I concur on entering all music in concert pitch. You may find the
auto-transpose snippet from OpenLilyLib helpful (
https://github.com/openlilylib/oll-misc/tree/master/pitch), as you can
simply write "\transposition bf" instead of wrapping all transposed blocks
in "\transpose x y { }". This is particularly helpful if players may switch
between instruments using different transpositions.
On Wed, Mar 1, 2023 at 5:59 PM Wol <antli...@youngman.org.uk> wrote:
> On 28/02/2023 22:02, TJ Kolev wrote:
> > I would appreciate any suggestions for the above issues. Or comments on
> > how I am putting together the whole score.
>
> I do a load of brass (and concert) band stuff. And because I play
> trombone I'm sensitive to transposition issues. So I always store my
> parts in variables IN CONCERT PITCH.
>
> When copying from a part, let's say it's a treble-clef trombone part, I
> always wrap it in "\transpose c' bf {}". Then if I want to print a
> treble-clef part I wrap the variable in "\transpose bf c' {}". And while
> it may seem redundant, when printing a bass-clef part I always wrap it
> in "\transpose c c {}".
>
> And I always print parts using "\clef treble_8" or whatever as appropriate.
>
> It means that I have no problem wondering what pitch the original part
> was in - my variables are always concert. I can print it out for eg Sop,
> Repiano or ordinary cornet. I can print trombone parts in bass or treble
> clef. I can shift between Eb, EEb, Bb, BBb basses. Whatever.
>
> If the conductor wants the score all in the same transposition, or in
> the instrument's transposition ...
>
> It's just knowing the internal representation is *always* concert just
> makes my mental gymnastics much simpler.
>
> Cheers,
> Wol
>
>
