On 23.05.2015, at 16:57, David Kastrup <[email protected]> wrote: > pls <[email protected]> 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 _______________________________________________ bug-lilypond mailing list [email protected] https://lists.gnu.org/mailman/listinfo/bug-lilypond
