~mdw / mup / blame
| Commit | Line | Data |
|---|---|---|
| fac14bbe MW |
1 | <HTML> |
| 2 | <HEAD><TITLE> | |
| 3 | Transposition | |
| 4 | </TITLE></HEAD> | |
| 5 | <BODY> | |
| 6 | <P> | |
| 7 | <A HREF="cadenza.html"><-- previous page</A> | |
| 8 | ||
| 9 | <A HREF="index.html">Table of Contents</A> <A HREF="verses.html">next page --></A> | |
| 10 | </P> | |
| 11 | ||
| 12 | <H2> | |
| 13 | Transposition | |
| 14 | </H2> | |
| 15 | <P> | |
| 16 | The | |
| 17 | <A HREF="param.html#xpose">transpose</A> | |
| 18 | and | |
| 19 | <A HREF="param.html#addxpose">addtranspose</A> | |
| 20 | parameters | |
| 21 | can be used to transpose the pitches for a staff or the whole score. | |
| 22 | The following table shows what transposition values to use for different | |
| 23 | intervals. | |
| 24 | <TABLE BORDER=4> | |
| 25 | <TR> | |
| 26 | <TD><B>halfsteps</B></TD> <TD><B>tranposition</B></TD> <TD><B>alternate transposition</B></TD> | |
| 27 | </TR> | |
| 28 | <TR> | |
| 29 | <TD>0</TD> <TD>perfect 1</TD> <TD>diminished 2</TD> | |
| 30 | </TR> | |
| 31 | <TR> | |
| 32 | <TD>1</TD> <TD>augmented 1</TD> <TD>minor 2</TD> | |
| 33 | </TR> | |
| 34 | <TR> | |
| 35 | <TD>2</TD> <TD>major 2</TD> <TD>diminished 3</TD> | |
| 36 | </TR> | |
| 37 | <TR> | |
| 38 | <TD>3</TD> <TD>augmented 2</TD> <TD>minor 3</TD> | |
| 39 | </TR> | |
| 40 | <TR> | |
| 41 | <TD>4</TD> <TD>major 3</TD> <TD>diminished 4</TD> | |
| 42 | </TR> | |
| 43 | <TR> | |
| 44 | <TD>5</TD> <TD>augmented 3</TD> <TD>perfect 4</TD> | |
| 45 | </TR> | |
| 46 | <TR> | |
| 47 | <TD>6</TD> <TD>augmented 4</TD> <TD>diminished 5</TD> | |
| 48 | </TR> | |
| 49 | <TR> | |
| 50 | <TD>7</TD> <TD>perfect 5</TD> <TD>diminished 6</TD> | |
| 51 | </TR> | |
| 52 | <TR> | |
| 53 | <TD>8</TD> <TD>augmented 5</TD> <TD>minor 6</TD> | |
| 54 | </TR> | |
| 55 | <TR> | |
| 56 | <TD>9</TD> <TD>major 6</TD> <TD>diminished 7</TD> | |
| 57 | </TR> | |
| 58 | <TR> | |
| 59 | <TD>10</TD> <TD>augmented 6</TD> <TD>minor 7</TD> | |
| 60 | </TR> | |
| 61 | <TR> | |
| 62 | <TD>11</TD> <TD>major 7</TD> <TD>diminished 8</TD> | |
| 63 | </TR> | |
| 64 | </TABLE> | |
| 65 | ||
| 66 | </P> | |
| 67 | <P> | |
| 68 | This table continues in a similar way for intervals beyond an octave. | |
| 69 | For each number of halfsteps you want to transpose, there | |
| 70 | is more than one way the | |
| 71 | <A HREF="param.html#xpose">transpose</A> | |
| 72 | and | |
| 73 | <A HREF="param.html#addxpose">addtranspose</A> | |
| 74 | parameters can be | |
| 75 | specified, as shown by this table. This allows to you control | |
| 76 | whether a sharp key or a flat key is to be used in cases where there is | |
| 77 | a choice. For example, if the key signature has three sharps, and you | |
| 78 | want to transpose up two halfsteps, you could say either | |
| 79 | <BR><PRE> | |
| 80 | transpose = up maj 2 | |
| 81 | </PRE><BR> | |
| 82 | or | |
| 83 | <BR><PRE> | |
| 84 | transpose = up dim 3 | |
| 85 | </PRE><BR> | |
| 86 | The first will result in a key of five sharps, and the second will | |
| 87 | result in seven flats. These are equivalent keys; in major for | |
| 88 | example, they are B and C flat, which are the same note. It is up to | |
| 89 | you to choose the way you would like it to be printed. | |
| 90 | But no key is allowed to have more than seven sharps or flats, so in | |
| 91 | most cases only one of the ways will result in a valid key, and the | |
| 92 | other way will result in an error message. | |
| 93 | </P> | |
| 94 | <P> | |
| 95 | The transpose and addtranspose parameters are allowed | |
| 96 | in score and staff contexts, so they can | |
| 97 | be set to different values on different staffs, and on the score as a whole. | |
| 98 | This is useful for printing scores where some of the instruments are | |
| 99 | transposing instruments (like B-flat clarinet). | |
| 100 | You can set the transpose parameter on specific staffs to appropriate | |
| 101 | values for the transposing instruments. Then if you decide you want to | |
| 102 | move the entire score to a new key, you can set the addtranspose parameter | |
| 103 | in score context. | |
| 104 | You can enter all the music at true pitch, but print the score and/or | |
| 105 | the individual parts with the correct transposition. | |
| 106 | </P> | |
| 107 | <P> | |
| 108 | Another use for setting different transposition values is the following | |
| 109 | trick, useful in guitar music for printing both the real chords and chords | |
| 110 | for capo. | |
| 111 | Say, for example, you have a song that is in B flat, but the guitar is | |
| 112 | to use a capo on the third fret, and play in the key of G. | |
| 113 | You could define the following macro to print both versions of a chord, | |
| 114 | the capo version above the real version: | |
| 115 | <BR><PRE> | |
| 116 | define CHORD(COUNT, NAME) | |
| 117 | ||
| 118 | bold chord all: COUNT `NAME`; // chord for capo | |
| 119 | ital(8) chord 1: COUNT `NAME`; // real chord | |
| 120 | @ | |
| 121 | </PRE><BR> | |
| 122 | Then, set these transpositions: | |
| 123 | <BR><PRE> | |
| 124 | score transpose = down minor 3 // transpose score for capo | |
| 125 | staff 1 transpose = up perfect 1 // override score transposition | |
| 126 | </PRE><BR> | |
| 127 | and similarly for any other staffs. | |
| 128 | Then, wherever you want to print a chord, say (for example) | |
| 129 | <BR><PRE> | |
| 130 | CHORD(3,Dm) | |
| 131 | </PRE><BR> | |
| 132 | This will print both versions of the chord above count 3 of the measure. | |
| 133 | For the top chord it will transpose this to Bm, the capo chord. | |
| 134 | For the bottom chord it will leave it as Dm, the real chord. | |
| 135 | </P> | |
| 136 | <HR><P> | |
| 137 | <A HREF="cadenza.html"><-- previous page</A> <A HREF="index.html">Table of Contents</A> <A HREF="verses.html">next page --></A> | |
| 138 | </P> | |
| 139 | </BODY></HTML> |