Ahhh! (lightbulb) Thank you!
Mark
On Feb 20, 2012 3:08 PM, "James Worlton" <[email protected]> wrote:
>
> On Feb 20, 2012, at 2:01 PM, Mark Mathias wrote:
>
> I think I understand that part, but why, in this outlined blues bass
>> line, does output of the transposed version suddenly skip a major 7th
>> downward and then a major 7th back up?
>>
>
> Because the notes that follow the \transpose are part of the transpose
> block.
> According to the manual they become absolute mode in this case unless
> enclosed in a relative block.
>
> Try something like:
> \transpose c f { \relative g { d fis a b | c b a fis } }
>
> James Worlton
>
>
>
>> On Mon, Feb 20, 2012 at 2:55 PM, James Worlton <[email protected]>
>> wrote:
>> On Feb 20, 2012, at 1:50 PM, Mark Mathias wrote:
>>
>> I really thought I understood the basic rules of note entry, but this has
>> surprised me:
>> \version "2.15.25"
>> \relative c' { \repeat unfold 2 { d4^\markup \italic pizz. fis a b |
>> c b a fis | }
>> \transpose c f { d^\markup \italic pizz. fis a b |
>> c b a fis | }
>> }
>>
>> Why does the "c" (transposed to "f") jump down to a lower octave? I
>> thought \relative mode took care of this.
>>
>> I fixed it by altering the c, but it goes against what I thought I'd
>> learned:
>> \transpose c f, { d fis a b |
>> c' b a fis | }
>>
>> Notation Manual section 1.1.2 under "Transpose":
>> "This means that musicexpr is transposed by the interval between the
>> pitches
>> frompitch and topitch: any note with pitch frompitch is changed to
>> topitch and
>> any other note is transposed by the same interval. Both pitches are
>> entered in
>> absolute mode."
>>
>> Note that the "frompitch" and "topitch" are entered in absolute mode.
>>
>> James Worlton
>>
>>
>>
>>
>> --
>> God becomes known through men and women who know him: the road to him
>> passes through those who have encountered him. ---Benedict XVI
>> <bug transpose.pdf>
>>
>
>
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