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12.7.4.3. Oboe and Horn Parts

  1. You can complete the oboe parts and the flute part. If you get stuck, read these tips.
    • You will need to adjust the range of the flute and oboe, to read flute = \relative c''' and oboeI = \relative c'''
    • You may want to use [ and ] to control eighth-note beaming in the Oboe I and Flauto parts. You may not
    • The Flauto will need more multi-measure rests with R, after some of the notes are inputted.
    • All of the parts will end with the same three-quarter-note-rests-with-fermata measure.
  2. And now for the horns part. Transposing instruments pose a small problem for LilyPond, as with any human or computerized engraving tool. These steps first ensure that the transposition is set correctly.
  3. The "hornF" section should already have a \transposition g segment from earlier. This tells LilyPond that the following notes are not in concert pitch, but rather are "in G." A transposition statement tells LilyPond, in absolute pitch, which pitch actually sounds when the player plays a written c' . In this case, the sound pitch is a perfect fourth below c' . If we wanted it to be a perfect fifth higher, then we would need to write \transposition g', but that's not accurate for this case.
  4. Our next obstacle is not actually a problem with LilyPond, but with how Frescobaldi set up the score for us. The score that we wish to notate does not have a written key signature for the horn, but the "global" section (near the top of the file) includes one: G Major. If this score were particularly complicated, or if it contained a large number of transposing instruments, then it would be best to remove the \key g declartion from the "global" section (and including it in every instrument as necessary). However, since there is only one transposing instrument, we might be better off simply removing the global from the horn.
  5. do the rest of this stuff to get that done right
  6. make a note in the global section of which instruments don't use it
  7. While you're at it, do the same for the trumpets and timpani parts, which also do not use a printed key signature.
  8. The other issue with the horn part is that two pitches are to be played at once, and they are both notated in the same voice. This is solved in the piano example like this: <g g'>. You can copy-and-paste this as needed.
  9. You can now finish inputting the horn part.