On Sat 20 May 2017 at 17:28:57 (+1000), Don Gingrich wrote:
> I had the idea that all that I needed to
> do to convert a score from, for example, F to G,
> was to wrap a \transpose f g { } around the
> \relative block where I had entered the notes in
> F. And that is actually correct.
Most of my scores finish with something like:
\score {
\transpose f g
\new GrandStaff <<
\new Staff <<
\new Voice { \clef treble \global }
\new Voice { \sopranoi }
\addlyrics { \textsopranoi }
>>
[... other parts ...]
>>
\layout { }
}
so it's easy to produce in any suitable key at a moment's notice.
> But it seems that some really weird things happen
> if, as I did recently, one screws up the order and
> has:
>
> theNotes = \relative c'' \transpose c d''{ {
> some notes
> }
> }
>
> I'm noting this it the hope that it may save someone else
> the agro that I experienced with notes jumping
> all over the place.
>
> The order is *critical* to having transpose work as
> expected.
>
> This is sort-of a solution in search of a problem but
> it may save someone else some frustration.
You have to think about what \relative { … } means.
Given *raw* notes in its argument, it transforms them into
absolute pitches by a simple rule (up to a fourth, and
fifths or greater; you know this rule). There's no
"second chance"; it's an input method. The octavation
is baked in, so the expression
\relative { … }
placed anywhere else is now absolute music.
The expression \transpose X Y { … } is already absolute
so \relative can't do anything to it. OTOH
\transpose X Y { … \relative { raw notes } … }
is a useful, well-formed expression.
If you nest \relative expressions, the inner ones are baked
first, then the outer ones are evaluated, hopping over the
inner, now baked, expressions.
Cheers,
David.
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