Thomas Morley <[email protected]> writes:
> \version "2.17.25"
>
> scalesAndTriads =
> #(define-music-function (parser location m music)(ly:music? ly:music?)
> (let* ((elts (ly:music-property m 'elements))
> (pitches (map (lambda (x) (ly:music-property x 'pitch)) elts))
> (pitch-octaves (map (lambda (x) (ly:pitch-octave x)) pitches))
(pitch-octaves (map ly:pitch-octave pitches))
> (pitch-notename (map (lambda (x) (ly:pitch-notename x)) pitches))
(pitch-notename (map ly:pitch-notename pitches))
> (pitch-alteration (map (lambda (x) (ly:pitch-alteration x))
> pitches)))
guess...
> #{
> $(make-simultaneous-music
> (map
> (lambda (octave note alter)
> #{
> \new Staff
> \transpose c $(ly:make-pitch octave note alter)
> \relative $music
> #})
> pitch-octaves pitch-notename pitch-alteration))
> #}))
What's the point of picking the pitches apart into octave/note/alter and
then assembling them into a pitch again without change? Why not map
over the pitches directly in the first place?
> }
>
> \scalesAndTriads { c f bes ees aes des ges g d a e b fis } \scale
>
>
>
> Franky, it took me more than two minutes, although I recycled some old
> code for tranposing sequential music, but less than 30 min.
>
> _And_ I now have two functions to reuse again and again: One for
> sequential and another for simultaneous music.
Why use two? Just do (music-clone m 'origin location 'elements (map ...
And then you use either
\scalesAndTriads { c f bes ees aes des ges g d a e b fis }
or
\scalesAndTriads << c f bes ees aes des ges g d a e b fis >>
I'd not use \relative $music here: that looks like asking for trouble.
If people want \relative music, they should spell it out.
--
David Kastrup
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