RE: \transpose weird staffs

[Anthony Youngman]

A point to bear in mind - and I had exactly this trouble when I first
started using lilypond ...

\transpose changes the pitch of the notes as internally represented
within lilypond. As such, I tend to think of it as a device for
inputting from and outputting to paper.

\transposition (as far as I can make out) is a midi construct, that
alters the pitch of sound output.

Even as I write this, it doesn't quite make sense to me, but bearing in
mind I do not use midi at all, and I originally tried to use
\transposition and was told to use \transpose instead ...

Anyways, I gather that if you're writing for an instrument like a horn,
that changes its crook (and hence fundamental key) part way through a
piece, you're in for a world of pain whatever you do if you want to
produce both a music part and midi from the same source file ... :-(

Cheers,
Wol

-----Original Message-----
From:
address@hidden
[mailto:address@hidden
.org] On Behalf Of Toine Schreurs
Sent: 01 September 2006 16:55
To: Markus Schneider
Cc: address@hidden
Subject: Re: \transpose weird staffs

You don't have to split the parts if you \tranpose direct from es to g

hornpartInG = \relative c' {
  .... notes in G ....
  \transpose g ees \relative c' {
    .... notes in Es ....
  }
}

\score {
 \new Staff \transpose f g {
   \hornpartInG
 }
}

Or even bring the notes to C first (no more need for \transposition
for midi output)

hornpartInC = \transpose c g \relative c' {
  .... notes in G ...
  \transpose g ees \relative c' {
    .... notes in Es ....
  }
}

\score {
 \new Staff \transpose f c {
   \hornpartInC
  }
}

Toine

> AFAICS, the easiest way is to split your horn part into two seperate
ones:
> 
> hornpartG = \relative c' {
>   \transposition g
>   ... many notes ...
> }
> 
> hornpartEES = \relative c' {
>   \transposition ees
>   ... many notes ...
> }
> 
> Then use \transpose as usual on each of them.


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