

(1) Copy and Paste Special: If you have multiple voices on one staff, you can select each one separately and then paste it to another voice on a different staff . . .

It can be {1-to-1, 2-to-1, 3-to-1. 4-to-1, or any other combination or permutation} where each original voice gets pasted to Voice 1 but on a different staff each time . . .





(2) Transpose: You can create a harmony part by copying and pasting the copy of a voice and then transposing it, for example upward by a minor third interval . . .





This is the way I created the minor third, lead guitar harmony for the last verse of "Sweet Hour of Prayer", starting at 5:32 in the YouTube music video. . .

[NOTE: You can do the same thing for the Audio Track of a voice in Studio One Professional with Melodyne (Celemony), which is an excellent way to create custom vocal harmonies, echoes, and accents, which also works for Audio Tracks of instruments like lead guitar, horns, keyboards, and so forth . . . ]



Project: "Sweet Hour of Prayer" (PreSonus NOTION Forum)

Thee are other way to create new parts from existing parts, but this is enough to get started . . .

[CLUE: Using a combination of copying, pasting, and transposing, along with a few other techniques, you can orchestrate a symphony or a complete song starting with just a simple melody for a few measures. The complete festival of techniques is explained in Joseph Shillinger's System of Musical Composition (SoMC), where for example the classic George Gershwin song started with four notes. George Gershwin studied with Joseph Schillinger and learned techniques which transformed his composing skills . . .]

[NOTE: These four notes are the foundation for "Rhapsody in Blue" . . . ]





This is another George Gershwin song based on a simple set of notes . . .



This is an example of Mozart doing the same thing with another simple melody . . .



Wandering into the absurd, one might suggest that "Purple Haze" (The Jimi Hendrix Experience) "borrowed" the two-note foundation from "In the Hall of the Mountain King (Peer Gynt)" (Edvard Grieg) . . .





Lots of FUN!

Thanks, Surf.Whammy.

I understood your ways to solve it.

But, I want to make parts without arranging another staff.

I think the function of dynamic parts are not enough.

There is a limit of four voices per staff, but there can be more than four instruments . . .

THOUGHTS

I'm trying to understand what you want to do, but without more information all I can do is guess . . .

(1) You can have four voices on one staff.

(2) You can switch instruments for each voice on a staff, all at the same time or at different times.

(3) A voice can have more than one note at any time, which can be a chord.

For example, you can do a round like "Row, Row, Row Your Boat" with four voices on one staff, where each time a voice repeats it's played by a different instrument; but (a) this will be a lot more work than doing it with one voice per staff and (b) it will be cluttered visually (very difficult to read and to follow) . . .

Voice 1 could start as a Piano and then switch to a Synthesizer. . .

Voice 2 could start as a French Horn and then switch to a Clarinet . . .

Voice 3 could start as a Trombone and then switch to a Kazoo . . .

Voice 4 could start as a Tuba and then switch to a Contrabass . . .

If you have an echo unit with long repeats, then it can be used to repeat instrument phrases as they were before you switched instruments, in which case with a bit of work and fine-tuning, you could make a collection of instruments played by four voices sound like a "Wall of Instruments", which is what I like to do with cascading echo units, two sets of effects pedals, and a custom-modded Fender American Deluxe Stratocaster that has two separate and independent output signals, each of which I run through a separate set of stereo effects pedals to create a "Wall of Guitars" . . .


The Fabulous Fifty Million Dollar Trinaural Stratocaster® ft. The Really Big Knob

[NOTE: The DigiTech Whammy pedals are on the floor, as is the Budwa wah-wah pedal. The other wah-wah pedal is on the shelf, as are the cascading echo units and other effects pedals, including a Fulltone Tube Tape Echo (TTE) unit; and there are some external rack-mount effects, reverb units, and echo units, as well. At the time, I did not know about virtual effects pedals, and the real effects pedals cost approximately $5,000. Later I learned that I could have purchased a very nice Apple computer and a virtual festival of software effects pedals for less than $5,000 (US), but so what. This is how I learned how to "work" effects pedals, and it's nice to have them . . . ]


DigiTech Whammy Pedal


Budda Budwah Pedal


Fulltone Tube Tape Echo (TTE) ~ Black








Soldano Space Box Spring Reverb

[NOTE: This is one rhythm guitar and one lead guitar, played and recorded in real-time on the fly. The rhythm guitar chords were composed and practiced in advance, but the lead guitar was composed and played in real-time on the fly on the first take. All I need to know is the rhythm guitar chords, and when I know them, playing lead guitar is intuitive and does not require a lot of conscious thought. The lead guitar sounds like "Wall of Guitars" due to cascading echo units, elaborate effects pedals, and two sets of everything since the guitar has two output signals--not stereo, but two monaural output signals that feed the two sets of stereo effects pedals and cascading echo units. This is best understood when you listen with studio quality headphones like SONY MDR-7506 headphones (a personal favorite). There are two DigiTech Whammy pedals and two wah-wah pedals as parts of the two stereo effects pedal rigs. The DigitTech Whammy pedals make octave jumps on command, which is useful for making one set of notes sound like more notges simply by pressing or releasing on DigiTech Whammy foot pedals. This was done when I was doing everything with real instruments . . . ]



Lots of FUN!

P. S. More information about what you want to do can be helpful, because I'm running out of guesses on this one . . .