// ** Transposition proposal: summary ** // * This page contains the fifth draft of a proposal to extend the transcription capabilities within abc (following hundreds of messages on the abcusers mailing list in Sep 2011 and subsequently in Dec 2011 / Jan 2012). * The initial draft extended the original scoretranspose syntax proposed on the mailing list and built on a proposal outlined in message [[http://tech.groups.yahoo.com/group/abcusers/message/6206|6026]]. It also fleshed out the ideas of [[#enharmonic indicators]] and [[#writing abc code for transposing instruments]] * Following a vote on syntax in message [[http://tech.groups.yahoo.com/group/abcusers/message/6634|6634]] the third version also included instrument-centric syntax for musicians who play transposing instruments and prefer the established musical vernacular for describing their transposition * The fourth version unified the syntax for transposing instruments into one complete (if over-specified) system * The fifth version additionally includes a proposal that the ''abc-pitch'' is specified in the tune (or file) header, rather than in each voice - see message [[http://tech.groups.yahoo.com/group/abcusers/message/6977|6977]] and that each tune should be transcribed entirely at sounding pitch or entirely at written pitch * There are still some discussions to be had and decisions to be made * whether to deprecate ''transpose='' (as indicated below) or not; * the ''I:transposition'' directive; * the default values for ''I:abc-pitch'' - either ''sounding'' (as used below), or ''written'', or no default (meaning that an ''instrument'' modifier would generate an error message if there is no ''abc-pitch'' specified); * should tunes be either transcribed entirely at sounding pitch or transcribed entirely at written pitch (as described below) or should it be possible to override the ''I:abc-pitch'' directive with an ''abc-pitch'' modifier? * a better syntax for ''I:shift to-sounding''; * [[#scope and inheritance of modifiers]]; * all of the //TODO// indicators below; * other suggestions made on the abcusers mailing list ==== 4.6 Transposition and clefs ==== // Additional text for [[abc:standard:v2.1#clefs_and_transposition|section 4.6 Clefs and transposition]] // As well as directives for [[#transposition of a tune file|transposing a tune (or file)]] and [[#extracting a score in sounding concert pitch]], detailed clef and transposition information may be provided in the ''K:key'' and ''V:voice'' fields. The general syntax is: [clef=][][+8|-8] [middle=] [shift-=[]] [instrument=] [octave=] [stafflines=] (where ''<...>'' denotes a value, ''[...]'' denotes an optional modifier, and ''|'' separates alternative values). // ... unchanged ... // * ''[shift-=[]]'' - the ''shift'' modifiers are used when [[#writing abc code for transposing instruments]]. They describe how abc software must treat the abc code in order to produce the required typeset score or playback and specify the shift in the current voice as a number of semitones; positive numbers shift up, negative down. The '''' can optionally be used to clarify which key is meant - for more details see [[#enharmonic indicators|enharmonic indicators]]. There are two ''shift'' modifiers (for more information see [[#writing abc code for transposing instruments]]): * ''[shift-score=[]]'' - for typesetting, shift the typeset score in the current voice. This setting does not affect playback. * ''[shift-sound=[]]'' - for playback, shift the sound in the current voice. This setting does not affect the typeset score. * ''[instrument=[]]'' - when [[#writing abc code for transposing instruments]], the ''instrument'' modifier is used to indicate the transposing instrument that the abc code relates to. For more information see [[#writing abc code for transposing instruments]]. // ... unchanged ... // // Recommendation: // In multi-voice tunes it is recommended that these modifiers only applied to ''V:voice'' fields (an additional ''V:voice'' field can even be introduced if one of the modifiers needs to change at a ''K:key'' change). In single-voice tunes they will normally be applied to the ''K:key'' field. However, if a single-voice tune contains ''V:voice'' fields (for example, if it is a part extracted from a multi-voice score), then it is recommended that modifiers are applied to the ''V:voice'' fields. The modifiers may be arranged in any order but there must be no more than one of each modifier in the same field. In this context, ''shift-sound'' and ''shift-score'' count as two different modifiers and so it is possible for them to appear together. Within a given voice, the modifiers of each ''K:'' or ''V:'' field are generally inherited from the previous ''K:'' or ''V:'' (unless overridden) - see [[#scope and inheritance of modifiers]]. The ''transpose'' modifier of [[abc:standard:v2.1#clefs and transposition|abc 2.1]] is equivalent to the ''shift-sound'' modifier. However, the use of ''transpose'' is now deprecated. // TODO: // Update deprecated list. For more details about transposing instruments and how the ''shift'' modifiers may be used see [[#writing abc code for transposing instruments]] and [[#enharmonic indicators]]. For more details about ''instrument'' and ''abc-pitch'' modifiers, see [[#writing abc code for transposing instruments]]. // TODO: // Here or elsewhere, clarify how the ''shift'' modifiers affect the clef - see messages [[http://tech.groups.yahoo.com/group/abcusers/message/6316|6316]] and [[http://tech.groups.yahoo.com/group/abcusers/message/6324|6324]]. // ... unchanged ... // === 4.6.1 Transposition of a tune / file === // TODO: // The exact syntax here has yet to be discussed. However, it may not be possible to use ''I:transpose'' because of an existing ''%%transpose'' directive. When included in the tune header (or even the file header) the ''I:transposition'' directive, followed by the number of semitones and, optionally, an [[#enharmonic indicators|enharmonic indicator]], can be used to transpose a complete tune (or even all the tunes in a file). // Example: // The following excerpt would be transposed up a fifth (7 semitones) from C into G. I:transposition 7 K:C CDEF| // Example: // The following excerpt would be transposed up by 6 semitones. Because such a transposition is ambiguous, the ''#'' means that the resulting key will be F# rather than Gb. See [[#enharmonic indicators|enharmonic indicators]] for more details. I:transposition 6# K:C CDEF| The [[#semitone shift table]] shows the number of semitones required to achieve any transposition between every key from ''K:Cb'' (seven flats) through to ''K:C#'' (seven sharps). // Comment for developers: // The ''I:transposition []'' directive is equivalent to applying ''shift-score=[]'' and ''shift-sound=[]'' to every ''K:'' field in the tune (or file). For details of how the ''I:transposition'' directive combines with existing transposing instrument modifiers in the tune (i.e. in a tune that has one or more voices written for transposing instruments), see [[#transposition for transposing instruments]]. === 4.6.2 Writing abc code for transposing instruments === Transposing instruments sound notes at a different pitch to which they are written. For example, a C written on a Bb clarinet score would be sounded as a Bb (and similarly a written D would be sounded as a C). This section uses **written pitch** (i.e. the pitch that is written on a transposing instrument's score) and **sounding pitch** (i.e. the pitch is actually sounded) to distinguish between the two. (Note: "sounding pitch" is also often referred to as "concert pitch"; however, confusingly, this term is also sometimes used to indicate "play A above middle C at 440Hz", so for clarity the former terminology is used.) To write abc code for a transposing instrument, the tune (or file) should indicate whether the abc code is transcribed at sounding pitch or written pitch (using an ''I:abc-pitch'' directive). Subsequently each transposing instrument's voice has transposition modifiers (''instrument'' and / or ''shift'') which indicate how the abc code should be interpreted. Typically these appear in the ''V:'' field although they may also be used in the ''K:'' field (for example, in a tune transcribed for a single voice). The ''instrument'' modifier, together with the ''abc-pitch'' setting, describes how the music has been transcribed for a transposing instrument and closely mimics typical language used by musicians who play such instruments. By contrast, the ''shift'' modifiers instruct the reader (human or software) how to produce the desired output. These mutually dependent constructs have been deliberately chosen to suit different ways of looking at the same issue and in fact each modifier can inferred from the other. == Transposing instrument specifics == The ''abc-pitch'', which indicates how the abc code has been transcribed (and thus how the ''instrument'' modifiers are to be interpreted), is set using either of the following directives in the tune (or file) header: I:abc-pitch=written I:abc-pitch=sounding The ''abc-pitch'' only indicates how the ''instrument'' modifiers are to be interpreted; it has no effect on any voice that does not contain an ''instrument'' modifier, so voices written for non-transposing instruments are completely unchanged by it. Furthermore, ''abc-pitch'' has no effect on the ''shift'' modifiers (although, for clarity, the use of the ''I:abc-pitch'' directive is recommended in all tunes transcribed for transposing instruments, even if they only use ''shift'' modifiers). If the ''I:abc-pitch'' directive is omitted and an ''instrument'' modifier is encountered, the default ''abc-pitch'' is assumed to be ''sounding''. The two transposition modifiers, specified in the ''V:voice'' or ''K:key'' fields, are used as follows: * the ''instrument='' modifier describes the "key" of the instrument (e.g. Bb clarinet is indicated by ''instrument=Bb''), followed optionally by an octave indicator (e.g. +1, -2) to specify if the transposition is "high" or "low"; * the ''shift'' modifiers describe what the software must do to produce the required typeset score or to adjust the playback: if the abc code has been transcribed at sounding pitch, the typeset score will need transposing to written pitch and ''shift-score'' indicates how to produce this; conversely, if the abc code has been transcribed at written pitch, the playback will need adjusting and the ''shift-sound'' indicates how to achieve this. // Example: // Bb instruments sound a tone below what is written, so that if the abc code is transcribed at sounding pitch the typeset score must be shifted up by two semitones. This is fully specified as: I:abc-pitch=sounding V:clarinet instrument=Bb shift-score=+2 // Example: // Alternatively, for the same Bb instrument, if the abc code is transcribed at written pitch, then the playback must be shifted down by two semitones. This is fully specified as: I:abc-pitch=written V:clarinet instrument=Bb shift-sound=-2 As noted above, the ''instrument'' and ''shift'' modifiers are mutually dependent and it is straightforward to calculate one from the other. The following table lists the ''instrument'' "keys" that are supported together with their corresponding ''shift'' values (see [[http://en.wikipedia.org/wiki/Transposing_instrument|Wikipedia]] for a full list of transposing instruments and their keys): ^ ''instrument'' ^ ''abc-pitch=sounding'' ^ ''abc-pitch=written'' ^ example ^ | ''instrument=C'' | ''shift-score=0'' | ''shift-sound=0'' | | | ''instrument=Bb'' | ''shift-score=+2'' | ''shift-sound=-2'' | Bb clarinet | | ''instrument=A'' | ''shift-score=+3'' | ''shift-sound=-3'' | A clarinet | | ''instrument=Ab'' | ''shift-score=+4'' | ''shift-sound=-4'' | | | ''instrument=G'' | ''shift-score=+5'' | ''shift-sound=-5'' | alto flute | | ''instrument=F'' | ''shift-score=+7'' | ''shift-sound=-7'' | cor anglais | | ''instrument=E'' | ''shift-score=+8'' | ''shift-sound=-8'' | | | ''instrument=Eb'' | ''shift-score=+9'' | ''shift-sound=-9'' | alto sax | | ''instrument=D'' | ''shift-score=+10'' | ''shift-sound=-10'' | | | ''instrument=Db'' | ''shift-score=+11'' | ''shift-sound=-11'' | | For high and low transposing instruments, the instrument key can be followed by a ''+'' or ''-'' together with the number of octaves. In these cases the ''shift-score'' equivalent has 12 //subtracted// from it for each octave the instrument is raised and 12 //added// for each octave it lowered. Similarly the ''shift-sound'' has 12 added for each octave it is raised and 12 subtracted for each it is lowered. // Examples: // * The sopranino saxophone is in high Eb and so would be written ''instrument=Eb+1''. The ''shift'' equivalents are therefore ''shift-score=-3'' (9 - 12) for abc at sounding pitch and ''shift-sound=+3'' (-9 + 12) for abc at written pitch. * The tenor saxophone is in low Bb and so would be written ''instrument=Bb-1''. The ''shift'' equivalents are therefore ''shift-score=+14'' (2 + 12) for abc at sounding pitch and the ''shift-sound=-14'' (-2 - 12) for abc at written pitch. == Syntax possibilities and alternatives == Because each transposing instrument modifier can inferred from the other it is possible to omit one of them, according to taste, as follows: * if the ''instrument'' modifier is omitted it can be inferred from the ''shift'' modifier and the ''abc-pitch'' setting (e.g. see the table above); * if the ''shift'' modifier is omitted, it can be inferred from the ''instrument'' modifier and the ''abc-pitch'' setting (e.g. see the table above). // Examples: // The following ''V:'' fields contain equivalent ways of specifying a Bb instrument at sounding pitch: I:abc-pitch=sounding V:clarinet instrument=Bb shift-score=+2 V:clarinet instrument=Bb V:clarinet shift-score=+2 // Examples: // The following ''V:'' fields contain equivalent ways of specifying a Bb instrument at written pitch: I:abc-pitch=written V:clarinet instrument=Bb shift-sound=-2 V:clarinet instrument=Bb V:clarinet shift-sound=-2 // Recommendation: // These differing possibilities have been deliberately included because of a wide-range of views whilst this syntax was being discussed. The user is recommended to decide on the modifier(s) that they find most suggestive and stick with it as far as possible. == Non-standard transposition == For all non-standard cases, the ''shift'' modifiers can be used, since they merely describe how the abc code is to be treated. Indeed they provide a self-contained transposition system, which is both complete and very flexible (more so than using standard notation), in particular since both ''shift-score'' and ''shift-sound'' can appear in the same field. // Examples: // None of these usages are recommended, but they are available. * ''K:C shift-sound=-2 shift-score=+7'' indicates a tune transcribed in C, played back in Bb and typeset in G; * ''K:C shift-score=+7 shift-sound=+7'' indicates a tune transposed from C to G; * You can use ''shift-sound'' to include a written-pitch voice in a sounding-pitch tune. == Transposition conflicts == Since the ''instrument'' and ''shift'' modifiers are mutually dependent, it is possible for a field to contain conflicting information. In this context, a conflict is said to occur when the "shift" modifier(s) specifies a different number of semitones to that implied by the ''instrument'' modifier. If a conflict arises the ''shift'' modifiers override ''instrument'' (since the ''shift'' modifiers are self-contained). However, software encountering such conflicts should issue a warning to the user. // Example: // If the abc is transcribed at sounding pitch (''I:abc-pitch=sounding''), a Bb instrument requires the typeset score to be shifted up by 2 semitones. Therefore the combination of ''shift-score=+3 instrument=Bb'' is meaningless, musically. However, since the ''shift'' modifier overrides the ''instrument'', this combination would be treated exactly the same as ''shift-score=+3 instrument=A'', although the software should issue a warning that the modifiers did not make sense. == Transposing instruments - extended example == Suppose a Bb clarinet player and a violinist wish to play the same piece which simply consists of the notes CDEF in the key of C. Since the violin is not a transposing instrument, the violinist's part is written (and sounded): V:violin K:C CDEF| For the clarinet part, there is a choice. If, say, the composer of the piece prefers to work at sounding pitch, the clarinet part can be transcribed as sounded with modifiers to indicate that the score should be typeset two semitones up from where it is sounded: I:abc-pitch=sounding V:clarinet instrument=Bb % or shift-score=+2 or both K:C CDEF| This will be rendered by abc playback software as the notes ''CDEF'' and by abc typesetting software as follows: // TODO: // include typeset score image showing ''[K:D] DEFG'' However, if the clarinet player wants the abc music code to reflect what appears on the typeset score, the abc code can be transcribed at written pitch (i.e. the notes DEFG) with modifiers to indicate that the score should be typeset as transcribed, but that playback should be transposed two semitones down: I:abc-pitch=written V:clarinet instrument=Bb % or shift-sound=-2 or both K:D DEFG| This will also be rendered by abc playback software as the notes ''CDEF'' (i.e. shifted down two semitones) and by abc typesetting software as above. == Enharmonic indicators for transposing instruments == Enharmonic distinctions can be assessed by considering the ''shift'' modifiers and the [[#semitone shift table]] (even if the ''shift'' modifier has to be inferred). // Example: // In the following, the ''instrument=Bb'' modifier (together with the ''I:abc-pitch=sounding'' directive) imply ''shift-score=+2''. Therefore, as can be seen from the [[#semitone shift table]], the resulting score would be typeset as if the key signature were ''K:F#'' rather than ''K:Gb''. See [[#enharmonic indicators]] for details. I:abc-pitch=sounding K:E instrument=Bb To access other enharmonic choices, the ''shift-score'' (or ''shift-sound'') modifier must be used directly. // Example: // In the following, the ''shift-score=+2b'' indicates that the resulting score should be typeset as if the key signature were ''K:Gb'' rather than ''K:F#'' (although this would be a very unusual way to write for a Bb instrument). See [[#enharmonic indicators]] for details. I:abc-pitch=sounding K:E instrument=Bb shift-score=+2b == Transposition for transposing instruments == If the ''I:transpose'' directive is used for a tune which has one or more voices written for transposing instruments, then the transposition is combined with the transposing instrument by adding the transposition's ''shift-score'' and ''shift-sound'' equivalents into the transposing instrument's ''shift'' modifiers (even if those modifiers have to be inferred). // Example: // Consider the following excerpt: I:transposition 7 V:clarinet instrument=Bb K:C CDEF| The ''I:transposition 7'' directive is equivalent to applying ''shift-score=7'' and ''shift-sound=7'' to every key signature (see [[#transposition of a tune file|transposition of a tune / file]]). Meanwhile the ''instrument=Bb'' assumes the default of ''I:abc-pitch=sounding'' and hence implies ''shift-sound=2''. The excerpt above is therefore equivalent to the following, where the two ''shift-score'' modifiers are added together to give 9 and the ''instrument'' modifier is omitted since it no longer makes sense: V:clarinet shift-score=9 shift-sound=7 K:C CDEF| // TODO: // Decide a sensible rule for combining enharmonic indicators - e.g. what happens if you combine ''shift-score=6#'' with ''shift-score=11b''? == Extracting a score in sounding / concert pitch == If one or more voices in a tune are transcribed for transposing instruments it is sometimes useful to produce a sounding (concert) pitch score (e.g. for the conductor). The ''I:shift to-sounding'' directive can be used in the tune header (or even the file header) to typeset a complete score (or even all the scores in a file) at //sounding pitch//. It has no effect on tunes where ''I:abc-pitch=sounding'' (the default) is already in use. To achieve this, for tunes where ''I:abc-pitch=written'' is in use, in effect ''I:shift to-sounding'' infers any missing ''shift-sound'' modifiers and treats all of the ''shift-sound='' modifiers as if they were ''shift-sound='' and ''shift-score=''. There shouldn't be any ''shift-score'' modifiers in the tune (since they are only used for sounding-pitch tunes), but if they are there to handle some kind of [[#non-standard transposition]], they are ignored. // Example: // The following excerpts are treated identically by both playback and typesetting software and produce a typeset score at //sounding pitch// (the sound output is already at //sounding pitch// and so is unaffected). I:shift to-sounding ... V:clarinet 1 K:C instrument=Bb % the default abc-pitch=sounding implies shift-score=+2 CDEF| V:clarinet 2 K:D instrument=Bb abc-pitch=written % implies shift-sound=-2 DEFG| V:clarinet 1 K:C CDEF| V:clarinet 2 K:D shift-sound=-2 shift-score=-2 DEFG| === 4.6.3 Enharmonic indicators === Generally, when an ''I:transposition'' directive is used for a tune, or a ''shift-score'' or ''shift-sound'' modifier applied to a field, each affected key signature will be changed to the key signature which is closest in the [[http://en.wikipedia.org/wiki/Cycle_of_fifths|cycle (helix) of fifths]]. However, if the key shifts through 6 or more steps in the cycle, it is ambiguous which key is required. The following examples illustrate this. Mostly they are expressed in terms of ''shift-score'', but the same rules govern an ''I:transposition'' directive when applied to a ''K:'' field. // Example 1: // The transposition ''K:C shift-score=10'' indicates that the score will be typeset in ''K:Bb'' rather than ''K:A#'', since Bb is only two steps away from C in the cycle of fifths (C - F - Bb), whereas A# is ten steps away (C - G - D - A - E - B - F# - C# - G# - D# - A#). The same would be true for an ''I:transposition 10'' directive applied to a ''K:C'' field. // Example 2: // The transposition ''K:C shift-score=6'' is ambiguous as to whether ''K:Gb'' or ''K:F#'' is intended since both are six steps away from C in the cycle of fifths. In ambiguous cases, enharmonic indicators ''b'' or ''#'' can be used (immediately after the number of semitones) to state which is required. // Example: // The transposition ''K:C shift-score=6b'' would shift the typeset score to ''K:Gb'' whereas ''K:C shift-score=6#'' would shift it to ''K:F#''. By extension, enharmonic indicators ''bb'' or ''##'' could be used when the key shifts through 18 or more steps in the cycle (although this is unlikely to ever occur in practice). // TODO: // Include some sensible limits (here and elsewhere in the document) on what keys and accidentals should be supported by compliant software; e.g. double sharp and double flat accidentals should be supported, but triples are entirely optional. The following semitone shift table shows all the upward shifts (i.e. transposing //up// from the original key to the required key) between every key from ''K:Cb'' (seven flats) through to ''K:C#'' (seven sharps). | ^ key required ^^^^^^^^^^^^^^^ ^ original key ^ Cb ^ Gb ^ Db ^ Ab ^ Eb ^ Bb ^ F ^ C ^ G ^ D ^ A ^ E ^ B ^ F# ^ C# ^ | ''K:Cb'' | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | 3# | 10# | 5# | 0# | 7# | 2# | | ''K:Gb'' | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | 3# | 10# | 5# | 0# | 7# | | ''K:Db'' | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | 3# | 10# | 5# | 0# | | ''K:Ab'' | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | 3# | 10# | 5# | | ''K:Eb'' | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | 3# | 10# | | ''K:Bb'' | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | 3# | | ''K:F'' | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | 8# | | ''K:C'' | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | 1# | | ''K:G'' | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | 6# | | ''K:D'' | 9b | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | 11 | | ''K:A'' | 2b | 9b | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | 4 | | ''K:E'' | 7b | 2b | 9b | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | 9 | | ''K:B'' | 0b | 7b | 2b | 9b | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | 2 | | ''K:F#'' | 5b | 0b | 7b | 2b | 9b | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | 7 | | ''K:C#'' | 10b | 5b | 0b | 7b | 2b | 9b | 4b | 11b | 6b | 1 | 8 | 3 | 10 | 5 | 0 | To calculate downward shifts, look up the number in the table and subtract 12 from it (leaving the enharmonic indicator unchanged). // Example: // To transposing up from ''K:C'' to ''K:G'' (the row headed ''K:C'' and the column headed ''G'') is a positive shift of 7 semitones and hence ''I:transpose 7'' is used. Transposing down from ''K:C'' to ''K:G'' is (7 - 12) = -5 semitones and hence ''I:transpose -5'' is used. The shift can also go beyond an octave. // Example: // ''K:C shift-score=19'' would shift the typeset score up an octave and a fifth from ''K:C'' to ''K:G'' (i.e. the note ''C'' is transposed to the note ''g''). Note that even though they are not specifically mentioned in the table, the semitone shifts also work for minor and modal keys, provided that both original and required key signatures are both minor or both in the same mode. // Example: // To transpose up from ''K:Cmin'' to ''K:Gmin'' is a positive shift of 7 semitones (the same semitone shift as for ''K:C'' to ''K:G''). Finally note that enharmonic indicators do also make sense for the ''shift-sound'' modifier, although they will only make a difference to the sound if the playback software can handle non-equal temperaments (since, for example, a Gb will sound exactly the same as an F# in equal temperament). === 4.6.4 Scope and inheritance of modifiers === // TODO: // The scoping and precedence of all of the modifiers needs some careful work as it hasn't been addressed properly yet (even in abc 2.0 where most of them were introduced). This issue also touches on multi-voice syntax, slated for abc 2.2. The scoping needs to address the interaction between global ''V:'' fields (in the tune header), the global ''K:'' field (signalling the end of the tune header and the start of the tune body), local ''V:'' fields (within the tune body) and local ''K:'' fields (also within the tune body).