On Mon, 10 Aug 2015 14:36:42 +0200 David Kastrup <[email protected]> wrote:
> Thomas Morley <[email protected]> writes: > > > 2015-08-10 13:47 GMT+02:00 David Kastrup <[email protected]>: > > > >> So it is pretty much established that the music-based > >> approach comes with a healthy load of problems, and the > >> input language based approach, while condensing most of the > >> problems in one place, makes source code management a > >> headache because each source code passage comes with its own > >> associated input language. > > > > Well, I will not work on such a patch. I already had a hard > > time to understand the thinking behind the proposal. > > It's not all that hard to do. Just let \key run through the > current notename language and replace all single-character note > names with the setting from the new key (Germans would likely > be furious about what this does to b but then they are hardly > the target for such a change). > > Once you start arranging your input in variables (\global > anyone?), work with multiple voices and transpositions, things > will start to fall apart. > > Even things like \transpose c f become ambiguous since they > could mean \transpose cn fs when uttered in \key gn \major. > > > Though, at a lower level one could start adding a snippet to > > the LSR so that users can play around with it. Rale mentioned > > some, but refused to post links... > > s/refused/omitted/. I cannot remember anybody asking for such > links yet, so one can hardly accuse him of "refusing". > Without \key, no \follow would make sense. I believe I sent my little tool to this list some time ago, but here it is again. To do it with other languages in my suggested crude fashion would require a 14 or 15 item hash table for each language. Listing the notes to be substituted would simplify implementation and understanding of what \follow would do. I was not insulted by calling it "crude" it certainly is, but it's worked well for me. I hadn't had \follow suggested at the time. I hope this version still works. Kindest regards, Rale # keys.sed # Writes chromatic signs according to key for _single letter_ notes # within a range begun with, for examples: Key2#, Key3b, Keynn, and # ended with: Key0 (0=zero). There is no transposition, but you can use # a different key indication from lilypond's. Writes "english.ly" but # you may enter "b" (or "f") for flat, "bb" (or "w") for double flat, # and "#" (or "s") for sharp, but only x for double sharp. Use 'n' to # protect an accidental natural. You may enter "h", "b", or "bn", but # there is no "h#". These alternative language choices are both easier # to read and quicker to write than lilypond input, but lilypond is not # the only use for these alternatives. # More shortcuts, etc., inside range: # r=a4 will become a4\rest # V3 = \voiceThree # Outside range: # %% <-- all lines starting thus will be deleted. NB space # (c)2005 David Raleigh Arnold. -->GNU Enjoy! rev. 20100528 # comments: del from whole file /^%% .*/d # key range -- top /Key[1-7n][b#n]/,/Key0/{ # branch to fall off end--problem dumb mistake? #/%.*/b ####### Format: # no tabs s/\t/ /g # space follows/precedes curly, pointer, to prettify. s/[{<]/& /g s/[}>]/ &/g # put spaces at begin and end of line, double spaces inside # to simplify process of note names s/ */ /g s/^ */ / s/ *$/ / ####### Actions # change # to s with notes s/\( [a-g]\)#/\1s/g # make r=a4 into a4\rest. Work with R? s/ r=\([a-g]\)\([^ ]*\) / \1n\2\\rest /g # voices s/V1/\\voiceOne/g s/V2/\\voiceTwo/g s/V3/\\voiceThree/g s/V4/\\voiceFour/g s/V0/\\oneVoice/g # mark single letter notes only. Accidentals will # be added as they fall into the right key. s/\( [a-g]\)\([^wbfnxs#]\)/\1%flatORsharp%\2/g # goto (branch) and fall through /Key7b/,/Key0/b keycb /Key6b/,/Key0/b keygb /Key5b/,/Key0/b keydb /Key4b/,/Key0/b keyab /Key3b/,/Key0/b keyeb /Key2b/,/Key0/b keybb /Key1b/,/Key0/b keyfn /Key7#/,/Key0/b keycs /Key6#/,/Key0/b keyfs /Key5#/,/Key0/b keybn /Key4#/,/Key0/b keyen /Key3#/,/Key0/b keyan /Key2#/,/Key0/b keydn /Key1#/,/Key0/b keygn /Keynn/,/Key0/b finish :keycb s/f%flatORsharp%/f%flat%/g :keygb s/c%flatORsharp%/c%flat%/g :keydb s/g%flatORsharp%/g%flat%/g :keyab s/d%flatORsharp%/d%flat%/g :keyeb s/a%flatORsharp%/a%flat%/g :keybb s/e%flatORsharp%/e%flat%/g :keyfn s/b%flatORsharp%/b%flat%/g b finish :keycs s/b%flatORsharp%/b%sharp%/g :keyfs s/e%flatORsharp%/e%sharp%/g :keybn s/a%flatORsharp%/a%sharp%/g :keyen s/d%flatORsharp%/d%sharp%/g :keyan s/g%flatORsharp%/g%sharp%/g :keydn s/c%flatORsharp%/c%sharp%/g :keygn s/f%flatORsharp%/f%sharp%/g :finish # could leave out next line for debugging; s/%flatORsharp%//g # output "english.ly". You can easily convert to # any other language you want. # flat is f s/%flat%/f/g # conversions: s/ h/ bn/g s/\( [a-g]\)b/ \1f/g s/\( [a-g]\)w/ \1ff/g s/\( [a-g]\)bb/ \1ff/g # sharp is s s/%sharp%/s/g # ss or x should not require action # clean up. Getting rid of n's s/\( [a-g]\)n/\1/g # finger number in front of one note: use -hyphen # 2? so it can't be done twice?. notes are done already s/\( [a-g][^- \t]*\)-\([1-4]\)/ \\fol <\1>-\2/g # include "lynn" # reformat s/{ */{ /g s/< */< /g s/ *>/ >/g s/ *}/ }/g s/{ *{/{{/g s/{ *{/{{/g s/} *}/}}/g s/} *}/}}/g # undo spaces at begin and end of line, double spaces # restore polyphony construction. s/^ *// s/*$// s/ */ /g s/< *< *{/<<{/g s/} *> *>/}>>/g s/} *\\\\ *{/}\\\\{/g # put back these tabs s/^[|]/\t|/ # get rid of flags /Key[0-7n][b#n]/d /Key0/d # quit /QUIT/,${ d } } # end of range -- Guitar teaching materials and original music for all styles and levels. 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