pls <[email protected]> writes: > 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’.
Come again? People use \relative and \transpose (and now \fixed) in order _not_ to have to enter c' when they mean c'. Apart from fullblown \transpose, those modes don't combine with \chordmode. > 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. Most people make sure that they only need to enter c when they actually mean c' one way or another. >> 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. Oh come one. How many properly voiced chords are available? C and G, and you'll rarely stop after four notes either, particularly not with G. And pretty much all of the rest in first position starts with a fifth rather than a third. That's not useful as a principal input mode. >> 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 But putting everything one octave down would make it less useful for piano and not more useful for anything else. So where's the point? > and thereby relativizes the absoluteness of the pitch names. Chord mode chords do not really have all that much of an absolute flavor. For example, there is no difference between c/g and c/g' (you need c'/g to get a difference). I am not saying that there isn't a lot which may warrant improving. But a different fixed octave? That's not really adding any use cases while still changing the meaning of every existing score. -- David Kastrup _______________________________________________ bug-lilypond mailing list [email protected] https://lists.gnu.org/mailman/listinfo/bug-lilypond
