[AndyL]

That seems a little odd to me. If you are transposing three steps up, and then you go down one step, why would that change to flats suddenly?

I was imagining that each press of the "up" button would transpose a semi-tone up and use sharps and each press of the "down" button would transpose a semi-tone down and use flats taking the current displayed (unsaved) key as the starting point.

So starting from C, if you want to get to Db, one up goes to C#, another up goes to D (all using sharps) and one down goes to Db (using flats). That way you can get to where you want without going round 11 steps and you can switch between sharps and flats by going one up, one down or one down, one up.

I'm not adverse to a "swap" button, but I think the up/down buttons should also behave as I describe.

Hope that's clearer

Andy

[Zubersoft]

I think a sharp/flat toggle seems intuitive to me and requires fewer taps. Using your example, if you had sharps toggled, you could first toggle to flats then go up to Db, or you could go to C# then toggle to switch it to Db. How does that sound?

[sciurius]

Sounds great to me.
Are you still considering a separate dialog, next to the text display dialog, instead of being a part of?

[Zubersoft]

Yes, absolutely.

[itsme]

Thank you Mike, the implemented UI is great, exactly what I as a musician need.
There's just a little gap left: the "ORIGINAL KEY" button changes the displayed key above but not the score, after pressing "ORIGINAL KEY" the button "OK" returns to displaying the previous key instead of saving changes.

[sciurius]

Maybe I misunderstood...

I have a song in C. The transpose dialog reads C/Am and has Sharp enabled.

Pressing ">" a number of times gives the sequence C# -> D -> E -> F -> F# -> G -> A -> B -> C.
D# and G# are skipped.

With Flat enabled I do get the complete sequence:
C -> Db -> D -> Eb -> E -> F -> Gb -> G -> Ab -> A -> Bb -> B -> C.

Another song is in Em (G). The transpose dialog says that the original key was Gm. Where did the Gm come from? Apparently, the song was originally entered with Gm in the key field. So I changed this to Em using the Edit dialog.
To my surprise, the Transpose dialog still insists that the original key was Gm.
The chords of the song are Em C D Bm. Transposing one step up (well, two steps, G -> A, see above) with Sharp enabled gives Gbm D E Dbm.
With Flat enabled, one step up gives Fm C# D# Cm.

Summarizing, the new Transpose dialog is great and much more intuitive than the old one. Personally I would prefer the buttons to go up/down instead of right/left.
Some quirks: D# and G# are missing from the Sharp range, and it seems that the role of Sharp / Flat is reversed when the key is minor.

[Zubersoft]

D# and G# are theoretical key signatures and are therefore almost never used. I was using sites like this for reference: https://www.basicmusictheory.com/d-sharp...-signature

Based on that, and the fact that there is no minor equivalent, I do not see a point in including theoretical keys in the list. If you feel this is incorrect, I'm definitely open to changing it, I'd just love to know the scenario in which it's useful.

As far as the arrows being up/down versus right/left, I'm fine with changing it. I'd love to hear what other people think too. I'm torn... I think up/down requires less movement of the hand to change the keys which is nice, but I think the UI looks a little more cluttered that way.

As far as your song being Gm, I'm not sure what's going on there. What should have happened is that Bb should have been selected as the equivalent major key, but something seems to be broken on the key selection dialog as I cannot switch to flats for some reason. I will get this fixed (along with the other reported issue where changing the key doesn't update the song in the background).

Thanks,
Mike

[sciurius]

Whether a key is theoretical or not does not really matter. Transposition is a step-wise process. One step up from D gives D# in Sharp mode, and Eb in Flat mode.
Transposition is only effective for ChordPro songs and these do not have key signatures, just keys. Often just chords.
Actually, as I wrote earlier, having a key property for a song is misleading because the song can have multiple keys. The Transposition dialog only deals with the last or only key, often based on the first chord. So it would be more appropriate to say that the Transpose dialog shows how the first chord of the song changes, and a chord change from D to D# is quite normal.
But this is nitpicking, not worth spending much energy on. I just think that the Transposition dialog should allow all steps.

[itsme]

I agree with Sciurius that transposing should allow all keys. The additional effort to skip those "theoretical keys" is not important compared with the effort to think about why a certain key is missing.
I disagree with "chordpro songs don't have a key signature, just chords". Songs do have a key signature (at least this kind of songs that Sciurius and me usually play) and this is why the setting "Detect Key By" First Chord / Last Chord / Chord Progression and the additional possibility to overwrite it using {key:x} absolutely makes sense.
I play a lot of waltzes which change the key, so the meta data in my library says e.g. Keys: Am, Em, G wheras the key signature is Am. Or in some cases "First Chord" or "Last Chord" go wrong, e.g. "Night And Day" by Cole Porter in the key of C starts with an AbMaj7 and many tangos end with a V7 chord.

[BRX]

Well, G# major is certainly rare, but not theoratical. There are some classical pieces written in it.

(see https://en.wikipedia.org/wiki/G-sharp_major )

I too think transposing should allow all keys.

[Zubersoft]

I've added back all the keys and fixed some other issues for v1.3.2.

[itsme]

The bug with the "ORIGINAL KEY" button is still there in 1.3.2

[Zubersoft]

I've got some more bug fixes coming. If the original key was set to a minor key, it really messes things up.