Maurizio Codogno wrote:
Dear all,
I eventually end up with the ugly but working line
U: @+4 \ppff{Tranquillo}~\twelverm(\zqu{1}~~~=~96)
Another solution is using the \metron macro. You'll have to disable
lyrics within the macro:
...
%%
\def\mymetron#1#2{\lyricsoff\hbox{\smallnotesize\metron{#1}{#2}}\lyricson}
%%\twelveit Per il battesimo di Ilaria
%%\font\elevensf=cmss10 scaled \magstep1\elevensf
U: @+4 \ppff{Tranquillo}~(\mymetron{\qu}{96})
\llyr\lyroffset{-1}\ d4 | gfac| b2b4 a
| ddd8 b g4 |
L: 1. La tua pa-ro-la_\`e lu-ce chegui-da o-gni mio
L: 2. Si-gno-re, dam-mi vi-ta se-con-do la tua pa-
d4 | ddeg| ( g f ) gf| gfb8- b c4
|
f4 | gacc| ( d ds ) edn | ddd8 g- g4
|
d4 | ba a+8 g e4 | ( g b ) e-c | bb+ g8 g e4
|
...
NB Notice the MusiXLyr trick to separate stanza numbers from the lyrics.
BTW
-You should right shift - in stead of left shift shift - the third note
of the alto part in measure 14.
-You should seriously consider whether you actually want to use parallel
fifths in your choral setting. Although there is no death penalty :-)
for parallel fifths they are usually avoided in a context like this.
This also applies to 'hidden' parallels like the one between tenor and
basso in measure 8, 2-3 note.
-You should avoid intervals octave between other parts than tenor and
basso.
Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
