I have nearly always used relative pitches.
I always use variables to build up the music in a logical way.
Transpose always worked right for me.
As for enharmonic transposition, it does work well
Here is an example :
m = \relative c' { \key des \major des4 es f as des2. r4}
\score {
{
\m
\transpose des cis \m
}
}
There might be a way to write a function which would transpose in way so that
when transposing music with different keys,
if a part happens to have more than 6 or 7 flats or sharps
it will apply enharmonic transposition...
Le 13.03.21 à 02:16, Valentin Petzel a écrit :
As far as I know transpose should only really be used with absolute pitches,
as it would be quite impossible to do it otherwise. Think of it like this:
Say we are in relative mode and have c' f. Then f will be above c. If you then
do c' \transpose f a f, then the transposed a would be above the c – so it
would need an octave indication. But the octave the music has to be put into
depends of the previous note. So a single transpose function cannot provide
this.
So, always use absolute pitch with transpose!
And by the way: Lilypond transposes you example correctly. Your main problem
is that usually there should not be a C# in C tonality. Usually it is easier
to go from C to Db, which is a minor 2nd instead of an augmented prime.
Cheers,
Valentin
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