On Feb 20, 2012 3:08 PM, "James Worlton" <
address@hidden> wrote:
On Feb 20, 2012, at 2:01 PM, Mark Mathias wrote:
I think I understand that part, but why, in this outlined blues bass line, does output of the transposed version suddenly skip a major 7th downward and then a major 7th back up?
Because the notes that follow the \transpose are part of the transpose block.
According to the manual they become absolute mode in this case unless
enclosed in a relative block.
Try something like:
\transpose c f { \relative g { d fis a b | c b a fis } }
James Worlton
On Mon, Feb 20, 2012 at 2:55 PM, James Worlton <address@hidden> wrote:
On Feb 20, 2012, at 1:50 PM, Mark Mathias wrote:
I really thought I understood the basic rules of note entry, but this has surprised me:
\version "2.15.25"
\relative c' { \repeat unfold 2 { d4^\markup \italic pizz. fis a b |
c b a fis | }
\transpose c f { d^\markup \italic pizz. fis a b |
c b a fis | }
}
Why does the "c" (transposed to "f") jump down to a lower octave? I thought \relative mode took care of this.
I fixed it by altering the c, but it goes against what I thought I'd learned:
\transpose c f, { d fis a b |
c' b a fis | }
Notation Manual section 1.1.2 under "Transpose":
"This means that musicexpr is transposed by the interval between the pitches
frompitch and topitch: any note with pitch frompitch is changed to topitch and
any other note is transposed by the same interval. Both pitches are entered in
absolute mode."
Note that the "frompitch" and "topitch" are entered in absolute mode.
James Worlton
--
God becomes known through men and women who know him: the road to him passes through those who have encountered him. ---Benedict XVI
<bug transpose.pdf>