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
