D. Michael McIntyre wrote:
On Sunday 10 June 2007, Arnout Engelen wrote:
One approach could be to simply choose a mapping from transposition
(-2,-9) to instrument tuning (Bb, Eb)
I'm not sure how you'll handle Eb instruments that sound up to several octaves below what's written. Just knowing you want
to go to Eb isn't quite sufficient, I don't think.
Indeed for now I planned to just leave it up to the user to fix clefs
and move octaves up/down as needed.
I wonder if this could incorporate the instrument preset database somehow. That
would tell you if you're moving from a tenor saxophone to a contrabrass
saxophone what your source and destination transpose factors are supposed to be.
That sounds really good, I haven't looked into that at all yet. Maybe it
could even add converting to the most suitable clef as an extra bonus.
I added a 'Transpose Toolbar' to the notationview
This sounds very interesting, but it seems somewhat counterintuitive to have
to do this from "inside" a segment.
This was done mainly because this functionality is largely
Notation-specific, so I didn't want to bother users that are not
interested in Notation with it. Personally, as a user that uses
Rosegarden mainly for notation myself, most of the time I live in the
NotationView, so for me it made sense to have it right there.
That said, my area of expertise certainly isn't UI design, as might
sometimes be painfully evident :).
Actually, you only have to know that you want to go from Bb to F:
Right, but that's more than I want to need to know. I found out I was trying
to go to F when I finally got everything playing in tune again.
Ah, right, indeed I didn't look at it like that ;).
I think what I actually did was set the
segment transpose to -9, double clicked the Bb key signature; inserted an Ab
key signature with Rosegarden instructed to move the key relative to segment
transpose, and transpose the notation; then, finally, I had to transpose
everything up an octave (triple click and ctrl+up arrow or whatever) so that
it played in the same register as before.
That's my thought process solving the problem of converting a trumpet part
into an alto horn part, and it got me there, but it seemed unnecessarily
complicated.
So how did you know you had to set the segment transpose from -2 to -9?
Personally, my 'base knowledge' for this problem would be that a trumpet
is a Bb instrument and an alto horn an Eb instrument.
This means in the piece every Eb has to be transposed to a Bb*, which
tells me the reference and target note to use in the 'Transpose by
Interval' dialog. (Eb->Bb and the Bb->F from your example are the same
interval).
(*: this is still kindof counter-intuitive to me, but it helps if I
remember that I'm below the concert pitch with my own Bb instrument, so
if I want to play unison with a piano I should play a C when it plays a
Bb. Indeed this is still a bit of a mental leap, hence the usefullness
of that Transpose toolbar in some form :) )
(...) I forget how I finally solved that, but it took me five
different implementations from scratch before I finally got it to work
correctly. What I lack in knowledge of theory, which is plenty, I make up
for through copious amounts of brutal sledge hammering.)
After having been digging (and still digging) in the logic of all this,
I can sure appreciate that ;)
I may not entirely make sense in this post. I started writing before I
read
the whole of your message, and I realized I had misunderstood something. I
tried to backtrack and take a different view, but I'm not entirely sure I
have my head around the whole picture here.
No problem - it's can be a rather confusing issue, especially when
described from different perspectives and over e-mail :). I think we're
doing quite nicely so far, even if it takes a bit of text and sending
mails back-and-forth.
Arnout
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