2011/6/23 Benkő Pál <benko....@gmail.com>:
>
>> Wow, thank you both!
>> I don't think i would be able to write this at so high level of
>> abstraction myself.
>> I think i understand your explanation and i can roughly see what is
>> going on in your code, except what the last argument(s) is (are) doing
>> - why is it #(ly:make-pitch 0 1 -1) (which equals deses' IIUC)? Is
>> this the "switch" which can be used to choose whether i want natural
>> or double-accidentaled notes?
>
> No, this tells what makes two notes enharmonic:
> if their interval is a multiple of the enharmonic interval.
> LilyPond represents intervals by pitches - a pitch represents
> the interval from c' to the pitch, so deses' represents diminished second,
> which is the standard E12 enharmonic interval.
Ah, i think i understand.
>> I hope to be able to modify this function so it would read scale from
>> key signature. But before i'll do this, i'm afraid there is a problem:
>> should double-sharped notes be transformed into themselves and not
>> natural ones? Your examples contained the only one double-sharped note
>> which is transformed to a enharmonic equivalent (aisis -> ces), all
>> other double sharped notes remain the same - i.e. \enharmonizeMusic
>> \esMinor { gisis' } #et12-class #et12-octaves outputs gisis' -
>> shouldn't it output a'?
>
> there's no equivalent in the es minor scale, so it's untouched.
> The basic idea is to use a set and change those pitches that have
> an enharmonic equivalent in this set to that element - other pitches
> are left as is. you can enhance the set to be complete like
> { es f ges as bes ces des c d e g a },
> and then all notes will be transformed to one of these.
Yes, i see! Clever.
I want to test your code thoroughly, but many things keep me busy all
the time... I hope to have more time in a few days.
thanks,
Janek
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