On Thu, Dec 14, 2017 at 5:04 PM, Neo Anderson <sebulb...@yahoo.com> wrote:
> Dear All, > > Anyway, I'm thankful you've taken your time to solve my problem. > > On Thursday, December 14, 2017, 1:29:22 AM GMT+1, Kieren MacMillan < > kieren_macmil...@sympatico.ca> wrote: > > > Hi David, > > >> Because my only goal was to clarify for future readers of the list that > "manipulations on stuff" are not the only thing that can cause headaches. > > I failed to see how cut and paste differed from manipulations on stuff. > > > >> For future list-readers: Using absolute and fixed entry modes allows > you to avoid the issues/effort described by David. > > If people would only cease bringing any questions about \relative > > to the list, we'd be able to avoid this particular drum beat. > > Agreed. But I would offer that the reason people (esp. newbies) > continually bring questions about \relative to the list is because it's not > as intuitive and "idiot-proof" as our documentation would suggest — which > is precisely why I keep beating the drum, to try to keep people from making > the same decade-long mistake that I did (which was to use \relative, as > suggested/implied in the official documentation). > > Cheers, > Kieren. > Greetings - Just a reminder and note: I have been using \relative for years and have been quite happy with it. Perhaps my situation is fairly unique. I transcribe a lot of fiddle tunes, then transpose them down an octave and into alto clef. Using \relative is easier for me than using absolute pitches and \transpose, especially when I need to move an A part or B part up or down an octave because the fiddle tune won't all fit on the viola down an octave. My point being that I understand the arguments for absolute pitch entry and I prefer \relative pitch entry. I think there's room for both. All the best, Ralph -- Ralph Palmer Brattleboro, VT USA palmer.r.vio...@gmail.com
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