Re: Tips for code reusability

[Saul Tobin]

I concur on entering all music in concert pitch. You may find the auto-transpose snippet from OpenLilyLib helpful (https://github.com/openlilylib/oll-misc/tree/master/pitch), as you can simply write "\transposition bf" instead of wrapping all transposed blocks in "\transpose x y { }". This is particularly helpful if players may switch between instruments using different transpositions.

On Wed, Mar 1, 2023 at 5:59 PM Wol <antlists@youngman.org.uk> wrote:

On 28/02/2023 22:02, TJ Kolev wrote:
> I would appreciate any suggestions for the above issues. Or comments on
> how I am putting together the whole score.

I do a load of brass (and concert) band stuff. And because I play
trombone I'm sensitive to transposition issues. So I always store my
parts in variables IN CONCERT PITCH.

When copying from a part, let's say it's a treble-clef trombone part, I
always wrap it in "\transpose c' bf {}". Then if I want to print a
treble-clef part I wrap the variable in "\transpose bf c' {}". And while
it may seem redundant, when printing a bass-clef part I always wrap it
in "\transpose c c {}".

And I always print parts using "\clef treble_8" or whatever as appropriate.

It means that I have no problem wondering what pitch the original part
was in - my variables are always concert. I can print it out for eg Sop,
Repiano or ordinary cornet. I can print trombone parts in bass or treble
clef. I can shift between Eb, EEb, Bb, BBb basses. Whatever.

If the conductor wants the score all in the same transposition, or in
the instrument's transposition ...

It's just knowing the internal representation is *always* concert just
makes my mental gymnastics much simpler.

Cheers,
Wol