Re: divisi parts and another general question

[Sarah k Alawami]

Drat it! I must have  been very tired when writing the second violin part. Bleh!

Now on to the divisi. How do I do this? once I get the rhythms correct that is? 
I'm hoping to get the rest of it done today. The cello and bass parts will be 
easy. they are just octaves. I think I'll leave the 5gths out as I believe they 
are in the upper parts and I want that oomph.

thanks very much for explaining. I'll keep practicing. Maybe I am glad he gave 
me this piece slow as it is. lol!

Be blessed all.
On Mar 2, 2013, at 5:31 AM, "Hwaen Ch'uqi" <address@hidden> wrote:

> Greetings Sarah,
>     First, to base your music around middle c, you want to use
> 
> c'
> 
> However, you might also try leaving out the c indicator altogether, so
> that it would look like
> 
> \relative { MUSIC }
> 
> In past versions, this had the same effect, and, though I believe that
> was meant to be deprecated, I am pretty sure it still works in the
> latest stable version.
>     Second, there are still plenty of errors, regarding both pitch
> and rhythm, in this latest example. In the former case, remember
> always to write the pitch which you _want_ to be _heard._ If you want
> to hear an E-flat, write an E-flat. If you want to hear an E-natural,
> simply write e. This rule of coded notation applies no matter which
> key signature you indicate at the beginning of your score. LilyPond,
> being mightily well designed, will consider the pitches which you have
> written and will interpret and display them visually according to the
> rules of the key signature which you have indicated. So, because, I
> trust, you will have begun your piece with the indication
> 
> \key c \minor
> 
> the E-flat which you have written will be placed appropriately on the
> staff _without_ any accidentals - that is, without a flat sign -
> because it is understood (via the visual indicator at the beginning of
> the piece, where the modified pitches of the key signature are
> actually shown) to be an E-flat. Continuing with this example in c
> minor, an E-natural, having been written simply as e, will be
> displayed in the printed score in the correct place on the staff with
> a natural sign accompanying it: You do not need to include in your
> code an exclamation point, because LilyPond already knows that
> E-natural does not belong in that key and will automatically place a
> natural sign in the score; this is why LilyPond was telling you that
> you were using unexpected exclamation points. In music of the common
> practice, these exclamation points - or courtesy accidentals - should
> be used very sparingly. Regarding the latter case of rhythm, the
> result is that you are notating as if the Prelude is written in 5/4
> rather than 4/4.
>     Third, I very much understand your frustrations, having also made
> the transition from Braille to printed music via LilyPond. In
> actuality, many of the underlying principles of coded notation are
> strikingly similar; this makes the points of difference at times hard
> to remember or even to process. In the case of key signatures and
> accidentals, for example, what you read on the Braille page is nearly
> exactly what one reads on the printed page; both operate under the
> same rules of accidentals relative to the key signature. LilyPond,
> however, needs the most raw material with which to work - meaning, in
> this case, the actual pitches which you want to be heard, not seen or
> read. It will then do its magic correctly based upon the key signature
> which you have given. To extend this slightly, having supplied
> LilyPond with the correct raw material, if you then changed nothing
> but the key signature, the visual output would look different,
> according to the rules of the new key signature: what you would _hear_
> would remain unchanged. So, while the learning curve of LilyPond may
> admittedly be steep (in large measure because you will have to become
> acquainted with the general rules of visual layout in order to use
> LilyPond most effectively), I encourage you never to flag in your
> resolve; for, though its inception was centered around a different
> need and demand, it has certainly proven to be a godsend to a wider
> clientelle.
>     I hope this has been somewhat helpful to you, and best of luck to you.
> Hwaen Ch'uqi
> 
> 
> 
> On 3/1/13, Sarah k Alawami <address@hidden> wrote:
>> Ok. one more question for the night then I'll be done with this for tonight
>> as I want to at least get the 2 violin parts written  then work on viola,
>> cello and bass tomorrow and sunday.
>> 
>> I will be having divici parts for the second violin parts. I know odd but
>> there you go. I tried the text thing
>> 
>> Here  is what I'm trying to accomplish. Realize and I did not say this
>> before that I read braille music so what I see is different from what the
>> print people see. We have the text and dynamics before the notes like divisi
>> and  unison and stuff. in parenthesis. but here is what I was going for.
>> 
>> 
>> {
>> <c e>4 <c e> <b! e>4."divisi" d8 c4"unis" |
>> "divisi" <a c> <aes c> <g c>4. "unis" b8 a4 |
>> }
>> 
>> Am I making this harder then it really is? I want to try and finish the
>> second violin part tonight if I have the head to do so lol! I read the
>> manual on voicing but I don't think that was the right section as it did not
>> seem like what I wanted.
>> 
>> Oh btw another question. I like to try and bass everything around  middle c,
>> so what would be the relative of that would it be
>> 
>> c'' or c'?
>> 
>> I get a bit confused there but I will get this.
>> 
>> Thanks all.
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