Hi David,
On 29.02.24 15:54, David Kastrup wrote:
I'd rather use
\tagGroup alto,non-alto
\lyricmode {
\tag alto { on -- ly al -- to }
\tag non-alto { ev’ -- ry -- one ex -- cept al -- to }
}
\keepWithTag alto ...
\keepWithTag non-alto ...
But one would need to look at the rest to see whether this kind of tag
group would end up problematic.
I understand that using a single capital letter is navigating through a
kind of small gap of available names in the namespace. But the
advantages for both typing and reading (capital letters stand out, lines
of code are shorter) are significant enough to me.
So far I’ve used S,A,T,B, plus M and Y for mezzosoprano and bar‘y’tone
(voice types), plus Q for Quintus in five-part ancient music. I don’t
think those are likely to collide with other uses as long as I reserve
them within my personal code base, right?
(As a sidenote, since it doesn’t actually include those single-letter
tags: In case anyone is interested, I attach a library file that via
standard-include.ily gets used for practically all my projects now and
defines a standard set of available tag groups. The downside of that is
that I cannot add more tags to those groups on the fly, and always have
to add them directly to the library file.)
Best, Simon
\version "2.23.5"
\tagGroup
solo,
sop,sOne,sTwo,sThree,sFour,sOneB,
mez,mezOne,mezTwo,
alt,aOne,aTwo,aThree,aFour,
ten,tOne,tTwo,tThree,tFour,
bari,bariOne,bariTwo,
bass,bOne,bTwo,bThree,bFour
\tagGroup
nsolo,
nsop,nsOne,nsTwo,nsThree,nsFour,nsOneB,
nmez,nmezOne,nmezTwo,
nalt,naOne,naTwo,naThree,naFour,
nten,ntOne,ntTwo,ntThree,ntFour,
nbari,nbariOne,nbariTwo,
nbass,nbOne,nbTwo,nbThree,nbFour
\tagGroup
score,
score-single-choir,
score-double-choir,
score-similar-parts,
extract-single-choir,
extract-double-choir,
extract-similar-parts,
part,
parts-similar
\tagGroup
transposed,untransposed
