You're right, it worked better with relative for melody.
Still, it seems that changing from-pitch alters the note of
transposition, while to-pitch changes absolutely nothing.
Best
Alexandre
2012/6/13 Trevor Daniels <t.dani...@treda.co.uk>:
>
> ALEXANDRE FICAGNA wrote Wednesday, June 13, 2012 2:57 PM
>
>
>>I still didn't picture exactly how \inverse works in its from-pitch
>> to-pitch variables, but I tried an example and what I got is the
>> correct inversion of pitches, but each one was an octave above.
>>
>> Here's the code:
>>
>> \version "2.14.2"
>>
>> #(set-global-staff-size 15)
>>
>> \paper {
>> #(define dump-extents #t)
>> ragged-right = ##t
>> line-width = 17\cm
>> }
>>
>> melody= { a8 gis ees d g4 }
>>
>> \score {
>> \new PianoStaff
>> <<
>> \new Staff \relative c' {
>> %\override Stem #'transparent = ##t %uncomment to hide Stems
>> %\override Beam #'transparent = ##t %uncomment to hide Beams
>> \melody \retrograde \melody
>> }
>> \new Staff \relative c {
>> \clef treble
>> %\override Stem #'transparent = ##t %uncomment to hide Stems
>> %\override Beam #'transparent = ##t %uncomment to hide Beams
>> \inversion a' a \melody
>> \retrograde \inversion a' a \melody
>> }
>>>>
>> \layout {
>> indent = #0
>> \context {
>> \Staff
>> \remove "Bar_number_engraver"
>> \remove "Time_signature_engraver"
>> }
>> }
>> }
>
> If you use \relative for melody, \inversion behaves more as you
> would expect. Either there is a bug which causes the incorrect
> behaviour you see when given absolute notes or the documentation
> needs to explain this better. Note though that \inversion will
> also transpose if from-pitch and to-pitch differ.
>
> Copied to bug list for further discussion.
>
> Trevor
--
www.myspace.com/alexandreficagna
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