2009/7/6 ArnoWaschk <hamama...@gmx.de>:
> Hans Aberg wrote:
>>
>> On 6 Jul 2009, at 18:49, Francisco Vila wrote:
>>
>>>> I'm assuming the middle section
>>>> should be in b-flat major instead of a-sharp major? if you wrap the
>>>> b-major
>>>> section with
>>>> \transpose ais' a' {
>>>> \relative {
>>>> \key b \major
>>>> ...
>>>> }
>>>> }
>>>
>>> This effectively transposes the music, I'd rather say \transpose ais
>>> bes { } to keep everything in its place.
>>
>> Let me try:
>>
>> The part is written A and should be transposed to be in Bb. So the
>> normal thing would be
>> \transpose bes a {
>> % part in A.
>> }
>>
>> To get a 12-equal enharmonic equivalent transposition, one these
>> should be replaced with the enharmonic equivalent, for example A#
>> instead of Bb. So
>> \transpose ais a {
>> % part in A
>> }
>>
>> Hans
>>
> ... which solves the B major part, but transposes f major to Fb major, which
> is even more horrible to read than a# major...
Exactly. Doing the enharmonic thing only for the B major block solves
the problem.
> but while we are at it:
> why don't \transpose and \relative cooperate the "normal" way an innocent
> musician might expect?
To use relative mode within transposed music, an additional \relative
must be placed inside \transpose [copypasted from the docs]. Think of
it as pitches into a \transposed block belonging to a scope that is
out of reach of \relative.
I don't know how it works, but can imagine that the transpose function
should be *much* more clever than it currently is, to realize itself
it is inside a relative block. So it leaves the user with the task of
doing it manually whenever needed.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org
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