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From: | James E. Bailey |
Subject: | Re: a script / tool for transposing a lilypond staff / source file by a given interval and output result as a new file |
Date: | Sun, 07 Sep 2008 08:47:08 +0200 |
Am 07.09.2008 um 06:10 schrieb Daryna Baikadamova:
I think you should enter the score in whatever pitch is easiest. If your source score is transposed, then it's probably going to be easier to type it into a computer exactly as shown, transposed. If your source score is concert pitch, then it's going to be easier to type it into a computer in concert pitch. otherwise, you run the possibility of introducing errors into a score that will not easily be found.when we enter new scores, should we enter in concert pitch?
You suggested that it is not a good idea to use \displayLilyMusic because it only outputs absolute pitches, not relative, thus making the resultant score hard to maintain by humans. However my situation is:- the parts were not entered in concert pitch- the parts are in pitches that are not common nowadays. (e.g. in my score, trumpet in D, horn in E and clarinet in A, which I am afraid not many members in an (youth) orchestra will have. Therefore I would also like to produce current transpositions in parts such as trumpet in Bb, horn in F and clarinet in Bb, or better, to produce pdf parts scores with different transpositions from one lilypond file. What is the best way?
\transpose a b
Would it be better for me to just annotate the original score (clarinet in A) by stating the transposition key of the instrument (\transposition), then for each version of parts, I use \transpose x y to transpose to the desired key in each case?The easiest solution would probably just be to \transpose each part to what a modern orchestra uses, that's not uncommon to see a Clarinet in A part that's written in Bb for the sake of a modern orchestra where players may not have an A clarinet.Or should I convert the score to concert pitch using \displayLilyMusic and then use \transpose x y in each case?
Just my thoughts.
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