ALEXANDRE FICAGNA <alr...@ibest.com.br> writes:
> I still didn't picture exactly how \inverse works in its from-pitch
> to-pitch variables, but I tried an example and what I got is the
> correct inversion of pitches, but each one was an octave above.
>
> Here's the code:
>
> \version "2.14.2"
>
> #(set-global-staff-size 15)
>
> \paper {
> #(define dump-extents #t)
> ragged-right = ##t
> line-width = 17\cm
> }
>
> melody= { a8 gis ees d g4 }
>
> \score {
> \new PianoStaff
> <<
> \new Staff \relative c' {
> %\override Stem #'transparent = ##t %uncomment to hide Stems
> %\override Beam #'transparent = ##t %uncomment to hide Beams
> \melody \retrograde \melody
> }
> \new Staff \relative c {
> \clef treble
> %\override Stem #'transparent = ##t %uncomment to hide Stems
> %\override Beam #'transparent = ##t %uncomment to hide Beams
> \inversion a' a \melody
> \retrograde \inversion a' a \melody
> }
You first let \inversion do its job, and afterwards \relative. The
results are consistent with that. Switching the order is more likely to
do what you want.
--
David Kastrup
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
