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:


%%\twelveit Per il battesimo di Ilaria
%%\font\elevensf=cmss10 scaled \magstep1\elevensf
U: @+4 \ppff{Tranquillo}~(\mymetron{\qu}{96})
\llyr\lyroffset{-1}\ d4     | g    f    a    c    | b2        b4   a
| d    d    d8 b  g4 |
L: 1. La tua  pa-ro-la_\`e     lu-ce          che    gui-da   o-gni mio
L: 2. Si-gno-re,   dam-mi      vi-ta          se-con-do       la tua pa-

d4     | d    d    e    g    | ( g  f )  g    f    | g    f    b8- b c4
f4     | g    a    c    c    | ( d  ds ) e    dn   | d    d    d8 g- g4
d4     | b    a   a+8 g e4   | ( g  b  ) e-    c   | b    b+   g8 g  e4

NB Notice the MusiXLyr trick to separate stanza numbers from the lyrics.

-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

Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01

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