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Re: transposing etc


From: Peter Chubb
Subject: Re: transposing etc
Date: Fri, 22 May 2009 15:00:56 +1000
User-agent: Wanderlust/2.14.0 (Africa) SEMI/1.14.6 (Maruoka) FLIM/1.14.9 (Goj┼Ź) APEL/10.7 Emacs/22.2 (i486-pc-linux-gnu) MULE/5.0 (SAKAKI)

>>>>> "Jonathan" == Jonathan Kulp <address@hidden> writes:

Jonathan> Bill Mooney wrote:
>> the ' \key ' entry is moved from the 'global' definition to each of
>> the partMusic definitions the ' \transpose ' entry is added to each
>> ' \new voice ' immediately before the ' \partMusic ' in the \score
>> section.  (I hope this is clear enough) It seems necessary to do it
>> this way as Lilypond seems to follow a process method where a later
>> instruction overrides an earlier one - I think?!?  Firstly, is the
>> ensemble template appropriate if one wishes to enable subsequent
>> transposing?  Secondly, is the method I've outline above the best
>> way to do it?
>> 
Jonathan> Hi Bill,

Jonathan> I'm not sure I understand exactly where your \transpose
Jonathan> command is placed--I'd have to see your source files.  If I
Jonathan> want to transpose an entire part, I put the transpose
Jonathan> command in the \score block right before the command to
Jonathan> include the notes.  Here's one from one of my scores:

Me neither --- did you want to trnspose the entire score (got good
basses, but weak sopranos perhaps?) or just one of the parts (entering
in C but it's a bflat instrument or something?

>> As an aside - could readers comment on how they arrange their
>> workflow when transcribing scores from hand written originals
>> (which is what I am cureently doing) - do you enter all the notes
>> first to check the accuracy of note entry, then add articulations,
>> markups etc later, or do you enter each note with its ties, slurs,
>> markups, etc as you proceed through the piece? Any comments would
>> be gratefully received.  Many thanks Bill

Jonathan> The first thing I do is write one or two bars in every part
Jonathan> to make sure the score compiles properly, get the instrument
Jonathan> names the way I want them, and so forth.  Then I start
Jonathan> entering notes for individual voices, usually finishing one
Jonathan> full score page in all voices before moving on to the next
Jonathan> page.  I try to take care of all of the articulations,
Jonathan> dynamics, slurs, etc. as I go along, since I find it faster
Jonathan> to do it that way than to go back through and find the right
Jonathan> spot to put them.  I also comment every line with bar
Jonathan> numbers to be able to find my place quickly.  I also make a
Jonathan> habit of archiving the whole bunch of source files after
Jonathan> each day's work and backing it up somewhere besides the
Jonathan> machine I'm working on.

Interesting.  I tend to enter one part at a time, with a \score that
includes only that part.  I start with the tune (usually either the
soprano or tenor part --- I'm *mostly* involved with vocal music),
then proof-listen using the MIDI output.  Then the bass part, then the
alto and tenor, then the accompaniment starting with the continuo and
ending with any guitar chords.  If I'm rushed, I'll just enter tune,
bass and chords --- the people I sing/play with can fill in at a pinch.

I put one bar per line (for complex bars,
maybe more than one line per bar), commented every five lines with a
bar number.  I use a revision control system with a remote central
repository for all my music.  Tweakss necessary fro good outpput with
a particular vesion of Lilypond go on a branch, as convert-ly doesn't
usually cope with scheme very well.


--
Dr Peter Chubb                                  peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au               ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone shall live, never to die




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