Comment #37 on issue 2745 by [email protected]: clef change
confuses manual key signature
https://code.google.com/p/lilypond/issues/detail?id=2745
Just for the record, in case this issue ever gets resurrected: there is a
case for octave-specific key signatures in early renaissance music.
Specifically, where the music entails a mixture of "soft" and "hard"
hexachords (whence, incidentally, the names b-mol and b-dur derive, as do
our modern signs for flat and natural).
[Apel: The notation of polyphonic music, 900-1600. Available at
https://archive.org/stream/notationofpolyph00apel#page/460/mode/2up where
the discussion is indexed under "partial signature")
As a concrete example, I've transcribed parts of the Carver Choirbook
(Scotland, early sixteenth century), using
% altus
\clef "treble"
\set Staff.keySignature = #`(((-1 . 6) . ,NATURAL)
(( 0 . 6) . ,FLAT))
% ...
% bassus
\clef "bass"
\set Staff.keySignature = #`(((-2 . 6) . ,FLAT)
((-1 . 6) . ,NATURAL))
and lilypond (2.19.5) seems to behave perfectly. (Haven't needed to
transpose though).
-- Graham King
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