> Of course, there are so many ways to achieve this.
Thank you all. I ended with the same solution as Pierre-Luc shared.
F
ts in ut. So I write
> > \transposition c' in the source code.
> > When I use \transpose to adapt the music to a clarinet, \cueDuring do
> > not transpose the cue notes.
> >
> > In the example below,
> > - the violin gets the cue notes in ut which is good
&g
Frédéric writes:
> I have some music written for instruments in ut. So I write
> \transposition c' in the source code.
> When I use \transpose to adapt the music to a clarinet, \cueDuring do
> not transpose the cue notes.
>
> In the example below,
> - the violin gets th
Hi,
I have some music written for instruments in ut. So I write
\transposition c' in the source code.
When I use \transpose to adapt the music to a clarinet, \cueDuring do
not transpose the cue notes.
In the example below,
- the violin gets the cue notes in ut which is good
- ClarinetI ha
Yoshiaki Onishi writes:
> Dear LilyPonders,
>
> I am grateful for all your input. Synthesizing all the points raised
> in this thread, I realized the solution was to make the .ly file in
> which I made the function in the absolute pitch mode. Then the
> original function worked as expected.
Once
, Sep 13, 2024 at 4:19 PM David Kastrup wrote:
> William Rehwinkel via LilyPond user discussion
> writes:
>
> > Dear Yoshi,
> >
> > Actually, I think the procedure is working correctly, but using the
> > \transpose function within a \relative is causing some weird
William Rehwinkel via LilyPond user discussion
writes:
> Dear Yoshi,
>
> Actually, I think the procedure is working correctly, but using the
> \transpose function within a \relative is causing some weird
> output. For example, the file
>
> %
> \version "2.25
Dear Yoshi,
Actually, I think the procedure is working correctly, but using the
\transpose function within a \relative is causing some weird output. For
example, the file
%
\version "2.25.18"
\relative c' {
c16
c16
}
%
does not result in the ou
est of learning more about Scheme as used in LilyPond (and
>> learning LilyPond in general!), I am currently in the process of making a
>> shortcut function that handles the artificial harmonic notation of string
>> instruments instead of typing ""However, something
>> mu
However, something
> must be wrong with the way I am handling \transpose in the scheme code, and
> there are some instances of the artificial harmonics that don't render
> correctly. Code (as tiny as I could manage!) and screenshot attached. I'd
> be grateful in advance if anyone
something
must be wrong with the way I am handling \transpose in the scheme code, and
there are some instances of the artificial harmonics that don't render
correctly. Code (as tiny as I could manage!) and screenshot attached. I'd
be grateful in advance if anyone could enlighten me on this.
Thomas, Jun 18, 2024 at 16:00:
> Unfortunately, it doesn't work:
> Error detected while processing function Transpose:
> line 16:
> E121: Undefined variable: g:LilypondLanguage
> line 23:
> E488: Trailing characters: # Default: nederlands: ^Ielse # Default:
> nederlands
Yes, that should work, provided the included function works as advertised.
Best,
Kenneth
Roosna & Flak
Contemporary Dance & Music
https://roosnaflak.com
Original Message
On 6/18/24 12:16, Stefan Thomas wrote:
> Dear Kenneth,
> thanks for Your reply.
> I already have a file li
Dear Kenneth,
thanks for Your reply.
I already have a file lilypond.vim in ~/.vim/ftplugin/. Could I paste the
content of Transpose.vim into that file?
Am Di., 18. Juni 2024 um 10:09 Uhr schrieb Kenneth Flak <
kennethf...@protonmail.com>:
> Hi,
>
> The plugin is missing some vital parts, but you
Hi,
The plugin is missing some vital parts, but you should be able to get it
working by renaming Transpose.vim to lilypond.vim and moving it into the
after/ftplugin folder of your (n)vim configuration. Haven't tested it yet,
though...
Best,
Kenneth
Stefan Thomas, Jun 18, 2024 at 09:35:
> Dear
Dear community,
has anyone of You successfully installed LilyVimTranspose?
See https://github.com/gustaphe/LilyVimTranspose
On 25/05/2024 18:44, bobr...@centrum.is wrote:
Wol,
The bit about trombones in bass and Bb treble; I've only ever heard of
Bb treble clef trombone in British brass band music. What is the
"American bass part" in Bb? I've never heard of such a thing. I know
that Richard Strauß wrote tenor t
f.
-David
> From: "Wols Lists"
> To: "Lillypond Users Mailing List"
> Sent: Friday, May 24, 2024 3:28:16 PM
> Subject: Re: How to transpose?
> On 23/05/2024 12:26, Kenneth Flak wrote:
> > Great, thanks to both of you! Very clarifying. \transposition i
Wols Lists, May 24, 2024 at 18:28:
> I do a lot of brass stuff. And as you've realised, it's \transpose not
> \transposition.
>
> I just think "\transpose for printed music, \transposition for midi".
> How accurate that is I don't know.
>
> The other t
On 23/05/2024 12:26, Kenneth Flak wrote:
Great, thanks to both of you! Very clarifying. \transposition is, thus,
going in the direction of instrument -> playback, whereas \transpose
goes in the opposite direction, if I understand it correctly.
I do a lot of brass stuff. And as you've
Kenneth Flak writes:
> Great, thanks to both of you! Very clarifying. \transposition is, thus,
> going in the direction of instrument -> playback,
More like display pitch -> concert pitch.
> whereas \transpose goes in the opposite direction, if I understand it
> correctly.
Timothy Lanfear, May 23, 2024 at 13:19:
> If you already have the music written in concert pitch, use the
> transpose
> function to change displayed pitch.
>
> \transpose bes, c { \clef treble \key c\major g' }
>
> If your brass players prefer not to have a key signature,
If you already have the music written in concert pitch, use the
transpose function to change displayed pitch.
\transpose bes, c { \clef treble \key c\major g' }
If your brass players prefer not to have a key signature, omit the \key
statement.
On 23/05/2024 11:10, bobr...@centrum.is
Thursday, May 23, 2024 6:55:45 AM
> Subject: How to transpose?
> Hi,
> Trying my hands on transposing from concert pitch to Trumpet in Bf and french
> horn in F, but the displayed notes are still in concert pitch... How do I make
> these display the notes I would like the players
Hi,
Trying my hands on transposing from concert pitch to Trumpet in Bf and french
horn in F, but the displayed notes are still in concert pitch... How do I make
these display the notes I would like the players to see?
\new Staff = "trumpet" \with {
instrumentName = "Trp"
}
{
ansposition. You can also control the
automatic fret diagram construction by adding string numbers to one or more
notes in the chord.
\version "2.24"
myChord = {
1
}
altChord = {
}
minChord = {
}
\score{
\new FretBoards {
\myChord
\transpose c d \myChord
attached. Good day. jean-Pierre
> It would save me time.
> Does anyone have any ideas or is this simply impossible?
> Thank you for your attention . Good evening. Jean Pierre
Salut Jean-Pierre,
It depends, if you use Fret diagram markups that you enter yourself
using \fret-diagram, then e
imply impossible?
> Thank you for your attention . Good evening. Jean Pierre
Salut Jean-Pierre,
It depends, if you use Fret diagram markups that you enter yourself using
\fret-diagram, then effectively a \transpose does not change these.
But if you use Predefined fret diagrams (with \include "
...@gnu.org
on behalf of
achar
*Sent:* Sunday, March 3, 2024 8:10:36 AM
*To:* Lilypond User English
*Subject:* Transpose tab into label forms
Hello to all.
With Frescobaldi I use the transpose tool to change the key of a
piece. One thing it doesn't do is transpose the tablatures into label
nd-user-bounces+carl.d.sorensen=gmail@gnu.org
on behalf of achar
Sent: Sunday, March 3, 2024 8:10:36 AM
To: Lilypond User English
Subject: Transpose tab into label forms
Hello to all.
With Frescobaldi I use the transpose tool to change the key of a piece.
One thing it doesn't do is
Hello to all.
With Frescobaldi I use the transpose tool to change the key of a piece.
One thing it doesn't do is transpose the tablatures into label form. It
would save me time. Does anyone have any ideas or is this simply
impossible? Thank you for your attention . Good evening. Jean Pierre
Hi Matthew,
Am 12.01.24 um 00:29 schrieb msk...@ansuz.sooke.bc.ca:
You need to remember lilypond thinks in terms of pitch, not note names. Unlike
some (most?) other music software. So "\transpose g e" says "transpose EVERY
note up A TONE".
I'm not sure it's qu
On Thu, 11 Jan 2024, Wol wrote:
> You need to remember lilypond thinks in terms of pitch, not note names. Unlike
> some (most?) other music software. So "\transpose g e" says "transpose EVERY
> note up A TONE".
I'm not sure it's quite right to say that Lily
On 10/01/2024 21:26, Butter Cream wrote:
Hi, I have a piece of music written in the key of G major and I want the
pitches to transpose to e minor. How do I do this.
When I use the command \transpose g e it changes to E major (all g notes
are sharped)
You need to remember lilypond thinks in
-transformations
On Wed, Jan 10, 2024 at 5:20 PM Aaron Hill via LilyPond user discussion
<
lilypond-user@gnu.org> wrote:
On 2024-01-10 1:26 pm, Butter Cream wrote:
> Hi, I have a piece of music written in the key of G major and I want
> the pitches to transpose to e minor. How do I do this
On 2024-01-10 1:26 pm, Butter Cream wrote:
Hi, I have a piece of music written in the key of G major and I want
the pitches to transpose to e minor. How do I do this.
When I use the command \transpose g e it changes to E major (all g
notes are sharped)
I think you'll need t
Hi, I have a piece of music written in the key of G major and I want the
pitches to transpose to e minor. How do I do this.
When I use the command \transpose g e it changes to E major (all g notes are
sharped)
Steve
t;>
>> patright = {
>> 2 |
>> }
>>
>> right = {
>> #@(map (lambda (p) #{ \transpose c #p \patright #})
>> (event-chord-pitches #{ #}))
>> }
>>
>> This, however, transposes the g c sequence to b e instead on the first
>> iteration:
&g
On 04/02/2023 21:07, Kenneth Flak wrote:
>
> This comes out correctly:
>
> patright = {
> 2 |
> }
>
> right = {
> #@(map (lambda (p) #{ \transpose c #p \patright #})
> (event-chord-pitches #{ #}))
> }
>
> This, however, transposes the g
2.24.0"
>>
>> \language english
>>
>>
>> patright = {
>> 2 |
>> }
>>
>> patleft = {
>> g2 c
>> }
>>
>> right = {
>>\patright
>>\transpose c df \patright
>>\transpose c d \patri
On 4 Feb 2023 13:55, David Kastrup wrote:
>Kenneth Flak writes:
>
>> Hi list,
>>
>> I have this:
>>
>> \version "2.24.0"
>>
>> \language english
>>
>>
>> patright = {
>> 2 |
>> }
>>
Kenneth Flak writes:
> Hi list,
>
> I have this:
>
> \version "2.24.0"
>
> \language english
>
>
> patright = {
> 2 |
> }
>
> patleft = {
> g2 c
> }
>
> right = {
>\patright
>\transpose c df \patright
>
t;
> Cc: "Lillypond Users Mailing List"
> Sent: Saturday, February 4, 2023 11:47:52 AM
> Subject: Re: how to avoid double sharps in \transpose?
> Great, thanks! Just what I need :-)
>
> Roosna & Flak
> Contemporary Dance & Music
> https://roosnaflak.com
&
Great, thanks! Just what I need :-)
Roosna & Flak
Contemporary Dance & Music
https://roosnaflak.com
Original Message
On Feb 4, 2023, 13:30, bobr...@centrum.is wrote:
> Do a search for “smart transpose.” I did this recently. I’m not home at the
> moment but I’ll
Do a search for “smart transpose.” I did this recently. I’m not home at the
moment but I’ll dig it up and post it when I get back.
-David
- Kenneth Flak wrote:
> Hi list,
>
> I have this:
>
> \version "2.24.0"
>
> \language english
>
>
> p
Hi list,
I have this:
\version "2.24.0"
\language english
patright = {
2 |
}
patleft = {
g2 c
}
right = {
\patright
\transpose c df \patright
\transpose c d \patright
\transpose c ef \patright
\transpose c e \patright
\transpose c f \patright
\tran
ld seem to require the ability to
"listen ahead" or "listen behind" to all the events happening at the same
moment. Is that even possible?
On Thu, Jan 19, 2023 at 5:48 PM Saul Tobin
wrote:
> Hi all,
>
> I managed to add functionality to the auto-transpose engraver
Hi all,
I managed to add functionality to the auto-transpose engraver snippet from
OLL so that it prints key signatures at transposition changes. It also
doesn't do so if the transposition change is only octave transposition.
The one thing I'd like to fix is the behavior when an
Hi Hans
Thank you for the info pertaining to the known issue 6305. I found the work
around solution from the known issue link.
Ming Tsang
On Wed, Sep 7, 2022 at 2:15 AM Hans Aikema wrote:
>
>
> On 7 Sep 2022, at 05:32, ming tsang wrote:
>
>
> The following code produces a png file that did no
> On 7 Sep 2022, at 05:32, ming tsang wrote:
>
>
> The following code produces a png file that did not print the correct chord
> name. .
>
> ...
> the output png screen print:
>
> I am expecting to seeA C#m F#m D C#m Bm
> Any help is appreciated.
> ming (lyndon) tsang
That wou
The following code produces a png file that did not print the correct chord
name. .
\version "2.23.11"
\language "italiano"
global = {
\key do \major
\numericTimeSignature
\time 4/4
}
chordNames = \chordmode {
\global
% Chords follow here.
la1 dod1:m fad1:m re2 dob8:m
Valentin wrote:
>
> How about this?
>
Wow! Thank you. That really is what I was after, and now I need to
understand what you've done!
Much appreciated
.. mark.
>
>
> -- Forwarded message --
> From: Mark Probert
> To: Lily Pond
> Cc:
> Bcc:
> Date: Fri, 8 Oct 2021 10:36:37 +1100
> Subject: \transpose question
>
> Hi.
>
> A question on transpose: I understand that "\transpose distinguishes
>
\version "2.22"
test={ c'8 d' ees' f' g'4 r \bar "||" }
harms=\chordmode { c1 }
rectify=
#(define-music-function (n music) (number? ly:music?)
(if (> n 0)
#{ \transpose #(ly:make-pitch 0 0 (/ n 2)) #(ly:make-pitch
David wrote:
>>
>> Is there a way to do this?
>
> Transpose the two halves of the melody separately,
> the first half c to d, the second half cis to ees.
>
This is part of the problem with the "pared down snippet" approach, or
rather, my original explanat
On Fri 08 Oct 2021 at 10:36:37 (+1100), Mark Probert wrote:
>
> A question on transpose: I understand that "\transpose distinguishes
> between enharmonic pitches," however is there anyway to force a
> particular behaviour? For example, in the snippet below, when I have a
Hi.
A question on transpose: I understand that "\transpose distinguishes
between enharmonic pitches," however is there anyway to force a
particular behaviour? For example, in the snippet below, when I have a
movement from C to C# in the original key, and then go up a tone with
&
{ c' b }
>
> --
> David Kastrup
Indeed, though as requested:
> I want to keep transpose intervals in scheme variables,
I know, both are interchangeable, but felt no energy to discuss it ...
Cheers,
Harm
Thomas Morley writes:
> Probably:
>
> \version "2.22.0"
>
> #(define interval #{ c' b #})
That seems like a somewhat obtuse way to write
interval = { c' b }
--
David Kastrup
Thank you, it works perfectly! :-)
voice-one = {c'}
>
>
> #(define interval "c' b")
>
> %this does not work
> %\transpose function expects pitch as first argument,
> %but unfortunately I have no idea how to provide it
>
> voice-two = \transpose \interval \voice-one
>
> {\voice-two}
Hello!
I want to write a piece of code, that would automatically fill-in
missing voices. Here is a snippet that represents what I want to accomplish:
\version "2.22.0"
voice-one = {c'}
#(define interval "c' b")
%this does not work
%\transpose function e
everything, just use
\transpose too:
%
\version "2.19.83"
altosax = \relative {
\key c \major
c d e f g a b c
}
horn = \relative {
\key c \major
c d e f g a b c
}
trombone = \relative {
\clef bass
\key c \major
c d e f g a b c
}
\score {
\new
Read up on \transpose which should do what you want, combined with octaves.
> On Sep 26, 2019, at 7:33 PM, Francesco Petrogalli
> wrote:
>
> Hi,
>
> I have written a part using the orchestral pitch (real note) of an
> instrument, the baritone sax (and other instruments,
Hi,
I have written a part using the orchestral pitch (real note) of an
instrument, the baritone sax (and other instruments, like trumpets,
alto, and so on).
All the parts are rendered with the real notes, so that I can listen
to the midi and check the music on the piano easily (I am no good at
tr
Nice coding Gilles,
Cheers,
Pierre
Le lun. 16 sept. 2019 à 19:51, Gilles Thibault a écrit :
> Sorry. Very late answer
> Here is a scheme way to proceed. (see attached file).
>
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lis
(p3 p3)
(l '()))
(let ((p (ly:pitch-transpose p1 (ly:make-pitch octave 0 0
(if (= octave 1) ; go up
(begin
(if (not (ly:pitch>
foo.pdf
Description: Adobe PDF document
___
lilypond-user mai
c brocken
> chord exersice in C and then simply transpose each scale from that. Utopia…
> I have decided that in the long run it will be quicker and less effort
> to write out each scale (longhand). I enclose my basic structure. If you have
> a better idea, please let me know.
My
On Tue 10 Sep 2019 at 16:34:56 (+0200), John McWilliam wrote:
> The reason for the adjusted first Group (a4~ a16 e, g a) is due to the fact
> that the lowest note on a Bb clarinet is e. Thereafter, the broken chords
> follow the set pattern until reaching the last group. I have extended my
> sni
I think the problem is that you're trying to engrave an a\minor chord in the
root position from a c\major in second inversion.
Lilypond won't guess how to adjust that with the transpose tool.
But it should work smoothly if you use the same chord position for each
tonality.
--
Sent
On Tue 10 Sep 2019 at 13:19:52 (+0200), John McWilliam wrote:
> Hi again,
> I attach my attempt to use \modalTranspose in order to save code when
> rewriting broken chords in C major and A minor. The idea is to go ahead and
> repeat the exercise in G major, Eminor etc., however, it looks a
Subject: Re: Transpose
John McWilliam writes:
> Hi,
> I am rewriting Baermanns repetitive exercises for clarinet and
> am trying to rationalise my code. For example broken chords: they
> start in C major then A minor followed by G major, E minor etc. To
> avoid rewriting the co
e I tried using ”\transpose c a
> \Cmajor” (the variable with the C major code). This gave me of coarse
> a change of key signature to A major – not what was wanted. Is there a
> way around this which will allow me to take the C major code and
> transpose the notes down a third to A keeping eve
Hi John,
I suspect you'll have to write out your pattern in C major and then A minor
first, and then transpose the pair all the way through the other keys. Be
aware that you should be able to use '\key c \major' for the C maj. and A min.
pattern.
Hope this helps,
David
Hi,
I am rewriting Baermanns repetitive exercises for clarinet and am
trying to rationalise my code. For example broken chords: they start in C
major then A minor followed by G major, E minor etc. To avoid rewriting the
code every time I tried using ”\transpose c a \Cmajor” (the
(also posted on Stack Exchange)
version 2.19...
How can I make Lilypond decide whether to transpose up or down depending
on a target octave/range for one of the transposed notes?
I want to make a set of chord voicings, each in multiple transpositions,
with the lowest note of each transposed
On 12.07.19 20:04, Werner LEMBERG wrote:
Functions like transpose act destructively on their argument, so you
need a copy or the original will get changed. [...]
How can Joe User find out whether a function is acting destructively?
The Extending Manual tells him about using $ in music
Wols Lists writes:
> On 12/07/19 19:04, Werner LEMBERG wrote:
>>
>>> Functions like transpose act destructively on their argument, so you
>>> need a copy or the original will get changed. [...]
>>
>> How can Joe User find out whether a function is acti
Werner LEMBERG writes:
>> Functions like transpose act destructively on their argument, so you
>> need a copy or the original will get changed. [...]
>
> How can Joe User find out whether a function is acting destructively?
All music functions are allowed to do that by def
On 12/07/19 19:04, Werner LEMBERG wrote:
>
>> Functions like transpose act destructively on their argument, so you
>> need a copy or the original will get changed. [...]
>
> How can Joe User find out whether a function is acting destructively?
>
Computer pedant here :-
> Functions like transpose act destructively on their argument, so you
> need a copy or the original will get changed. [...]
How can Joe User find out whether a function is acting destructively?
Werner
___
lilypond-user mailing list
li
Immanuel Litzroth writes:
> This seems to do the wrong thing:
>
>>
> \version "2.19.81"
> testme = #(define-music-function
>(parser location music)
>(ly:music?)
> #{
> \transpose c c' {#mus
On 2019-07-11 11:52 pm, Immanuel Litzroth wrote:
This seems to do the wrong thing:
\version "2.19.81"
testme = #(define-music-function
(parser location music)
(ly:music?)
#{
\transpose c c' {#music } {#music }
This seems to do the wrong thing:
>
\version "2.19.81"
testme = #(define-music-function
(parser location music)
(ly:music?)
#{
\transpose c c' {#music } {#music }
#})
\testme g'
>
printing out two g'
Ok, thanks for the clarification. That's something to keep in mind,
although I've never used tags in my scores before. (Only made one score
before, though, so…) I'll keep this in mind if I ever have any strange
issues when I'm using it.
Randy
___
lilypon
智樂喬 writes:
> Thanks a lot, David. It works as advertised. I do think I read about this
> somewhere in the manuals, but I couldn't find it.
>
> This uses really involved code to simulate something that does not
>> really map well to LilyPond's internals so it may interfere with other
>> tricky c
notated in rock guitar music, and it's probably not
a good implementation, but it works as I'd like it to:
fall = #(define-music-function (input) (ly:music?)
(make-relative (input)
input
#{
\afterGrace 16/16
&
John Doe writes:
> Hi, all,
>
> The Notation Reference section 1.1.2 says "Music inside a \transpose block
> is absolute unless a \relative is included in the block". I'm writing a
> function that uses \transpose to change a variable's pitch in a functio
Hi, all,
The Notation Reference section 1.1.2 says "Music inside a \transpose block
is absolute unless a \relative is included in the block". I'm writing a
function that uses \transpose to change a variable's pitch in a function.
How can I check if the music entered was en
or quite
naturally without any enharmonic wizardry and, yes, \transpose ef eff or
\transpose e ef etc. would have ruthlessly made Fb major out of it...
Sorry,
Torsten
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
___
lilypond-user
) but into E major
> (with only 4 sharps).
Excuse me?
{
\transpose es d { \key f \major s1 }
\transpose es eses { \key f \major s1 }
}
LilyPond has no qualms about things getting weird. The typesetting
stage will bomb out at more than _double_ accidentals (slated to be
changed IIRC), but
Hi Ming,
I think there is a general misunderstanding:
When saying "\transpose ef d", ef and d do *not* mean key signatures but
reference pitches defining an interval, nothing more, nothing less.
For specifying a key signature, by the way, you'd also have to state the
mode (e.
On 27 February 2018 at 22:24, Thomas Morley
wrote:
> 2018-02-27 19:12 GMT+01:00 Sirius Barras :
> > I would like to transpose a motif (using \modalTranspose) to a _set_ of
> > different pitches. At the moment this is what I do:
> >
> > scale = {c d e f g a
2018-02-27 19:12 GMT+01:00 Sirius Barras :
> I would like to transpose a motif (using \modalTranspose) to a _set_ of
> different pitches. At the moment this is what I do:
>
> scale = {c d e f g a b}
> motif = {c' e' g' c'}
> {
> \modalTranspose c e \sc
I would like to transpose a motif (using \modalTranspose) to a _set_ of
different pitches. At the moment this is what I do:
scale = {c d e f g a b}
motif = {c' e' g' c'}
{
\modalTranspose c e \scale \motif
\modalTranspose c g \scale \motif
\modalTranspose c a \scale \m
27;4^"Cue" c c c } \addQuote "cues" \cues
> hornA = \transpose c d, \relative {
> \cueDuring #"cues" #UP s1 c'4 c c c }
> % Both \cues and \hornA are consistently in concert pitch, which
> % is the most idiot-proof way of entering music. The \trans
Let's say I am typesetting some orchestra music written for a horn in
D and want to output it for some other, more reasonably-pitched
instrument.
I entered the music in this way:
global = { \key d \minor }
cues = \relative { c'4^"Cue" c c c } \addQuote "cues"
Dear Peter,
I only spent one hour on it and I have not been able to make it working as
I need. It is not clear to me the value I have to set to set the instrument
range from c, to b,.
But I think that when I will have more time I should be able to modify your
code for that.
* * *
By the way th
"Peter Gentry" writes:
> Gianmaria
>
>
>
> I have modified the procedure to use pitch-tones to define the
> instrument range. It makes little difference to the result.
>
>
>
> I haven’t looked at the possibility of rebuilding the pitch just using
> pitch-tones (yet)
You would not want to d
Gianmaria
I have modified the procedure to use pitch-tones to define the instrument
range. It makes little difference to the result.
I haven’t looked at the possibility of rebuilding the pitch just using
pitch-tones (yet)
Have you had any luck yet?
\version "2.19.15"
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