Regards,
Wim.
On 9 Mar 2013, at 05:45 , Keith OHara wrote:
Colin Hall <colinghall <at> gmail.com> writes:
In my early days with Lilypond I learned this to my cost. I've never
used \relative since then.
I stopped using \relative about a year ago, because absolute note
entry is
vastly easier.
Not if you have a long stretch in the same "area". And then I start
every page with an absolute note marks, it corrects and I see the
complaints when I compile it.
When writing, I do not generally remember the previous note (more
likely the
previous chord, or the first note in the previous phrase). Even
when I do,
for some reason determining whether I am moving more than a nominal
fourth
takes some mental effort. LilyPond punishes a single mistake in this
mental
effort by placing every following note in the wrong octave.
I do, however, have in mind the range of the instrument, and can
\transpose
so that written c d e f g a b falls in the center of that range. In
borderline cases I prefer putting the home octave a bit higher,
because ,
is one keystroke for me while ' requires two. Transposed absolute
entry
puts me in control.
Agree, we should have an easy way to switch from absolute to relative
(Yes, everthing inside \relative { } is relative, all other is
absolute, I know), like: \absolute: from here on everything is
absolute like \clef bass tells me: from here on display everything in
the bass clef.
\relative c' {} might work better if applied to short passages, but
I can
never remember to close the }. Just after typing a note, I am not
thinking
that I might soon forget what I just typed. When I do forget,
looking back
to remember is easier than going back to close the }.
What I alos do is the trick of reading things mentally in another
clef. For example: I've re-written some (J.S. Bach) Gamba parts to a
bass clarinet. Part of it is written in bass clef, part in tenor clef.
I know how a tenor clef works, but I can't read it fluently. I just
read it as it it where a bass clef and wrap it in a transpose block.
When I did use \relative c' {} it was a burden to think ahead "the
first note
I want will probably be an f'', so the nearest C is c'' ". The new
proposal
for \relative {...} removes that burden.
I like the trick of having the first note as f=' for example and be
able to use relative for the rest. That eases a lot.
David Kastrup <dak <at> gnu.org> writes:
Well, stuff can get rather wordy, and mixing \transpose c c''' in
scores
together with \transposition was a recipe for audible surprises.
Quick:
The combination \transpose c c, { \transposition bes \clef bass c'
d' }
means "Typed c' represents concert bes " in version 2.16. In
version 2.18
it will mean "Printed c' represents concert bes " (the new way
being more
consistent with the case where there is no \transposition setting at
all).
Neither way is terribly confusing. Both are details that I tend not
to
remember, so I take a guess and adjust once after I see if the cue
notes
come out right.
Transposed absolute note entry rocks. Relative note entry sucks.
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