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Re: octave checks in the viola line of my assignment are failing.
From: |
Sarah k Alawami |
Subject: |
Re: octave checks in the viola line of my assignment are failing. |
Date: |
Tue, 14 May 2013 10:03:51 -0700 |
Ah. except my midi file is not being created for some reason. I'll just put
that part through a website I can't recall, but it generates midi files of lily
pond music and see whas a miss. I don't want to hear the whole score yet. lol!
Thanks.
On May 14, 2013, at 8:53 AM, David Kastrup <address@hidden> wrote:
> Sarah k Alawami <address@hidden> writes:
>
>> Hello to all. Octave checks in my viola part are failing. I made sure
>> that the right octave signs are there but I must be hearing it
>> differently then what I'm reading on the page the source that is.
>>
>> I mace sure that unless I want to change o gives each note must be at
>> at most a 4th a part before I would want to. The exception and I think
>> the trouble is the tritones that are in the piece. No it's not 20th
>> century music. lol!¬
>
> From
> <URL:http://www.lilypond.org/doc/v2.16/Documentation/notation/writing-pitches#relative-octave-entry>:
>
> If no octave changing mark is used on a pitch, its octave is
> calculated so that the interval with the previous note is less than
> a fifth. This interval is determined without considering
> accidentals.
>
> _Without_ _considering_ _accidentals_. This is stressed again later:
>
> As explained above, the octave of pitches is calculated only with
> the note names, regardless of any alterations. Therefore, an
> E-double-sharp following a B will be placed higher, while an
> F-double-flat will be placed lower. In other words, a
> double-augmented fourth is considered a smaller interval than a
> double-diminished fifth, regardless of the number of semitones that
> each interval contains.
>
> That means that you _can't_ figure out relative mode by listening to the
> Midi. The note _names_ are what determines the intervals here, not the
> audible intervals.
>
> --
> David Kastrup
>
>
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