> > BTW, I also tend to prepare lead sheets in F and A. Of course, you may
> not need this. But if you are preparing a template, it might be helpful to
> include other common transpositions.
>
> OK. The choice there is either to compile the file three times, adjusting
> \PieceTranspose in the sequence c c then c f then c a, or to make two more
> copies of the book-generating section, with (e.g.) \PieceTransposeFourth
> and \PieceTransposeSixth in between.
>
> This would make it all a bit unwieldy, and as I want to be able to share
> this with novice LilyPond users, I don?t want the make the file too long or
> too clever!
>
Sorry if I was not clear. I wasn't suggesting that you transpose every
piece to the keys of F and A, but rather to be able to produce lead sheets
in those common keys as well:
HornTranspose =
#(define-music-function (parser location m)
(ly:music?)
#{ \transpose f, c $m #})
AClarinetTranspose =
#(define-music-function (parser location m)
(ly:music?)
#{ \transpose a, c $m #})
Granted, A clarinet isn't too common for Jazz, but it can't hurt. And as a
clarinettist, I couldn't avoid the suggestion!
> > But below, instead of using \PieceTranspose everywhere (which kind of
> defeats the purpose of doing something globally) I would suggest
> transposing \TheChords and \TheHead and then using \TransposedChords and
> \TransposedHead in the template:
>
> This comes to the same thing, but uses two extra variables.
>
> But I can see the advantage in doing this in terms of clarity if it comes
> immediately after the definition of the PieceTranspose function.
>
Besides that, I think that variables help if they clarify things. In this
case, it provides an explicit name for the result of "\PieceTranspose {
\TheHead } "
This introduce twos additional variables, but results in six fewer function
calls.
Also, if I understand your intentions here, users of this template will
never have to modify the score blocks, or these variables. So, I don't see
the down side of introducing them. If anything, they separate boilerplate
code (that doesn't have to be modified) from the piece-specific code (which
does).
If part of your point is to make use of \transpose less fraught, I think
you still have an issue, since
users of this template still have to modify "\transpose c c" within that
function. Something that might be more friendly:
originalKey = c
newKey = f
PieceTranspose =
#(define-music-function (parser location m)
(ly:music?)
#{ \transpose \originalKey \newKey $m #})
That way, your users won't have to figure out which "c" in "\transpose c c
$m" to adjust.
Glad to hear this discussion has been helpful.
David Elaine Alt
415 . 341 .4954 "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
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