Am 07.09.2008 um 06:10 schrieb Daryna Baikadamova:
when we enter new scores, should we enter in concert pitch?
I think you should enter the score in whatever pitch is easiest. If
your source score is transposed, then it's probably going to be easier
to type it into a computer exactly as shown, transposed. If your
source score is concert pitch, then it's going to be easier to type it
into a computer in concert pitch. otherwise, you run the possibility
of introducing errors into a score that will not easily be found.
You suggested that it is not a good idea to use \displayLilyMusic
because it only outputs absolute pitches, not relative, thus making
the resultant score hard to maintain by humans. However my
situation is:
- the parts were not entered in concert pitch
- the parts are in pitches that are not common nowadays. (e.g. in
my score, trumpet in D, horn in E and clarinet in A, which I am
afraid not many members in an (youth) orchestra will have.
Therefore I would also like to produce current transpositions in
parts such as trumpet in Bb, horn in F and clarinet in Bb, or
better, to produce pdf parts scores with different transpositions
from one lilypond file. What is the best way?
\transpose a b
Would it be better for me to just annotate the original score
(clarinet in A) by stating the transposition key of the instrument
(\transposition), then for each version of parts, I use \transpose x
y to transpose to the desired key in each case?
Or should I convert the score to concert pitch using
\displayLilyMusic and then use \transpose x y in each case?
The easiest solution would probably just be to \transpose each part to
what a modern orchestra uses, that's not uncommon to see a Clarinet in
A part that's written in Bb for the sake of a modern orchestra where
players may not have an A clarinet.
Just my thoughts.
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