I was facing a problem with the transposition functionality. Suppose I write a whole tone scale:
\header{ title = "A whole tone scale in LilyPond" } \relative{ \time 2/4 c16 d e fis gis ais c8 \transpose c dis \relative { c16 d e fis gis ais c8 } } While mathematically the transposition is correct, in practice it is unreadable due to the double sharps. I suggest the following rule: if a note after transposition gets a double sharp (or double flat), and the one tone higher (or lower) is not modified by the key signature, display the note a tone higher (or lower). A more delicate point to consider is what should be done when there was an accidental on the tone higher/lower note previously in the bar, but not in the key signature. In my opinion, this accidental should be canceled by a natural sign. That is, if the tone-higher/lower is not modified by the key signature, double sharp/flats should be eliminated, even if natural signs and maybe other accidentals will be introduced later in that bar. Note that for transitions of a semitone, like e-f and b-c, this means adding a sharp/flat instead of double sharp/flat. In the example above, it would be much more readable if the second last note be c-sharp instead of b-double sharp. That also means that if c is modified by the key signature to c-sharp, the program should convert b-sharp-sharp to c (which gets its sharp from the key signature). _______________________________________________ bug-lilypond mailing list bug-lilypond@gnu.org http://lists.gnu.org/mailman/listinfo/bug-lilypond