Hi,
I apologize for breaking the thread. I'm still getting the hang of the
proper etiquette of this very valuable forum.
Maybe what I'm trying to do is simply too ambitious. I actually have
three separate musical projects. One project is to convert to LP 900 songs for
a friend who is a jazz composer; that is fairly straightforward because I
simply place them in the key he wrote them in. The second project is to create
lead sheets of popular songs for my singing teacher; this is the difficult
project because she cannot transpose, so my hope was to provide her each lead
sheet 12 times, once in each key; I was hoping to be able to do that whilst
maintaining a single lead sheet for each song and "merely" transposing that
single lead sheet into the 12 keys; that is the case where the enharmonics of
the chords becomes a really big issue. The third case is for my own use, in
which case I only need it in one different key, in which case your suggestion
to transpose different sections differently works fine because I can "tune" the
original music so that it transposes
well into the single key I then transpose it into.
I will try to learn more about the SCHEME language so I can better
understand the SCHEME hack I was first pointed to. Another avenue I would like
to pursue is creating my own fonts for chords. I don't know where to begin
however, so if anyone has pointers on how to start, I would appreciate it.
regards
Robert
----- Original Message ----
From: Paul Scott <[EMAIL PROTECTED]>
To: Robert Glover <[EMAIL PROTECTED]>
Cc: lilypond-user@gnu.org
Sent: Saturday, June 14, 2008 12:29:16 AM
Subject: Re: F7 chord appearing as E#7 when I transpose (Paul Scott)
Robert Glover wrote:
> I'm the (newbie) person whose post instigated this thread. I faithfully
> applied the advice given, but alas the result was not satisfactory. The lead
> sheet is a classic example of the worst possible case:
(snip)
> Anyway, thank you very much for the timely suggestion. I do appreciate it
> even though so far it's not working for me.
>
My workaround for this is to divide the chord (or melody in some of my
cases) section into parts as necessary and transpose them individually.
For example the chord fis2:m7 transposed as \transpose c cf fis2:m7
should give you what you want. I didn't test this but some enharmonic
combination giving a half step should work.
HTH
Paul
BTW you broke the thread somehow. Did you use the Reply button?
--- On Sat, 6/14/08, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote:
> From: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
> Subject: lilypond-user Digest, Vol 67, Issue 48
> To: lilypond-user@gnu.org
> Date: Saturday, June 14, 2008, 4:45 AM
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> than "Re: Contents of lilypond-user
> digest..."Today's Topics:
>
> 1. Re:Divisi and Unison (Francisco Vila)
> 2. re:different rehearsal mark settings in score and
> parts (hhpmusic)
> 3. Re:F7 chord appearing as E#7 when I transpose (Paul
> Scott)
> (Robert Glover)
> 4. Re:F7 chord appearing as E#7 when I transpose (Paul
> Scott)
> (Paul Scott)
> 5. an innocent's query :) (Bill Mooney)
> 6. Re:Syntax explanations (James E. Bailey)
> 7. Re:an innocent's query :) (David
> Bobroff)2008/6/14 Kieren MacMillan
> <[EMAIL PROTECTED]>:
> > You might start with the following:
> >
> > arrow = \markup { \fontsize #5
> \override #'(thickness . 3) \combine
> > \draw-line #'(0 . 4) \arrow-head #Y #DOWN
> ##t }
> > \markup { \combine \raise #-1
> \rotate #45 \arrow \raise #1 \rotate #135
> > \arrow }
>
> Great!
>
> Here goes another (uglier) starting point:
>
> % start
>
> psarrows = #"
> 1 setlinecap
> .6 setlinewidth
> 3 -0.5 translate
> .3 .3 scale
> 0 0 moveto
> 5 5 lineto
> -2 0 rlineto
> 5 5 moveto
> 0 -2 rlineto
> 0 0 moveto
> 5 -5 lineto
> 0 2 rlineto
> 5 -5 moveto
> -2 0 rlineto stroke"
>
> arrows = \markup { \postscript #psarrows }
>
> { c'1-\arrows }
>
> % end
> --
> Francisco Vila. Badajoz (Spain)
> http://www.paconet.orgI'm the (newbie) person whose
> post instigated this thread. I faithfully applied the
> advice given, but alas the result was not satisfactory.
> The lead sheet is a classic example of the worst possible
> case: The "A" section starts with I VI II V.
> The "B" section transposes the "A"
> section into the key of III, then transposes the
> "A" section into the key of "IV". That
> worst possible case makes the transposition into keys with
> four or more sharps look terrible because, for example, in
> the key of "B major " the "B" section
> has chord "E#m7". While a purist might argue
> that is the correct representation, it is completely
> unacceptable to give a lead sheet with that chord to a
> member of a jazz group because instant, fast sight reading
> is required in jazz. It must be notated as Fm7.
> When I used the clever Scheme technique recommended, it
> could not handle this worst possible case song.
> Specifically, in the part of the "B" section that
> is the "A" section transposed into the key of III,
> it turned the "E#m7" into an
> "F#6/sus#2" and it changed an "A#7"
> into a "A#7bb6/susb4". However in the part of
> the "B" section where it transposed the
> "A" section into the key of IV it did it
> perfectly, rendering the chords as F7m7 and b7.
> I do appreciate the suggestion I received, but I do not
> want to leave the impression it worked for me because
> clearly my needs have not been filled here.
> To paraphrase my jazz piano teacher, what is ultimately
> needed here is a "jazz mode" where it can be
> specified as an inviolable rule that an E# chord is always
> rendered as an F chord, a B# chord is always rendered as a
> "C" chord. My jazz teacher was uncertain about
> whether a Cb chord should always be rendered as a
> "B" chord. He thought about it and finally
> decided he thought it should be always rendered as a
> "B" chord. This is a need for jazz musicians,
> not for classical musicians.
> Anyway, thank you very much for the timely suggestion.
> I do appreciate it even though so far it's not working
> for me.
>
> >> Since the same request has appeared for ordinary
> notes, some clever Scheme
> >> hackers have
> >> made a function that automatically gets rid of the
> extra accidentals by
> >> enharmonically rewriting the
> >> music.
>
> >Dumb question: are we sure we still do need the
> ordinary \transpose?
>
> >If not, may be we could make it "smarter" by
> implementing the snippet
> >as a default code... (possibly keeping the current
> function as an
> >\old-transpose command for backwards
> compatibility?)
>
> >Or is it likely to break many many many things?
>
> >Cheers,
> >ValentinRobert Glover wrote:
> > I'm the (newbie) person whose post instigated
> this thread. I faithfully applied the advice given, but
> alas the result was not satisfactory. The lead sheet is a
> classic example of the worst possible case:
> (snip)
>
>
> > Anyway, thank you very much for the timely
> suggestion. I do appreciate it even though so far it's
> not working for me.
> >
> My workaround for this is to divide the chord (or melody in
> some of my
> cases) section into parts as necessary and transpose them
> individually.
>
> For example the chord fis2:m7 transposed as \transpose
> c cf fis2:m7
> should give you what you want. I didn't test this but
> some enharmonic
> combination giving a half step should work.
>
> HTH
>
> Paul
>
> BTW you broke the thread somehow. Did you use the Reply
> button?Greetings All,
> I am a newcomer to the list, and to Lilypond.
> Notwithstanding this I am
> finding LP very satisfying to use and am currently setting
> some
> hand-notation music for a friend - from which activity
> rises my query.
> Would it be worthwhile to consider changing the way LP
> 'reads' its input
> files to allow the use of UpperCase letters for the notes?
> It seems to me, in my innocence, that this would allow,
> amongst other
> things, a change to the way sharps/flats etc are dealt
> with ( eg Aa =
> A-sharp, aA = A-flat, and other one-key-strokes for
> quarter-tones, etc,
> etc... ), and might lead to dropping the need for the
> various 'language'
> include files. It would also make global replacements of
> one particular
> note very easy (if perhaps in notating handwritten score by
> someone who
> is not very accurate in their note placement! ).
> Regards
> BillAm 13.06.2008 um 23:17 schrieb Graham Percival:
>
> > On Fri, 13 Jun 2008 22:46:57 +0200
> > Reinhold Kainhofer <[EMAIL PROTECTED]>
> wrote:
> >
> >> -----BEGIN PGP SIGNED MESSAGE-----
> >> Hash: SHA1
> >>
> >> Am Donnerstag, 12. Juni 2008 schrieb Graham
> Percival:
> >>> On Wed, 11 Jun 2008 06:22:44 -0600
> >>>
> >>> "Carl D. Sorensen"
> <[EMAIL PROTECTED]> wrote:
> >>>> A figured bass entry [TODO: enter correct
> term...] is of the form
> >>>> < //number//modifier(s) ...
> >duration
> >>>
> >>> I'm not wild about discussing the standard
> chord notation
> >>> < ... >duration
> >>> but the below table would be totally ok.
> >>
> >> Ah, thanks for pointing out that figured bass
> figures actually use
> >> the chord notation! To me, it was simply the
> syntax for figured bass
> >> and never occured to me that it was connected to
> chord syntax in any
> >> way.
> >
> > This *should* be clear in the GDP docs, but I'm
> not certain if it
> > was added or not. Could you check, and tell Carl if
> it's not
> > added?
> >
> > Cheers,
> > - Graham
> >
> >
> >
> > _______________________________________________
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
> FWIW, I just started using figuredbassmode a couple of
> weeks ago, so
> it was the first time I looked at that documentation, and
> it was clear
> to me that it was chord notation.Bill Mooney wrote:
> > Greetings All,
> > I am a newcomer to the list, and to Lilypond.
> Notwithstanding this I am
> > finding LP very satisfying to use and am currently
> setting some
> > hand-notation music for a friend - from which activity
> rises my query.
> > Would it be worthwhile to consider changing the way LP
> 'reads' its input
> > files to allow the use of UpperCase letters for the
> notes?
> > It seems to me, in my innocence, that this would
> allow, amongst other
> > things, a change to the way sharps/flats etc are
> dealt with ( eg Aa =
> > A-sharp, aA = A-flat, and other one-key-strokes for
> quarter-tones, etc,
> > etc... ), and might lead to dropping the need for the
> various 'language'
> > include files. It would also make global replacements
> of one particular
> > note very easy (if perhaps in notating handwritten
> score by someone who
> > is not very accurate in their note placement! ).
> > Regards
> > Bill
>
> I'm hardly an expert in these matters but some things
> do occur to me
> regarding your question.
>
> As for eliminating the 'need' for language include
> files; These were
> created, I presume, to facilitate note entry for people who
> learned
> different note naming conventions. I'm American and
> learned B-flat,
> C-sharp, etc. I also lived in Spain for a year and had to
> learn the
> Spanish note names. Now I find myself in Iceland where the
> note naming
> convention is the same as in German for the most part (one
> school
> teaches what is, essentially, the Dutch naming convention).
> I simply
> use the Dutch naming convention because I find it very
> compact and
> consistent.* Having these language options eliminates the
> need for a
> user to learn a different note naming convention.
>
> As for changing the input note naming convention; I see no
> reason why
> you couldn't create your own 'language' file
> based on your desire to use
> upper-case note names. Simply open one of the language
> input files
> (~\LilyPond\usr\share\lilypond\current\ly\)
> and make a new copy and then
> edit it to suit your needs. In fact, even the default
> (Dutch) is a
> 'language include' file. It's simply the
> default. I would be surprised
> if it were not possible to change the default.
>
> As for easing global replacements of errors I'm not
> convinced it would
> offer much of an improvement. There would doubtless be
> instances of
> other text which could be affected by global replacements.
>
> Hope this helps,
>
> David
>
> *Dutch and German differ in the naming of the B's:
>
> English Dutch German
> B-flat bes b
> B b h
> B-sharp bis
> his_______________________________________________
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