If the "Use Text Fields During Song Creation" is set in the text file settings, then the key will be added to the song as well. Quote:If keys are assigned in the chord pro file, only one is used I believe, and it's only used during import for initially setting the text display settings key. (12-15-2015, 12:07 PM)Zuberman Wrote: It does make sense for a song to have multiple keys if it changes keys partway through the song and you want to track that. Summary: Forget about key transposition and use step transposition only.Įxecutive summary: Do not spend too much time on this, there are other, more important issues. I think most of the problems/confusions are caused by functionality that has been added incrementally and finally got out of balance. I think choosing a source key and then the key to transpose to (which is how it's currently implemented) should be sufficient. It does provide an easier way to switch between the transposing by steps versus keys, but at the cost of requiring more taps to accomplish a transpose. Your suggestion for adding a transpose button with a separate dialog doesn't actually change things very much. I will have to test the 1.3.0 release instead of my development build. Having said that, I'm starting to wonder if the bug that I fixed with minor chords may be playing a part in this. If the destination key is F, I still don't see how a sharp chord was chosen though, as my logic is currently set to choose flat chords for F. I'm going to have to do more testing with your example by putting Am first instead of C and seeing if I can reproduce the change to A#. This is critical for ensuring the correct chords are chosen. My current approach to transposing is already based upon choosing a source key and a target key. This is correct most of the time, but if the song changes keys or has a lot of odd progressions, the key may be detected incorrectly. Chord progression is the most sophisticated and will actually look at all of the chords used in the song to try and determine its key. You can also specify Last Chord or Chord progression. By default, "First Chord" is used which means it will assume the whole song is in the key of the first chord. If no key is specified, then MobileSheetsPro will look at which option is specified for the "Detect Key By" setting in the text file settings. It's important to note that the chord pro key directive overrides any of my logic for trying to determine the actual key of the song. The two are really separate though, and I think they should be. If keys are assigned in the chord pro file, only one is used I believe, and it's only used during import for initially setting the text display settings key. It does make sense for a song to have multiple keys if it changes keys partway through the song and you want to track that. I think the way I'm handling the key field for songs may be causing confusion with its relation to the key used for the chord pro file. Also, it sharps E into E# (instead of F) but sharps B into C. It uses sharps and flats at will, for example, C C# D Eb F. is very lax and informal (i.e., the average guitar player ). Referring to the two sites you mention: deals with chord progressions and has nothing to do with transpositions. For example, going from key A to key C, the F chord could become G# or Ab. The remaining problem is when the destination key is C, with no flats and sharps. F becomes D#? or Eb? The convention is that since key F has one flat, we must use flats for the other chords as well, so chord F becomes a Eb. Since A has three sharps, we expect the chords (from G) E, B and F to become F#, C# and G# respectively.īut what about going down, from G to F? E and B become D and A, no problem. When transposing a piece of music we change its key, for example from G to A. Second, there's no signature for minor keys, they are considered the same as their major partner (Am -> C, Dm -> F, etc.). First, a key signature only has flats, or sharps, but not both. The two series meet at Gb (six flats) and F# (six sharps), both being enharmonically equivalent. Likewise, F has one flat (Bb), Bb has two flats (Bb and Eb), Eb has three flats (Bb, Eb and Ab), and so on. C has no sharps nor flats, G has a single sharp (F#), D has two sharps (F# and C#), A has three sharps (F#, C# and G#) - see a pattern? The number of flats/sharps determine the key. In sheet music, the key is denoted by the signature (see, e.g. More formally, a piece of music has a key which determines the tonality of the piece. For example, I personally prefer Bb over A# while I also prefer C# over Db. Most guitar players will pick whatever comes out handy. In the world of lead sheets and ChordPro files, we use the enharmonic model, where D# is equal to Eb and so on.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |