Hi,
In Staceys example, I stumbled across the following strange thing
where \relative behaves strangely:
mus = \relative c,, { \harmonicByRatio #1/4 <e\3 a\2>2. }
<<
\new TabStaff
{
\set Staff.stringTunings = \stringTuning <a,,, e,, a,, e, a, cis>
\tabFullNotation
\mus
}
\new Staff \mus
>>
Just to make this explicit: \harmonicByRatio and \harmonicByFret both
fail if used for chords in \relative mode. The reason is the behaviour
of calc-harmonic-pitch that can be seen in the attached file.
(calc-harmonic-pitch looks like a direct reimplementation of \transpose
c' #pitch #mus, but it differs from \transpose in that in actually does
something - and even "the right thing" - for music inside \relative if
given only _one_ note.)
So I agree (if I understood your remark correctly) that \harmonicByFret
and \harmonicByRatio should rather accept single pitches only.
But you're obviously also right in that the implementation of harmonics
handling should be reconsidered because of the different ways they have
to be handled in a) staves, b) tabstaves, c) midi. Maybe I can try
something in that direction over the next few days, but I know this is
going to be pushing my understanding of Lilypond and scheme programming
to its boundaries :-).
Lukas
\version "2.21.0"
\markup \wordwrap {
\typewriter "(calc-harmonic-pitch pitch mus)"
acts roughly like
\typewriter "\\transpose c' $pitch #mus"
but for \typewriter "\\relative" music, both fail in different ways if used for more than one note:
}
{
\mark "\\transpose c' c'', absolute mode"
\transpose c' c'' { c' d' e' c'' a' f' e' }
}
{
\mark "calc-harmonic-pitch from c' to c'', absolute mode"
#(calc-harmonic-pitch #{ c'' #} #{ c' d' e' c'' a' f' e' #})
}
\relative c' {
\mark "\\transpose c' c'', relative mode"
\transpose c' c'' { c d e c' a f e }
}
\relative c' {
\mark "calc-harmonic-pitch from c' to c'', relative mode"
#(calc-harmonic-pitch #{ c'' #} #{ c d e c' a f e #})
}
