Hi.
> >
> > I would love to put together a "Best Practices" example/snippet/document
>
> Good idea!
> I don't write much music for transposing instruments, so i cannot give
> any advice, but i have a question that may trigger a discussion: how
> to prepare scores with transposing instruments so that they are
> structurally correct? Consider this canon:
>
> common = {
> \key e \minor
> \time 4/4
> }
> melody = \relative c' {
> e4 d8 fis e4 b |
> e8 e fis fis g a16[ g] fis4 |
> b8 b a a g a16 g fis8 b, |
> e4 d8 fis e2
> }
> <<
> \new Staff = violin { \common \melody R1 }
> \new Staff = "clarinet in A" \transpose a c' { \common R1 \melody }
> >>
>
> If i understand how transposing instruments should be notated, the
> output is how it should look like from a performer's point of view.
> However, it is structurally wrong: for example MIDI output will be
> bad, because internally the two parts have differently pitched
> melodies (while they should be pitched the same and only displayed
> differently).
> What is the correct way of doing this?
Something along those lines:
If the source contains notes in concert pitch:
---CUT---
\new Staff = "clarinet in A" {
\transposition a {
\transpose c a {
<<
\common
\melody
>>
}
}
}
---CUT---
If the source contains notes written for the instrument in A:
---CUT---
\new Staff = "clarinet in A" {
\transposition a {
\transpose c a {
<<
\common
\transpose a c {
\melody
}
>>
}
}
}
---CUT---
Best,
Gilles
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