Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

antlists writes: > On 19/03/2021 16:43, H. S. Teoh wrote: >> It's somewhat mitigated by inserting octave checks every so often (say, >> at the start of every section), so that when it does go wrong, there's a >> warning, and the problem only propagates up to the next octave check >> rather than

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On 19/03/2021 16:43, H. S. Teoh wrote: It's somewhat mitigated by inserting octave checks every so often (say, at the start of every section), so that when it does go wrong, there's a warning, and the problem only propagates up to the next octave check rather than the rest of the piece. :-)

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

Kieren MacMillan writes: > Hi all, > >>> imho the near universality of keyboard competence defines Western >>> Music as "can be played on a piano" and has severely damaged our >>> understanding of what music actually is. Musicians like me who >>> can't play piano are very rare ... > > As a

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On Fri, Mar 19, 2021 at 12:16:49PM -0400, Kieren MacMillan wrote: [...] > > Probably the biggest problem I encounter with \relative is when I > > enter some music and then extract a section of it into a variable > > for use somewhere else and having the original shift octaves > > somewhere in the

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

Hi all, >> imho the near universality of keyboard competence defines Western Music as >> "can be played on a piano" and has severely damaged our understanding of >> what music actually is. Musicians like me who can't play piano are very rare >> ... As a musical theatre director, college music

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On 3/17/21 1:45 PM, antlists wrote: On 17/03/2021 08:23, Michael Gerdau wrote: I don't have any of the show stopper Kieren is so evangelistic about and very clearly find \relative easier to enter via a normal keyboard by a long shot. Entering all those "'" (requires SHIFT on a german

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On Tue, Mar 16, 2021 at 5:39 PM Mogens Lemvig Hansen wrote: > > I would like to forward another argument for the use of \relative. > > I have used Lilypond for several years, but I am certainly not a professional > musician or music typesetter. The music I set is not overly complicated - >

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On 17/03/2021 08:23, Michael Gerdau wrote: I don't have any of the show stopper Kieren is so evangelistic about and very clearly find \relative easier to enter via a normal keyboard by a long shot. Entering all those "'" (requires SHIFT on a german keyboard) and "," is not at all fluent.

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

Paul Scott writes: > On 3/16/21 3:58 PM, David Kastrup wrote: >> Paul Scott writes: >> >> I am a copyist, not a composer. I currently don’t have a MIDI >> keyboard. I enter everything through Emacs without a mouse for pitch, >> therefore haven’t considered tools like Frescobaldi so far. >> I

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

symbols) almost entirely, and the transposition > > functions let me instantaneously re-octavate large sections of code if > > that’s ever required (which it basically never is). I believe we should be > > encouraging users to use tools like Frescobaldi — because I believe their &g

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

note code > (including octavation symbols) almost entirely, and the transposition > functions let me instantaneously re-octavate large sections of code if that’s > ever required (which it basically never is). I believe we should be > encouraging users to use tools like Frescobald

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On Tue, Mar 16, 2021 at 7:36 PM Paul Scott wrote: > Any suggestions for small inexpensive MIDI keyboards? > I have an M-AUDIO Keystation 49e. Current version: Also available in 61-key and 88-key versions, entire product family here:

RE: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

evangelist [was “Re: Nested transposition"] > 3. The *single* serious argument against absolute music — that it requires > extra typing [of apostrophes and commas] — is essentially eliminated by using > an IDE like Frescobaldi: using MIDI input means I avoid typing note code

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

On 3/16/21 3:58 PM, David Kastrup wrote: Paul Scott writes: I am a copyist, not a composer. I currently don’t have a MIDI keyboard. I enter everything through Emacs without a mouse for pitch, therefore haven’t considered tools like Frescobaldi so far. I have been using \relative for many

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

Kieren MacMillan writes: > Hi David, > >> but Emacs' MIDI input mode deals better with chorded notes. > > It does? > I find Frescobaldi’s “chord mode” works wonderfully. > How does Emacs handle chorded notes, and what makes it better? It doesn't confuse legato with chords. Last time I checked

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

Hi David, > but Emacs' MIDI input mode deals better with chorded notes. It does? I find Frescobaldi’s “chord mode” works wonderfully. How does Emacs handle chorded notes, and what makes it better? Thanks, Kieren. Kieren MacMillan, composer (he/him/his) ‣

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

tavation symbols) almost >> entirely, and the transposition functions let me instantaneously >> re-octavate large sections of code if that’s ever required (which it >> basically never is). I believe we should be encouraging users to use >> tools like Frescobaldi — because I be

Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

ost entirely, and the transposition > functions let me instantaneously re-octavate large sections of code if that’s > ever required (which it basically never is). I believe we should be > encouraging users to use tools like Frescobaldi — because I believe their > coding lives would be made

Re: MIDI input [was Re: Nested transposition]

Hello everyone, As I do not have any midi keyboard, I have programmed for myself a web-piano-keyboard-entry (HTML-CSS-JavaScript). I use regularly for Lilypond - it combined different syntax, does Lylipond in relative mode. Actually, if was to be used for other systems also. You can find the

Re: MIDI input [was Re: Nested transposition]

On Sun, Mar 14, 2021 at 12:41 PM Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > Hi Ralph, > > >> 1. I use Frescobaldi. > > > > Wow. I missed this somehow. I can see why you use absolute values > exclusively, Kieren. I'm almost exclusively transcribing and transposing > fiddle tunes. I

Re: MIDI input [was Re: Nested transposition]

? I do a lot of transcriptions and transpositions as well — usually for musical theatre pit musicians (e.g., multi-instrumental** wind players) — and I find it really easy to play the [absolute] part in from the original (usually transposed!) part, proofread, and then use Frescobaldi’s transposition tool

Re: MIDI input [was Re: Nested transposition]

On Sat, Mar 13, 2021 at 9:14 PM Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > Hi Carl! > > >> My music entry is done 99% by MIDI input, so I type almost no commas or > apostrophes. > > Can you tell me how you do your MIDI input? I'd like to do that, but I > don't have a good

why Kieren is a \relative evangelist [was “Re: Nested transposition"]

solute music — that it requires extra typing [of apostrophes and commas] — is essentially eliminated by using an IDE like Frescobaldi: using MIDI input means I avoid typing note code (including octavation symbols) almost entirely, and the transposition functions let me instantaneously re-oc

Re: Nested transposition

David Wright writes: > On Sat 13 Mar 2021 at 09:21:07 (-0500), Kieren MacMillan wrote: >> Hi Elaine, >> >> > That may be so, but you likely pay for it every day by typing out >> extra commas and apostrophes. >> >> My music entry is done 99% by MIDI input, so I type almost no commas >> or

Re: Nested transposition

On Sat 13 Mar 2021 at 09:21:07 (-0500), Kieren MacMillan wrote: > Hi Elaine, > > > That may be so, but you likely pay for it every day by typing out extra > > commas and apostrophes. > > My music entry is done 99% by MIDI input, so I type almost no commas or > apostrophes. > ;) I'm happy to

Re: Nested transposition

urse there's > > - MacMillan's strengthening: "Avoid using \relative altogether" :-). > (I don't agree but understand his rationale; I think it's a matter of > weighing up the pros and cons.) > > In my experience, there are few use cases for transposition inside >

MIDI input [was Re: Nested transposition]

Hi Carl! >> My music entry is done 99% by MIDI input, so I type almost no commas or >> apostrophes. > Can you tell me how you do your MIDI input? I'd like to do that, but I don't > have a good workflow for it. 1. I use Frescobaldi. 2. I’ve set keyboard shortcuts (F18 and F19) for starting

Re: Nested transposition

On 3/13/21, 7:21 AM, "lilypond-user on behalf of Kieren MacMillan" wrote: My music entry is done 99% by MIDI input, so I type almost no commas or apostrophes. ;) Can you tell me how you do your MIDI input? I'd like to do that, but I don't have a good workflow for it. Thanks,

Re: Nested transposition

age: 5 > Date: Sat, 13 Mar 2021 09:21:07 -0500 > From: Kieren MacMillan > To: Flaming Hakama by Elaine > Cc: Lilypond-User Mailing List > Subject: Re: Nested transposition > Message-ID: > Content-Type: text/plain; charset=utf-8 > Hi Elaine, >> That may be so

Re: Nested transposition

Hi Elaine, > That may be so, but you likely pay for it every day by typing out extra > commas and apostrophes. My music entry is done 99% by MIDI input, so I type almost no commas or apostrophes. ;) Cheers, Kieren. Kieren MacMillan, composer (he/him/his) ‣

Re: Nested transposition

I don't have the expertise of the rest of you, but the first thing I did with Lilypond was give \relative the elbow. It just seemed like a nightmare way to compose. Ditto duration persistence. All for the sake of saving a few keystrokes? Re: the manuals/guides where \relative is introduced as

Re: Nested transposition

sing \transpose inside of \relative" ("and if you have to, remember > to issue a new \relative block inside the \transpose"). > > And of course there's > > - MacMillan's strengthening: "Avoid using \relative altogether" :-). (I don't > agree but unders

Re: Nested transposition

I have nearly always used relative pitches. I always use variables to build up the music in a logical way. Transpose always worked right for me. As for enharmonic transposition, it does work well Here is an example :  m = \relative c' { \key des \major des4 es f as des2. r4}  \score

Re: Nested transposition

sing \relative altogether" :-). (I don't agree but understand his rationale; I think it's a matter of weighing up the pros and cons.) In my experience, there are few use cases for transposition inside \relative except for precisely the case situation the OP described: Enharmonic respelli

Re: Nested transposition

l > \relative into two expressions, so they could transpose one of them > enharmonically. > > Before applying the enharmonic transposition, > here is what the new structure would look like: > > \relative { > c'4 d e f g a b c > { cs, ds es fs gs as bs cs } > }

Re: Nested transposition

On Fri, Mar 12, 2021, 6:22 PM Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > oof > this thread reminds me why I gave up using \relative over a decade ago and > never looked back > > Kieren That may be so, but you likely pay for it every day by typing out extra commas and

Re: Nested transposition

oof this thread reminds me why I gave up using \relative over a decade ago and never looked back Kieren Kieren MacMillan, composer (he/him/his) ‣ website: www.kierenmacmillan.info ‣ email: kie...@kierenmacmillan.info

Re: Nested transposition

As far as I know transpose should only really be used with absolute pitches, as it would be quite impossible to do it otherwise. Think of it like this: Say we are in relative mode and have c' f. Then f will be above c. If you then do c' \transpose f a f, then the transposed a would be above

Re: Nested transposition

a b c cs, ds es fs gs as bs cs } } Then--and here is the crucial part--they decided to break up the original \relative into two expressions, so they could transpose one of them enharmonically. Before applying the enharmonic transposition, here is what the new structure would look like

Re: Nested transposition

On Fri 12 Mar 2021 at 11:08:34 (-0800), Flaming Hakama by Elaine wrote: > > Am Fr., 12. März 2021 um 11:35 Uhr schrieb Peter Toye: > > > > I am trying to engrave a transposed song. It's written without key > > signature but is very tonal. It starts in C and ends in C#. I want to > > transpose it

Re: Nested transposition

ich is separately processed first. (It's recursive.) > > One good thing—you haven't used any floating pitches, as in > tune = { c d e c d e f d }. That can complicate matters. I've considered giving the result of \transpose a make-relative hook that would work by first inverting the tr

Re: Nested transposition

> Am Fr., 12. März 2021 um 11:35 Uhr schrieb Peter Toye >: > > I am trying to engrave a transposed song. It's written without key > signature but is very tonal. It starts in C and ends in C#. I want to > transpose it down a minor third. The part in C is fine, but the part in C# > ends up as A##

Re: Nested transposition

David (and others), Thanks to all - I hadn't checked the NR before trying it out. Usually I'm transposing an entire score where this issue doesn't apply. Stupid me. Peter mailto:lilyp...@ptoye.com www.ptoye.com - Friday, March 12, 2021, 4:49:31 PM, David Wright wrote:

Re: Nested transposition

On Fri 12 Mar 2021 at 11:52:36 (+), Peter Toye wrote: > Thanks Christian. Not sure why that happens (bug?) but that works fine. The problem (not a bug) is that you can't re-apply \relative processing to absolute pitches. \relative { … } applies the rules of relative pitch notation, an

Re: Nested transposition

; a to b flat (3 sharps to 2 [=12-10] flats"} \score {   {     \break     \transpose c a, { \musicAB }     \musicAC     \break     \transpose c a, { \musicAC }   } } Le 12.03.21 à 11:28, Peter Toye a écrit : Nested transposition I am trying to engrave a transposed song. It's

Re: Nested transposition

Thanks Christian. Not sure why that happens (bug?) but that works fine. Best regards, Peter mailto:lilyp...@ptoye.com www.ptoye.com - Friday, March 12, 2021, 10:59:03 AM, Christian Masser wrote: Hi Peter! It seems that \transpose treats the block of notes following

Re: Nested transposition

Hi Peter! It seems that \transpose treats the block of notes following it as absolute notes. If you adapt that line to explicit relative notation it probably yields the result you're aspiring. \version "2.22.0" \language "english" { \transpose c a, \relative { c'4 d e f g a b c

Nested transposition

I am trying to engrave a transposed song. It's written without key signature but is very tonal. It starts in C and ends in C#. I want to transpose it down a minor third. The part in C is fine, but the part in C# ends up as A## and there are far too many double-sharps for it to be performable.

Re: drawing a range reguardless of transposition

On Fri, Nov 29, 2019 at 10:28:04AM +0100, Sandro Santilli wrote: > Uhm, I might be still not getting the 2.18.2 compatibility, as this > is what I get: > > warning: type check for `color' failed; value `# Music((origin . #) (void . #t))((name . Music) > (types general-music)) > ' must be of

Re: drawing a range reguardless of transposition

On Thu, Nov 28, 2019 at 10:40:17AM -0800, Aaron Hill wrote: > On 2019-11-28 9:27 am, Sandro Santilli wrote: > > On Mon, Nov 25, 2019 at 04:40:12AM -0800, Aaron Hill wrote: > > > On 2019-11-25 2:26 am, Sandro Santilli wrote: > > > > I'm trying, for backward compatibility, to keep that > > > >

Re: drawing a range reguardless of transposition

On 2019-11-28 9:27 am, Sandro Santilli wrote: On Mon, Nov 25, 2019 at 04:40:12AM -0800, Aaron Hill wrote: On 2019-11-25 2:26 am, Sandro Santilli wrote: > I'm trying, for backward compatibility, to keep that > highlightOutOfRange function, is that possible ? What compatibility are you needing?

Re: drawing a range reguardless of transposition

On Mon, Nov 25, 2019 at 04:40:12AM -0800, Aaron Hill wrote: > On 2019-11-25 2:26 am, Sandro Santilli wrote: > > I'm trying, for backward compatibility, to keep that > > highlightOutOfRange function, is that possible ? > > What compatibility are you needing? As I've used the old function in

Re: drawing a range reguardless of transposition

On 2019-11-25 2:26 am, Sandro Santilli wrote: I'm trying, for backward compatibility, to keep that highlightOutOfRange function, is that possible ? What compatibility are you needing? I intended \highlightPitches to be a significant upgrade to my earlier \highlightOutOfRange, which I would

Re: drawing a range reguardless of transposition

On 2019-11-24 2:40 am, Sandro Santilli wrote: Like, the following does _not_ work: altoDesignedWrittenRange = bes g''' \override NoteHead.color = \highlightOutOfRange \altoDesignedWrittenRange The function would need to be modified to support syntax like that. I took some time to

Re: drawing a range reguardless of transposition

On Fri, Nov 15, 2019 at 12:42:46PM +0100, Sandro Santilli wrote: > On Fri, Nov 15, 2019 at 12:20:51PM +0100, Michael Käppler wrote: > > > > melodyRange = \override NoteHead.color = \highlightOutOfRange e' b' > > And this is great to build that library, thanks ! I'm building that library, using

Re: drawing a range reguardless of transposition

On Fri, Nov 15, 2019 at 12:20:51PM +0100, Michael Käppler wrote: > Why not put it in the underlying "input" then? > > melody = { >     \override NoteHead.color = \highlightOutOfRange e' b' >    \relative c' {  c4 d e f } > } Yep, that works > You could even define a shortcut for this: > >

Re: drawing a range reguardless of transposition

Why not put it in the underlying "input" then? melody = {     \override NoteHead.color = \highlightOutOfRange e' b'    \relative c' {  c4 d e f } } You could even define a shortcut for this: melodyRange = \override NoteHead.color = \highlightOutOfRange e' b' melody = {    \melodyRange   

Re: drawing a range reguardless of transposition

On Fri, Nov 15, 2019 at 12:09:27PM +0100, Sandro Santilli wrote: > > The thing is I'm writing multiple scores with the same parts > replicated (some with all 3 voices, some with just 2 voices) > so I'd like to avoid the duplication of ranges. A range is > specific to an instrument so I'd like to

Re: drawing a range reguardless of transposition

On Fri, Nov 15, 2019 at 12:00:09PM +0100, Michael Käppler wrote: > \score { >   << >     \new Staff \with { >   instrumentName = #"Voice" > >     } { >   \new Voice = "vocal" \with { >     \override NoteHead.color = \highlightOutOfRange e' b' >   } { \notes } > >     } > >    

Re: drawing a range reguardless of transposition

notes = \relative c' { c d e f g a b c } \score {   <<     \new Staff \with {   instrumentName = #"Voice"     } {   \new Voice = "vocal" \with {     \override NoteHead.color = \highlightOutOfRange e' b'   } { \notes }     }     \new Staff \with {   instrumentName = #"Alto"

Re: drawing a range reguardless of transposition

On Fri, Nov 15, 2019 at 10:45:45AM +0100, Michael Käppler wrote: > While I would strongly suggest that you update to the latest development > version, which can regarded > as very stable, this would work with 2.18.2: Thanks, this works! Can I specify a different override for different voices by

Re: drawing a range reguardless of transposition

On Thu, Nov 14, 2019 at 06:02:40PM +0100, k...@aspodata.se wrote: > Sandro: > > In order to determine if I'm writing something that can > > be played by an instrument, is there a way to display > > on the score the supported range by that instrument ? > > > > I'd like to have something that

Re: drawing a range reguardless of transposition

While I would strongly suggest that you update to the latest development version, which can regarded as very stable, this would work with 2.18.2: % LilyBin \version "2.18.2" highlightOutOfRange = #(define-scheme-function   (parser location color lower upper)   ((color? red) ly:pitch? ly:pitch?)

Re: drawing a range reguardless of transposition

On Thu, Nov 14, 2019 at 09:09:16AM -0800, Aaron Hill wrote: > \layout { > \context { \Voice > \override NoteHead.color = \highlightOutOfRange c' c'' > } > } I like the highlighting idea! Is it compatible at all with 2.18.2 ? It seems not to be: http://lilybin.com/166vv7/1

Re: drawing a range reguardless of transposition

Am 14.11.19 um 18:09 schrieb Aaron Hill: On 2019-11-14 8:53 am, Sandro Santilli wrote: In order to determine if I'm writing something that can be played by an instrument, is there a way to display on the score the supported range by that instrument ? I'd like to have something that doesn't

Re: drawing a range reguardless of transposition

On 2019-11-14 8:53 am, Sandro Santilli wrote: In order to determine if I'm writing something that can be played by an instrument, is there a way to display on the score the supported range by that instrument ? I'd like to have something that doesn't change when I transpose, so to know if

Re: drawing a range reguardless of transposition

Sandro: > In order to determine if I'm writing something that can > be played by an instrument, is there a way to display > on the score the supported range by that instrument ? > > I'd like to have something that doesn't change when I > transpose, so to know if transpositions are possible > at

drawing a range reguardless of transposition

In order to determine if I'm writing something that can be played by an instrument, is there a way to display on the score the supported range by that instrument ? I'd like to have something that doesn't change when I transpose, so to know if transpositions are possible at all... --strk; ()

Re: Transposition

Tom van der Hoeven <t...@vanderhoeven.biz> writes: > Kieren and Noeck, > Thanks for the answers. > I worked already with the function \transpose and that works excellent. > My question concerned the use of the tag \transposition. > I wondered why it was used f

Re: Transposition

Kieren and Noeck, Thanks for the answers. I worked already with the function \transpose and that works excellent. My question concerned the use of the tag \transposition. I wondered why it was used for two specific cases and not for the general case. Given both answers it seems that I haven't

Re: Transposition

Hi Tom, > I have a piece of music written in different transpositions. > I want to transform it to a piece in one transposition. Likely, a nice Scheme function or engraver could work that out for you. Unfortunately, that's beyond my [essentially non-existent] Scheme-fu… In the a

Re: Transposition

Hi Tom, many people confuse \transposition with \transpose. They have different use cases. Hopefully, \transpose will help you: http://lilypond.org/doc/v2.19/Documentation/notation/changing-multiple-pitches.html#transpose Cheers, Joram ___ lilypond

Transposition

I have a piece of music written in different transpositions. I want to transform it to a piece in one transposition. I have found \transposition to indicate the transposition of the subsequent notes. trap = \relative c'{ a \transposition f'  c e g f bes \transposition bes' c e} It is used

RE: Transposition

I think you want \transpose http://lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#transpose Regards, Mogens From: Tom van der Hoeven Sent: Saturday, January 6, 2018 13:16 To: lilypond-user@gnu.org Subject: Transposition I have a piece of music written in different

Transposition

I have a piece of music written in different transpositions. I want to transform it to a piece in one transposition. I have found \transposition to indicate the transposition of the subsequent notes. trap = \relative c'{ a \transposition f'  c e g f bes \transposition bes' c e} It is used

Re: Auto-transposition

Thomas Morley writes: > 2017-12-18 16:08 GMT+01:00 Kieren MacMillan : > >> I suppose I could use single variables more if Lilypond had better >> "at runtime" methods of reusing material (e.g., inline variable >> definition) > > Have a look

Re: Auto-transposition

Hi Harm, > Have a look at > https://lilypondforum.de/index.php/topic,195.msg1231.html#msg1231 Ooh! It even works outside of the parent variable (as would be absolutely necessary in my usage): %%% SNIPPET BEGINS \version "2.19.80" tee = #(define-music-function (name mus) (string? ly:music?)

Re: Auto-transposition

2017-12-18 16:08 GMT+01:00 Kieren MacMillan : > I suppose I could use single variables more if Lilypond had better "at > runtime" methods of reusing material (e.g., inline variable definition) Have a look at

Re: Auto-transposition

On 18/12/17 15:08, Kieren MacMillan wrote: Hi Saul, \resetRelativeOctave belongs IMO always as part of the definition of a music expression, ideally on the line directly preceding note entry. Agreed. Until it's a repeated phrase, but not necessarily the same octave. iirc (as I said it's a

Re: Auto-transposition

Hi David, > This is, in part, a result of our documentation being so granular. True. > Putting it another way: I doubt that many of the issues with \relative rear > their heads in the examples in the docs. So true. And thus newbies aren't really [explicitly] taught how to use relative mode

Re: Auto-transposition

Hi Saul, > \resetRelativeOctave belongs IMO always as part of the definition of a music > expression, ideally on the line directly preceding note entry. Agreed. > Personally, I think it is preferable to define all of the music for each > context by explicitly typing it in a single variable.

Re: Auto-transposition

I would highly recommend against this type of coding style. \resetRelativeOctave belongs IMO always as part of the definition of a music expression, ideally on the line directly preceding note entry. Personally, I think it is preferable to define all of the music for each context by explicitly

Re: Auto-transposition

> Subject: Re: Re: Auto-transposition > > By the way, whoever is working on the Changes document for upcoming 2.20, > don't forget to mention about \fixed! > >/Mats > I volunteered to do this, so I will make sure to work on describing this feature. > > I d

Re: Auto-transposition

t for bass clarinet. The >> > sample I used was not transposed the octave, and I had to compensate by >> > transposing the music down. >> >> According to Wikipedia, bass clarinet is written in treble clef but >> played one octave lower than written (after subt

Re: Auto-transposition

According to Wikipedia, bass clarinet is written in treble clef but > played one octave lower than written (after subtracting the usual B♭ > transposition). So, uh, I have no idea? > > > > Correct, I'd entered the music in the printed octave, > and wanted to hear

Re: Auto-transposition

treble_8" confused your sense of octave. > > > > > > Actually, I think it had to do with midi output for bass clarinet. The > > sample I used was not transposed the octave, and I had to compensate by > > transposing the music down. > > According to Wikipedia

Re: Auto-transposition

On Fri 15 Dec 2017 at 15:52:28 (+), Wols Lists wrote: > On 15/12/17 13:45, David Wright wrote: > > On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote: > >> On 15/12/17 06:20, Saul Tobin wrote: > >>> Relative mode makes perfect sense if you're entering music that cares > >>> mainly about

RE: Auto-transposition

> Hi List, > > I have used Lilypond for a few years now. I (almost) always use > \relative and I have never had trouble with it. Indeed, as a lay > person, I have no idea which octave > c'4 d' e' f' g'1 > is – I know I could look it up, but it is certainly not in my head. So what reference

Re: Auto-transposition

the octave, and I had to compensate by > transposing the music down. According to Wikipedia, bass clarinet is written in treble clef but played one octave lower than written (after subtracting the usual B♭ transposition). So, uh, I have no idea? -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Auto-transposition

On 15/12/17 13:45, David Wright wrote: > On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote: >> On 15/12/17 06:20, Saul Tobin wrote: >>> Relative mode makes perfect sense if you're entering music that cares >>> mainly about the relationship between notes within a phrase (i.e. most >>>

Re: Auto-transposition

On Dec 15, 2017 12:59 AM, "David Kastrup" wrote: David Kastrup writes: > Flaming Hakama by Elaine writes: > >> And the behavior of \relative that is weirdest: >> >> * The octave of \relative is lowered when used with bass clef. >> >>

Re: Auto-transposition

writes: > Hi List, > > I have used Lilypond for a few years now. I (almost) always use > \relative and I have never had trouble with it. Indeed, as a lay > person, I have no idea which octave > c'4 d' e' f' g'1 > is – I know I could look it up, but it is certainly not in my

Re: Auto-transposition

Kieren MacMillan writes: > Hi all, > > Mats wrote: >> By the way, whoever is working on the Changes document for upcoming >> 2.20, don't forget to mention about \fixed! > > +1 2.19.22 apparently. I'd have pegged it at 2.18 already. -- David Kastrup

RE: Auto-transposition

-transposition Hi all, Mats wrote: > By the way, whoever is working on the Changes document for upcoming 2.20, > don't forget to mention about \fixed! +1 David W wrote: > Just use \relative early. The fact that this works like it does is further evidence that \relative is not suf

Re: Auto-transposition

Hi all, Mats wrote: > By the way, whoever is working on the Changes document for upcoming 2.20, > don't forget to mention about \fixed! +1 David W wrote: > Just use \relative early. The fact that this works like it does is further evidence that \relative is not sufficiently intuitive. I'm

Re: Re: Auto-transposition

On 2017-12-15 13:30, Ralph Palmer wrote: Greetings - Just a reminder and note: I have been using \relative for years and have been quite happy with it. Perhaps my situation is fairly unique. I transcribe a lot of fiddle tunes, then transpose them down an octave and into alto clef. Using

Re: Auto-transposition

On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote: > On 15/12/17 06:20, Saul Tobin wrote: > > Relative mode makes perfect sense if you're entering music that cares > > mainly about the relationship between notes within a phrase (i.e. most > > music). IMO absolute mode might be easier from

Re: Auto-transposition

On Thu, Dec 14, 2017 at 5:04 PM, Neo Anderson wrote: > Dear All, > > Anyway, I'm thankful you've taken your time to solve my problem. > > On Thursday, December 14, 2017, 1:29:22 AM GMT+1, Kieren MacMillan < > kieren_macmil...@sympatico.ca> wrote: > > > Hi David, > > >>

Re: Auto-transposition

On 15/12/17 06:20, Saul Tobin wrote: > Relative mode makes perfect sense if you're entering music that cares > mainly about the relationship between notes within a phrase (i.e. most > music). IMO absolute mode might be easier from the perspective of the > software, but it's not how most musicians

Re: Auto-transposition

David Kastrup writes: > Flaming Hakama by Elaine writes: > >> And the behavior of \relative that is weirdest: >> >> * The octave of \relative is lowered when used with bass clef. >> >> The fix for the clef issue is to use a \transpose when you use it

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