Hans Aberg wrote:
> I think LilyPond, once it has found the correct scale degree, computes
> the interval offset. As there is none for this particular offset, it
> typesets nothing. It should report at least a warning, though. The value
> stored inside should though be correct.
Yes, I think this is exactly what it does -- and it does report a warning.
> So I think you need to add a choice of glyph. LilyPond is too primitive
> to treat # and b and other accidentals as operators acting on all
> intervals.
Well, the point is that a glyph for 5/4 sharp is nonsensical. A
contemporary music player would be pissed off enough at seeing a
double-sharp in non-tonal music, to say nothing of a 5/4-sharp symbol.
>>> In this case, staff position only changes if enharmonic equivalents are
>>> applied. This is how it should be.
>>
>> That's why I stress I want this as an _option_ for transposition, not
>> default functionality.
>
> I think one needs to think through carefully how one wants to enharmonic
> equivalences be applied. It may vary with context. On most instruments,
> it can be used to simplify key signatures. On a harp, it may have to be
> applied note-by-note, as double sharps and flats are not available. If
> the tuning is other than E12, it implies a small slip in pitch.
Yes, that's a good point I hadn't considered. The naturalizeMusic
function serves the harp's needs well, where 3/4-sharps and flats are
not possible. (Was that the motivation for this function?)
So basically we are talking about a 'modulo effect', i.e. to constrain
every accidental to 'modulo a' where a is an alteration: for the harp,
to modulo 1/2, for standard chromatic transposition, to modulo 1.
That might actually be the best way of looking at it -- relative to a
maximum acceptable size of alteration. (Tricky would be
less-than-or-equal-to versus less-than.)
Best wishes,
-- Joe
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