transpose: Transpose pitches and keys
In Computational-Cognitive-Musicology-Lab/humdrumR: humdrumR
transpose R Documentation
Transpose pitches and keys
Description
This function transposes pitches or keys
by various intervals or to target keys.
Inside the box, inputs and transpositions take place as tonalIntervals or diatonicSets,
but any numeric or character string representation of pitches can be transposed as well.
This function is incorporated directly into tonalTransform, and thence, all pitch translation
functions, so you probably won't call it directly very often.
Usage
transpose(x, by, Key, to, real, relative, ...)
Arguments
x
***The input pitch(es) to transpose. ***
Can be a tonalInterval or something intepretable as a pitch information.
by
Transpose by this interval.
Can be a tonalInterval or something intepretable as a tonalInterval.
Key
Transpose from this key (to the to key).
Can be a diatonicSet or something intepretable as a diatonicSet.
For tonal and/or to transpositions, this is the "from" key. If this value is NULL, it defaults to C major.
to
Transpose to this key (from the Key key).
Can be a diatonicSet or something intepretable as a diatonicSet.
real
Should transposition be real (or tonal)?
Defaults to TRUE.
Must be a singleon logical value: an on/off switch.
If real == FALSE, transposition is tonal.
relative
Should transposition between keys be relative (or parallel)?
Defaults to FALSE.
Must be a singleton logical value: an on/off switch.
Only relavent if using transposing between keys (Key and to) with different modes.
If relative == FALSE, transposition is parallel.
Details
There are two distinct types of transposition (real and tonal).
There are also two different approaches to specifying transpositions: "to" and "by".
"To" transpositions can also be either parallel or relative.
Types of Transposition
There are two different types of transposition: real transposition and tonal transposition.
In real transposition, all inputs are transposed by the same specific interval.
For example, the pitches {C D E F G} could be transposed up a major second to {C D E F# G}.
In tonal transposition, inputs are transposed by generic intervals, within a key.
For example, the sequence {C D E F G}, in the key of C major, could be translated up a generic second
to {D E F G A}.
To choose between real and tonal transposition, use the real argument:
real = TRUE for real transposition, real = FALSE for tonal transposition.
Alterations
Tonal transposition is complicated by the presence of any alterations in the input pitches.
For instance, if we are given the pitches {C F# G D# E}`` in the key of C major, how should they by tonally transposed up a second, within C major? There is not one obvious, correct answer answer, which can be easily identified. The algorithm implemented by humdrumR' is as follows:
Alterations/accidentals in the input are identified. (In this case, F# and D#).
The generic pitches are transposed within the key, resulting in {D G A E F}.
Alterations in the input are added to the output unless the resulting pitches are interpreted as a comma
by a call to tintPartion, with a given enharmonic wrap value (the default is 12).
In this example, adding the first accidental results in {G#} which is not a comma.
However, the second accidental results in {E#} which is a comma away from the natural {F}.
Thus, this accidental is not added to the output, resulting in {E}, not {E#}.
The resulting output is {D G# A E F}.
The size of enharmonicWrap effectively determines how extreme accidentals are allowed.
The default value, 12, assures that no output notes are enharmonically equivalent to notes in the key.
To further illustrate, here is the sequence {C F# G D# E, B- A A- G C# D, B D- C} transposed
tonally within C major by all seven possible generic intervals, with enharmonicWrap = 12:
Specifying Transpositions
There are two approaches to specifying transpositions, the by and to arguments.
The by argument must be an interval, and the input is translated by that interval.
If the by interval is specific but real = FALSE, the input is treated as a generic interval,
and tranposition takes place within the key indicated by the Key argument.
The to argument translates an input to a desired key.
For example, if the input is in the key of E major but we want it transposed to G major, we could say to = '*E:'.
If real = TRUE, input is simply translated to the root of the to key, with all the exact same intervals.
If real = FALSE, the input is translated to the root of the new key, with its intervals changed to match the new key as well.
In either case, the result depends on what the input's key is, which is indicated by the standard Key argument.
The Key arguments is like the "from" key.
If Key = NULL, the input key is interpreted as C major.
Consider the input notes {D B C A# B, D C# D E D} in the key of the G major.
If we specify to = e:, real = TRUE, the output will be {B G# A F## G#, B A# B C# B}.
(Notice that even though the to key is minor, the output is still clearly in E major).
If we specify to = e:, real = FALSE, the output will instead be {B G A F# G, B A# B C B}.
Building off the previous example, consider how the input key matters as well.
If we use the same input notes ({D B C A# B, D C# D E D}) but the input Key is C major, then:
If we specify to = e:, real = TRUE, the output will be {F# D# E C## D#, F# E# F# G# F#}.
If we specify to = e:, real = FALSE, the output will instead be {F# D E C# D, F# E F# G F#}.
If both by and to are specified, the to transposition is applied first, followed by the by transposition.
If real = FALSE, the by transposition happens within the to key, not the Key key.
Relative vs Parallel
When transposing to, we have diferent approaches about to determining the relationship between the
"from" key (Key argument) and the "to" key (to argument).
If we think of "parallel" relationships between keys, we match the roots of the keys regardless of modes.
For instance, C major and C minor are parallel keys.
If we instead think of "relative" relationships between keys, we match the modes of the keys, not the roots.
For instance, C major and A minor are relative keys.
This is similar to the distinction between "la-based minor" solfege (relative) vs "fixed-do" solfege (parallel).
When transposing using a to argument, if relative = FALSE the input key (Key argument) is transposed to match the root
of the to argument.
For example, if the input key is G minor and the to`` key is C major, the output is transposed to G minor. However, if relative = TRUEthe input key is transposed to match the mode of thetokey: A G minor input with a C majortowould be translated to A minor, the parallel minor of thetokey. If theKey(from key) andto' (to key) arguments have the same mode, the parallel and relative transpositions
are the same.
Special Operators +-
As a note, real transposition by and interval can be achieved more concisely using the + and - operators,
as long as at least one side of the operators is an actual tonalInterval object.
humdrumR preassigns all common tonalIntervals to objects in your global environment.
Thus, you can type commands like "c#" + M2 to get d#, or c("C4", "E4", "C5") - m6 to get "E3" "G#3" "E4".
See Also
Other tonal transformations:
invert()
Computational-Cognitive-Musicology-Lab/humdrumR documentation built on Oct. 22, 2024, 9:28 a.m.
R Package Documentation
Browse R Packages
We want your feedback!
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| transpose | R Documentation |
Transpose pitches and keys
Description
This function transposes pitches or keys
by various intervals or to target keys.
Inside the box, inputs and transpositions take place as tonalIntervals or diatonicSets,
but any numeric or character string representation of pitches can be transposed as well.
This function is incorporated directly into tonalTransform, and thence, all pitch translation
functions, so you probably won't call it directly very often.
Usage
transpose(x, by, Key, to, real, relative, ...)
Arguments
x |
***The input pitch(es) to transpose. *** Can be a |
by |
Transpose by this interval. Can be a |
Key |
Transpose from this key (to the Can be a For tonal and/or to transpositions, this is the "from" key. If this value is |
to |
Transpose to this key (from the Can be a |
real |
Should transposition be real (or tonal)? Defaults to Must be a singleon If |
relative |
Should transposition between keys be relative (or parallel)? Defaults to Must be a singleton Only relavent if using transposing between keys ( |
Details
There are two distinct types of transposition (real and tonal). There are also two different approaches to specifying transpositions: "to" and "by". "To" transpositions can also be either parallel or relative.
Types of Transposition
There are two different types of transposition: real transposition and tonal transposition.
In real transposition, all inputs are transposed by the same specific interval.
For example, the pitches {C D E F G} could be transposed up a major second to {C D E F# G}.
In tonal transposition, inputs are transposed by generic intervals, within a key.
For example, the sequence {C D E F G}, in the key of C major, could be translated up a generic second
to {D E F G A}.
To choose between real and tonal transposition, use the real argument:
real = TRUE for real transposition, real = FALSE for tonal transposition.
Alterations
Tonal transposition is complicated by the presence of any alterations in the input pitches.
For instance, if we are given the pitches {C F# G D# E}`` in the key of C major, how should they by tonally transposed up a second, within C major? There is not one obvious, correct answer answer, which can be easily identified. The algorithm implemented by humdrumR' is as follows:
Alterations/accidentals in the input are identified. (In this case, F# and D#).
The generic pitches are transposed within the key, resulting in
{D G A E F}.Alterations in the input are added to the output unless the resulting pitches are interpreted as a comma by a call to tintPartion, with a given enharmonic wrap value (the default is
12). In this example, adding the first accidental results in{G#}which is not a comma. However, the second accidental results in{E#}which is a comma away from the natural{F}. Thus, this accidental is not added to the output, resulting in{E}, not{E#}. The resulting output is{D G# A E F}.
The size of enharmonicWrap effectively determines how extreme accidentals are allowed.
The default value, 12, assures that no output notes are enharmonically equivalent to notes in the key.
To further illustrate, here is the sequence {C F# G D# E, B- A A- G C# D, B D- C} transposed
tonally within C major by all seven possible generic intervals, with enharmonicWrap = 12:
Specifying Transpositions
There are two approaches to specifying transpositions, the by and to arguments.
The by argument must be an interval, and the input is translated by that interval.
If the by interval is specific but real = FALSE, the input is treated as a generic interval,
and tranposition takes place within the key indicated by the Key argument.
The to argument translates an input to a desired key.
For example, if the input is in the key of E major but we want it transposed to G major, we could say to = '*E:'.
If real = TRUE, input is simply translated to the root of the to key, with all the exact same intervals.
If real = FALSE, the input is translated to the root of the new key, with its intervals changed to match the new key as well.
In either case, the result depends on what the input's key is, which is indicated by the standard Key argument.
The Key arguments is like the "from" key.
If Key = NULL, the input key is interpreted as C major.
Consider the input notes {D B C A# B, D C# D E D} in the key of the G major.
If we specify to = e:, real = TRUE, the output will be {B G# A F## G#, B A# B C# B}.
(Notice that even though the to key is minor, the output is still clearly in E major).
If we specify to = e:, real = FALSE, the output will instead be {B G A F# G, B A# B C B}.
Building off the previous example, consider how the input key matters as well.
If we use the same input notes ({D B C A# B, D C# D E D}) but the input Key is C major, then:
If we specify to = e:, real = TRUE, the output will be {F# D# E C## D#, F# E# F# G# F#}.
If we specify to = e:, real = FALSE, the output will instead be {F# D E C# D, F# E F# G F#}.
If both by and to are specified, the to transposition is applied first, followed by the by transposition.
If real = FALSE, the by transposition happens within the to key, not the Key key.
Relative vs Parallel
When transposing to, we have diferent approaches about to determining the relationship between the
"from" key (Key argument) and the "to" key (to argument).
If we think of "parallel" relationships between keys, we match the roots of the keys regardless of modes.
For instance, C major and C minor are parallel keys.
If we instead think of "relative" relationships between keys, we match the modes of the keys, not the roots.
For instance, C major and A minor are relative keys.
This is similar to the distinction between "la-based minor" solfege (relative) vs "fixed-do" solfege (parallel).
When transposing using a to argument, if relative = FALSE the input key (Key argument) is transposed to match the root
of the to argument.
For example, if the input key is G minor and the to`` key is C major, the output is transposed to G minor. However, if relative = TRUEthe input key is transposed to match the mode of thetokey: A G minor input with a C majortowould be translated to A minor, the parallel minor of thetokey. If theKey(from key) andto' (to key) arguments have the same mode, the parallel and relative transpositions
are the same.
Special Operators +-
As a note, real transposition by and interval can be achieved more concisely using the + and - operators,
as long as at least one side of the operators is an actual tonalInterval object.
humdrumR preassigns all common tonalIntervals to objects in your global environment.
Thus, you can type commands like "c#" + M2 to get d#, or c("C4", "E4", "C5") - m6 to get "E3" "G#3" "E4".
See Also
Other tonal transformations:
invert()
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