Re: tranpose relative to the last pitch

[David Kastrup]

Tom van der Hoeven <address@hidden> writes:

> David,
>
> I hope I am not boring you!

I was rather hoping you'd clarify the points I remarked upon than on
being entertained.

> My wife is playing in a orchestra the alt-violin part on the violin.
> In order to accommodate that the sheet music has to be rewritten with
> the violin key, and pitches lower than g have to be changed.
> I first bring the original with the alto key in the lilypond format
> using relative mode.
> I change the key and the notes under g,  taking into account the notes
> of the first and second violin. Eventually I change some notes around.
> Most of the changes are an octave, a fifth or a third.
>
> I started with different versions in different directories.
> Now I change to one version with variables, functions and tags.
>
> -- The ultimate goal is to place {} around the pitches involved and
> place the appropriate function before it.

Which is what my proposal was about.  But unless you are aiming for a
rather strange effect, \transpose will not do the trick.

> -- The function I described does that except that occasionally octave
> changing marks at the first pith of the argument of the function and
> after the function are needed. I can live with it, but I am striving
> to avoid that.
>
> I hope this clarifies my last mail.

Not all that much.  That's one good example why it is a bad idea to just
write some reply _above_ an edited full quote of what you are replying
to.  It makes it hard for the reader to focus on what this is supposed
to be about, and obviously it also makes it hard for the writer.  You
have not addressed any of the salient points.

Please try in future to _intersperse_ your answers with the material you
are replying to, and remove _everything_ that is not of relevance.

> I have not yet tried your suggestion with make-relative

Pity.  It's available in 2.17.97.  And if you had looked closely at what
you have been replying to, for example by answering in-place, you might
have seen the following:

>> Have you tried the code I proposed?  Inserting \terts { and then some }
>> afterwards will then not change the octave relations at all.

[...]

>>> Thank you David,
>>>
>>> I see you point. With \modalTranspose you can automatically change the
>>> notes that are within the range of the scale.
>> I don't see that we are talking about the same thing.  Your example was
>> supposed to transform f to a (a major third up) but e to g (a minor
>> third up).  It seems like you want to stay in your mode.  \transpose
>> does not do that.
>>
>>> But I change the notes based on visual inspection. In fact I colour
>>> all notes f and lower in red, so that it catch the eye immediately.
>> I have no idea how that is supposed to be related to your original
>> request.
>>
>>> If I change a few successive notes I rather place no extra octave
>>> changing marks on the first pitch. ( the first f after \terts{ )
>>> It is clear that the pitches after \terts{..} might need extra octave
>>> changing marks because they relate to the pith just before \terts{..}
>> Have you tried the code I proposed?  Inserting \terts { and then some }
>> afterwards will then not change the octave relations at all.
>>
>>> So within \terts I want to know the absolute value of the g before
>>> \terts{...}
>> Again, I have no idea what you want to say here.

-- 
David Kastrup