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Re: \chordmode vs. \notemode - On the relativity of absolute pitches
From: |
pls |
Subject: |
Re: \chordmode vs. \notemode - On the relativity of absolute pitches |
Date: |
Sat, 23 May 2015 18:01:33 +0200 |
On 23.05.2015, at 16:57, David Kastrup <address@hidden> wrote:
> pls <address@hidden> writes:
>
>> Hi all,
>>
>> here’s another issue I posted somewhere and Carl answered:
>>
>>>>
>>>> P.P.S.: On a different note: some day I would like to get to know the
>>>> reason why in \chordmode the absolute pitches are one octave higher than
>>>> in note mode. For chord names correct absolute pitches don¹t matter. But
>>>> they do when also using \chordmode in a Staff context. Mixing both modes
>>>> is rather error prone.
>>>
>>> I do not know the answer why, but I believe it is intentional.
>
> Definitely is. Try it on piano. The chords one octave lower are just
> too mushy.
That’s not the point. No one complains about having to specify the appropriate
octave in \notemode. You just enter c’ when you mean c’. If you entered c
instead of c’ in \notemode you couldn't seriously complain about the sound of
your instrument being too mushy, either. In \chordmode you *have* to enter c
when you actually mean c’. That’s inconsistent.
> That a guitar can sound somewhat lower chords tolerably is
> sort of irrelevant here since a guitar does not usefully follow the
> chord voicings of \chordmode.
Only a few chord voicing are really difficult (and very few impossible) to play
on a guitar.
>
>>> There are comments in the code that indicate the original authors
>>> knew of the one octave shift. I believe it was defined that way so
>>> that \chordmode c would give <c' e' g'>, since lilypond staffs have
>>> treble clefs by default. I believe it should probably be fixed.
>
> I have no idea what "fixing" is supposed to mean in this context. The
> current behavior serves a purpose. It might be nice to be able to
> define different mappings from chord names to notes (and fretboards do
> so even though annoyingly you cannot transfer those instrument-specific
> chord voicings to a normal Staff).
>
>>> The code is probably not hard to fix, but I think the convert-ly rule
>>> is nearly impossible (it's certainly beyond *my* python regexp-fu).
>>> Post a bug report, and let's get an issue created.
>
> Don't see the point, frankly. Making \chordmode more generally useful
> (like being able to get Fretboard-based voicings into Staff, or map
> chords to their single octave inversions used for accordion notation, or
> get either of those options into Midi): quite useful. But putting
> everything one octave down without any other change: don't see the
> point.
I’d say it’s rather the other way around: \chordmode currently puts everything
up by one octave in order to make note entry easier for some selected
instruments and thereby relativizes the absoluteness of the pitch names.
patrick