On Wed, Oct 31, 2018 at 5:06 PM Torsten Hämmerle <torsten.haemme...@web.de> wrote:
> When applying my solution to your bestenigar and revnaknuma examples > (denoted "Torsten's mod") perfectly matches your manually tweaked "should > look like this" versions. > That's pretty good for a start (and it's transposable), but I'll think > about > a convenient syntax. > > As it looks like, we need a customized non-standard function somewhere, > because the key signature resp. the pitches-alist it produces has to depend > on the final tonic ("final" because of transpability). > In standard LilyPond and western music, the key signature matches the > scale, > and, actually the "key signatures" like \minor, \major, \dorian etc. are > actually saved as scales. > That's why it is getting a bit inconvenient if we need to omit scale > accidentals in the key signature, at least if this has to be work in all > keys and even with transposition. Hi Torston, Yes that's what I meant by it's working great, a little too great :) Now with you amazing "Torston's mod" set to on, for example Huzzam makam's bfc (b1k flat) is getting nuked from the key sig: %%% HUZZAMmusic = \makamKey \relative c' { \key bfc \huzzam bfc' c d efb fb g a bfc } %%% I imagine any makam that "ends on a microtone" will suffer the same, ie, evic, evcara, segah, etc just to name a few. Adam _______________________________________________ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel