In addition to Graham's answer. Did you try \transpose c es
instead of \transpose c dis
/Mats
Quoting Ady Ecker <[EMAIL PROTECTED]>:
I was facing a problem with the transposition functionality. Suppose
I write a
whole tone scale:
\header{
title = "A whole tone scale in LilyPond"
}
\relative{
\time 2/4
c16 d e fis gis ais c8
\transpose c dis
\relative
{
c16 d e fis gis ais c8
}
}
While mathematically the transposition is correct, in practice it is
unreadable due to the double sharps.
I suggest the following rule: if a note after transposition gets a double
sharp (or double flat), and the one tone higher (or lower) is not modified by
the key signature, display the note a tone higher (or lower).
A more delicate point to consider is what should be done when there was an
accidental on the tone higher/lower note previously in the bar, but
not in the
key signature. In my opinion, this accidental should be canceled by a natural
sign. That is, if the tone-higher/lower is not modified by the key signature,
double sharp/flats should be eliminated, even if natural signs and
maybe other
accidentals will be introduced later in that bar.
Note that for transitions of a semitone, like e-f and b-c, this means
adding a
sharp/flat instead of double sharp/flat. In the example above, it would be
much more readable if the second last note be c-sharp instead of b-double
sharp. That also means that if c is modified by the key signature to c-sharp,
the program should convert b-sharp-sharp to c (which gets its sharp from the
key signature).
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