Unfortunately it seems to be happiest in absolute pitch mode.
When I switch to relative mode it yields unexpected results.
test = {
e,4
\harmonicByRatio #1/2 e,\6
\harmonicByRatio #1/3 a,\5
\harmonicByRatio #2/3 d,\4 |
\harmonicByRatio #1/4 { g8\3 b\2 e'\1 b\2 < g b e >2 } |
e,1 | % check whether tab note head is restored
\harmonicByFret #12 e'4\1
\ottava #1
\harmonicByFret #7 e'4\1
\harmonicByFret #5 e'4\1
\ottava #2
\harmonicByFret #4 < b\2 e'\1 >4 |
\harmonicByFret #3 < g\3 b\2 e'\1 >4
\harmonicByFret #2.7 < g\3 b\2 e'\1 >4
\harmonicByFret #2.3 < g\3 b\2 e'\1 >4
\harmonicByFret #2 < g\3 b\2 e'\1 >4 |
\ottava #0
e,1 | % check whether tab note head is restored
}
reltest = \relative c {
b'8\2 [ e\1 ] % verify pitch for open strings
\harmonicByFret #12 b\2 [
\harmonicByFret #12 e\1 ]
\harmonicByFret #7 b\2 [
\harmonicByFret #7 e\1 ]
\harmonicByFret #5 b\2 [
\harmonicByFret #5 e\1 ]
}
\paper {
ragged-right = ##f
}
\score {
<<
\new Staff {
\new Voice {
\clef "treble_8"
\override Voice.StringNumber #'transparent = ##t
\test
\break
\reltest
}
}
\new TabStaff {
\new TabVoice {
\test
\break
\reltest
}
}
>>
}
pitch each time a harmonic is created.