In message
<[EMAIL PROTECTED]>, Daryna
Baikadamova <[EMAIL PROTECTED]> writes
Thanks for your help! However I have three questions:
when we enter new scores, should we enter in concert pitch?
You suggested that it is not a good idea to use \displayLilyMusic
because it only outputs absolute pitches, not relative, thus making the
resultant score hard to maintain by humans. However my situation is:
- the parts were not entered in concert pitch
- the parts are in pitches that are not common nowadays. (e.g. in my
score, trumpet in D, horn in E and clarinet in A, which I am afraid not
many members in an (youth) orchestra will have. Therefore I would also
like to produce current transpositions in parts such as trumpet in Bb,
horn in F and clarinet in Bb, or better, to produce pdf parts scores
with different transpositions from one lilypond file. What is the best way?
My way (not necessarily the best but it works for me) is ...
All parts are entered as a ?variable (whatever it's called) eg
voiceTrombone = \transpose c' c' \relative { a b c d }
I always enter the notes as they are on the part, so (as a trombonist)
if it's in treble clef, it's entered in Bb. If it's in bass clef it's
entered in C.
Then, to avoid confusion, it's always wrapped (as you can see) in a
transpose so that the variable itself is *always* in concert.
Then when I output the parts I wrap them in another transpose if
required to print them in the required pitch (eg Eb for a fellow
trombonist :-)
Cheers,
Wol
--
Anthony W. Youngman - [EMAIL PROTECTED]
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