Anthony Youngman wrote:
A point to bear in mind - and I had exactly this trouble when I first
started using lilypond ...
\transpose changes the pitch of the notes as internally represented
within lilypond. As such, I tend to think of it as a device for
inputting from and outputting to paper.
\t
--
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Toine Schreurs
Sent: 01 September 2006 16:55
To: Markus Schneider
Cc: lilypond-user@gnu.org
Subject: Re: \transpose weird staffs
You don't have to split the parts if you \tranpose direct from es to g
hornpartInG = \relati
You don't have to split the parts if you \tranpose direct from es to g
hornpartInG = \relative c' {
notes in G
\transpose g ees \relative c' {
notes in Es
}
}
\score {
\new Staff \transpose f g {
\hornpartInG
}
}
Or even bring the notes to C first (no more need
marvelous ^^
not as clean as expected but, i'm perhaps too perfectionist.
thx
On 9/1/06, Markus Schneider <[EMAIL PROTECTED]> wrote:
Hi,
AFAICS, the easiest way is to split your horn part into two seperate ones:
hornpartG = \relative c' {
\transposition g
... many notes ...
}
hornpartEE
Hi,
AFAICS, the easiest way is to split your horn part into two seperate ones:
hornpartG = \relative c' {
\transposition g
... many notes ...
}
hornpartEES = \relative c' {
\transposition ees
... many notes ...
}
Then use \transpose as usual on each of them.
Markus
___
Hi,
I have a nice horn in G part where in the middle it's written "from
here take your horn in E flat"
Of course in our orchestra we only have horn in F ^^
So I first entered the notes
hornpart = \relative c' {
\transposition g
... many notes ...
\transposition ees
again, many notes
}
And
