[spflmf]

I have a song in Ebm that I'm transposing up to E and it results in strange chord names like C## and F## is there a bug or do I have a local setup issue

[GraemeJ]

There has been much discussion about this.  Read this thread for more info - https://www.zubersoft.com/mobilesheets/f...13275.html

[itsme]

Try in "Text File Settings" the new settings "Allow Cb, B#, E# and Fb" and / or "Allow Double # and b"
Nevertheless in the key of Bb there should be Db and Gb, not C# and F#.
The {key: directive in your ChordPro file is set correctly to Ebm ? 
Well, 6 flats is not the most common key, but anyway ...

[spflmf]

Try in "Text File Settings" the new settings "Allow Cb, B#, E# and Fb" and / or "Allow Double # and b"
Nevertheless in the key of Bb there should be Db and Gb, not C# and F#.
The {key: directive in your ChordPro file is set correctly to Ebm ? 
Well, 6 flats is not the most common key, but anyway ...

Thanks itsme, that was it, unticked those options and it's doing what I expected now. Strange to have those set on a default, but now I know its not a problem ?

[erhe]

The transposition algorithm is 100% correct, so if you get double-sharps after transposing to E minor, your input material was messed up to begin with. Like, if you get F## after transposing from Eb to E, then the original must have had "F#", which is wrong for Eb minor, it should have been Gb, which would have given you a G after transposing. Garbage in, garbage out.

[erhe]

I take back that "garbage in, garbage out" comment, it's completely plausible to want to write F# there in Black Velvet (Alannah Myles), because at that point the tune is meant to feel like it could be modulating, to make the harmonic center up to re-interpretation in the chorus. For looking at the chorus like it's in G# minor / B major, why not use F#. And then, you'd get F## when transposing, and you'd probably want to re-write stuff anyway.

A mechanical transposition of an entire modulating piece will inevitably fail at some point. I have a published, printed, hard-copy Disney song book with a long modulating tune that's written in F# major in one part and in Gb major in another. I don't know if there was an actual reason for it or if it was a mistake, but transposing a piece like that by the same interval parameters would produce double-sharps, and it would need some educated judgement.

In order to do a human-like "educated guess" transposition, Mobile Sheets would need to identify distinct sections of the song which need different handling.

The old transposition algorithm was broken, it produced things like, transposing an "F/A" chord to "A/Db" (), breaking interval relationships and writing nonsensical bass inversion spellings.

[spflmf]

I take back that "garbage in, garbage out" comment, it's completely plausible to want to write F# there in Black Velvet (Alannah Myles), because at that point the tune is meant to feel like it could be modulating, to make the harmonic center up to re-interpretation in the chorus. For looking at the chorus like it's in G# minor / B major, why not use F#. And then, you'd get F## when transposing, and you'd probably want to re-write stuff anyway.

A mechanical transposition of an entire modulating piece will inevitably fail at some point. I have a published, printed, hard-copy Disney song book with a long modulating tune that's written in F# major in one part and in Gb major in another. I don't know if there was an actual reason for it or if it was a mistake, but transposing a piece like that by the same interval parameters would produce double-sharps, and it would need some educated judgement.

In order to do a human-like "educated guess" transposition, Mobile Sheets would need to identify distinct sections of the song which need different handling.

The old transposition algorithm was broken, it produced things like, transposing an "F/A" chord to "A/Db" (), breaking interval relationships and writing nonsensical bass inversion spellings.

Thanks for the explanation erhe, I didn't understand any of it ? music theory isn't my strong point, I just copied it from ultimate guitar. Turning off the options itsme pointed out made it look like I was expecting, so qudos to the folks on this forum and zubersoft for being able to resolve so many different ways of handling chordsheets. Fantastic community and fantastic app ????

[erhe]

If you're used to reading chord charts and letter names, intervals and chord inversions are meaningful and important to see properly written, you'll want to keep at least "Allow Cb, B#, E# and Fb" turned on. What comes to "Allow Double # and b", I don't have statistics, but I suspect that getting double-sharps or double-flats in chord symbols in actual tunes will more likely be a result from a tune with modulations and different "perspectives" like Black Velvet here (and which a human transposer would probably have re-written), than a genuine need for a double-sharp or double-flat.