Re: removing automatically generated natural signs

[Urs Liska]

Am 8. Dezember 2017 20:22:32 MEZ schrieb Ben <address@hidden>:
>(
>On 12/8/2017 2:09 PM, Chris Jones wrote:
>> I would need some help removing the autmatically generated natural
>signs
>> that I see in lilypond's output.
>>
>> |   melody = \relative c {
>> |     \global
>> |       \partial 16 d'16                         \bar "||"
>> |       \set melismaBusyProperties = #'()
>> |       \autoBeamOff
>> |       \set Staff.extraNatural = ##f
>> |       g4.. g16 f8. g16 a8. g16                        |   % b01
>>
>> ... expecting to see output with no accidentals.
>
>See below.
>
>>
>> Obvious workaround is coding "fis8l." instead of "f8." to get rid of
>> that extra natural sign:
>
>Yes. This is correct. It's one of the great things about LilyPond in my
>
>opinion. (how it works semantically, etc)
>
>>
>> |       g4.. g16 fis8. g16 a8. g16                      |   % b01
>>
>> ... and remember to do the same for every "F" in my .ly file.
>>
>> I have read the section entitled "Warning: key signatures and
>pitches"
>> in the lilypond learning manual at least a dozen times and I still
>don't
>> see why I would need to do that.
>>
>> Wouldn't this become rather painful/tedious if the gentleman who
>wrote
>> this particular song had had the bright idea of transposing it to
>> a fancier key like... G# major for instance?
>>
>> If that were the case I would have to add an "is" to just about every
>> single note in the score!
>>
>>
>
>(from documentation)
>"...
>
>To determine whether to print an *accidental*, LilyPond examines the 
>pitches and the key signature. The key signature only affects the 
>*/printed/***accidentals, not the note’s pitch!
>
>--> This is a feature that often causes confusion to newcomers, so let 
>us explain it in more detail.
>
>LilyPond makes a clear distinction between musical content and layout. 
>The alteration (flat, natural sign or sharp) of a note is part of the 
>pitch, and is therefore musical content. Whether an accidental (a 
>*/printed/***flat, natural or sharp sign) is printed in front of the 
>corresponding note*is a question of layout*. Layout is something that 
>follows rules, so accidentals are printed automatically according to 
>those rules. The pitches in your music are works of art, so they will 
>not be added automatically, and you must enter what you want to hear."
>
>
>Hope this helps :)

I think this is a great way to explain this concept. And I also belong to the 
party of those who want to write down (encode) what it *is* and not what it 
looks like.

But to be fair one should note that there are serious encoding systems out 
there that work like the OP expects, for example the MEI encoding format or the 
Amadeus notation software. 

When I discussed the topic with an Amadeus power user he said that he would go 
nuts with all the typing (of the extra is and es) with the thousands of pages 
of music he has to create every year.

MEI on the other hand wants to encode "what is on the paper", that is: an "a" 
for any pitch on that step.  However, I don't accept that because that a flat 
in e flat major is *not* printed as an "a" that becomes an a flat through the 
key signature. Actually it's a note head in the second space that becomes an a 
through the treble clef and only then an a flat.

Urs

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