Re: Learning manual addition (Section 5.1.2)

[Anthony W. Youngman]

In message <address@hidden>, Mats Bengtsson 
<address@hidden> writes
> I would soften the formulation a bit, for example replacing
> "When ... into a variable", wrap ..." by
> "When ... into a variable, it is recommended to wrap ..."

Fine, that's okay :-)
> After all, this is just a recommended practice, it's not the
> one and only way to do things. Especially, I'm not sure I
> see the point of going via C if I for example want to transpose
> a piece for B clarinet into A clarinet. Rather, it would give me
> a doubled chance to mix the "from" and "to"  arguments.
And what happens if you're transposing from Bf Trombone to Ef :-)

You're going to get into a wonderful mess if you forget which key your 
original music is in ...

I know the trombone is an unusual instrument in that sense, playing in 
both Bf and C, but that's why I said "always convert to C".

To my mind, "always convert via C" means I don't get confused as to 
which pitch a piece of music is in. (And as I said, it makes it easy to 
print a score in concert). It's just a case of being consistent, and if 
you re-use the music you don't have to ask yourself "was the original in 
(in your example) B or A?". You know your variable is in C.

>  /Mats
Cheers,
Wol

> Trevor Daniels wrote:
> > Thanks Anthony - I'll add it as you suggest.
> >
> > Trevor
> >
> > ----- Original Message ----- From: "Anthony W. Youngman" 
> > <address@hidden>
> > To: "lilypond-devel" <address@hidden>
> > Sent: Sunday, January 11, 2009 7:56 PM
> > Subject: Learning manual addition (Section 5.1.2)
> >
> >
> > > Having had an (off-list) discussion with Chip about transposition, 
> > > I've written the following little snippet which would probably fit 
> > > well in 5.1.2 (manual 2.12.1), if the maintainer would care to add it.
> > >
> > > <start>
> > > * When entering a part for a transposing instrument into a variable,
> > > wrap the notes in a "\transpose c natural-pitch {}" (where
> > > "natural-pitch" is the open pitch of the instrument) so that the music
> > > is stored in lily at concert pitch. You can transpose it back again on
> > > output if required, but you might not want to (score in concert pitch,
> > > converting trombone part from treble to bass clef etc) and it's a lot
> > > easier if everything internal to lily is in a consistent pitch.
> > >
> > > Also, only ever transpose to/from C. That means that the only other key
> > > you will use is the natural pitch of the instrument - Bf for a Bf 
> > > trumpet, Af for an Af clarinet, etc.
> > > <end>
> > >
> > > I've noticed we seem to get people on the list every now and then 
> > > who it seems play a non-transposing instrument but are asked "can you 
> > > this for so-and-so who plays (let's say) the trumpet", and because 
> > > they've never personally experienced a transposing instrument they 
> > > seem to have trouble knowing how to cope.
> > >
> > > Cheers,
> > > Wol
> > > --  Anthony W. Youngman - address@hidden
> > >
> > >
> > >
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> >
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--
Anthony W. Youngman - address@hidden