Andrew:
> So, I'm in the process of transcribing some masses from part-books, and I'm
> trying to figure out the best way to set up the file/variable/include
> structure so that I have a minimum of clutter.
>
> There are six masses, with two brass (alternating between trumpet, horn,
> and tacet),
Hi Malte,
well, if I go by your setup, I could theoretically move the six \score
blocks into my master file, so long as I rename the instruments for each
movement (and then eventually for each mass as well, if I wanted to combine
all six masses into one document), and then make a parts.ly file to
Hi List,
So, I'm in the process of transcribing some masses from part-books, and I'm
trying to figure out the best way to set up the file/variable/include
structure so that I have a minimum of clutter.
There are six masses, with two brass (alternating between trumpet, horn,
and tacet), tympani,
Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:
do I enter the transposing instruments into the score in concert pitch or
transposed? Can Frescobaldi (my editor of choice) take an entire Voice and
transpose it into concert pitch after I've edited, or should I enter the
content in concert pitch
Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:
Is there a better way to structure the files? How do I extract the
instrument variables into separate part files? Can I just \include all the
separate movement files, and then add the Voice variables in sequence? In
other words: each movement is
On 02/10/2015 08:58, N. Andrew Walsh wrote:
do I enter the transposing instruments into the score in concert pitch
or transposed? Can Frescobaldi (my editor of choice) take an entire
Voice and transpose it into concert pitch after I've edited, or should
I enter the content in concert pitch
On 02.10.2015 12:03, Malte Meyn wrote:
I remember an issue with note names in german (and perhaps other
languages) when you have several names (asas and ases) for the same
pitch (a flat). I’m not sure whether this has been fixed.
You might check at the issue tracker:
