Re: workflow advice: avoiding wrong octave errors?
On 08/23, Kieren MacMillan wrote:
> You can always use \fixed. =)
I didn't know about \fixed until just now. My first thought was to use
this to make the "default" pitches begin on the bottom space of the
staff, i.e., for treble clef
\fixed f' {f g a b c d e}
is equivalent to
{f' g' a' b' c'' d'' e''}
This way, notes inside the staff would need no "," or "'", and most
notes outside would need only a single "," or "'". I think I could keep
track of octaves pretty easily if the notation were connected visually
to the staff I'm reading from.
Unfortunately, only the octave, not the note name, of the reference
pitch appears to have an effect.
\fixed f' {f g a b c d e}
has the same output as
\fixed c' {f g a b c d e}
and
{f' g' a' b' c' d' e' f'}
> > Maybe it wouldn't be so bad if I got used to it though.
>
> That was certainly my experience — after nearly a decade of using
> \relative (despite *many* frustrations around transposing instruments,
> introduction of octavation errors via copy-and-paste, etc.), I moved
> to absolute, and within about 6 months, I was shocked that I ever
> worked any other way.
>
> > What's your experience with MIDI entry?
>
> In Frescobaldi, it is quite smooth — essential to my workflow, really.
Thanks, When I have time to make larger changes to my workflow I'll give
this a shot.
Mason
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Re: workflow advice: avoiding wrong octave errors?
Hi Mason, > I thought of that, but my worry is that I'll still make octave errors, > but each will result in one transposed note instead of a transposed > phrase, which might be even less apparent than proofreading. That is a concern… > I also find relative note entry to be more intuitive and human readable. You can always use \fixed. =) > Maybe it wouldn't be so bad if I got used to it though. That was certainly my experience — after nearly a decade of using \relative (despite *many* frustrations around transposing instruments, introduction of octavation errors via copy-and-paste, etc.), I moved to absolute, and within about 6 months, I was shocked that I ever worked any other way. > What's your experience with MIDI entry? In Frescobaldi, it is quite smooth — essential to my workflow, really. Best, Kieren. Kieren MacMillan, composer (he/him) ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: workflow advice: avoiding wrong octave errors?
Thanks Kieren, On 08/23, Kieren MacMillan wrote: > My primary suggestion: use absolute instead of relative note entry, and you > will never have incorrect octavation again. :) I thought of that, but my worry is that I'll still make octave errors, but each will result in one transposed note instead of a transposed phrase, which might be even less apparent than proofreading. I also find relative note entry to be more intuitive and human readable. Maybe it wouldn't be so bad if I got used to it though. > My secondary suggestion: to make entry fast and super-accurate, use MIDI > entry if possible. I have never looked into MIDI entry for Lilypond. I was never fond of it back when I used Sibelius, because correcting things like the spelling of accidentals became more trouble than it was worth. A quick search finds this,[1] which likes like it has the potential for a reasonable workflow. What's your experience with MIDI entry? > If you stick with relative note entry, then perhaps use octave checks > regularly? Now that I know about octave checks I'm going to start using them and see if that's enough to avoid octave errors. Depending on how that goes I might try out absolute or MIDI entry next. Mason [1] https://github.com/jurihock/lilyfrog signature.asc Description: PGP signature ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: workflow advice: avoiding wrong octave errors?
Hi Mason, > placing a note in the wrong octave My primary suggestion: use absolute instead of relative note entry, and you will never have incorrect octavation again. :) My secondary suggestion: to make entry fast and super-accurate, use MIDI entry if possible. If you stick with relative note entry, then perhaps use octave checks regularly? Hope that helps! Kieren. Kieren MacMillan, composer (he/him) ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: workflow advice: avoiding wrong octave errors?
Mason, My use is for transcribing 17th and 18th C piano music. After a line or two I compile using Frescobaldi. My errors, frequent, become apparent. Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of ma...@masonhock.com Sent: Friday, August 23, 2019 1:41 PM To: lilypond-user@gnu.org Subject: workflow advice: avoiding wrong octave errors? I typically make few errors while inputting music. The two most common exceptions are incorrect note durations and placing a note in the wrong octave. The former generally is not a problem, because bar checks catch the error and tell me where to look. However, the latter slips by more easily. If after compiling I notice that a voice is in the wrong octave, I know to then go looking for the error, but with no equivalent to bar checks, it takes longer to find the error. Worse is when I have made two octave errors in opposite directions, causing the voice to end up in the correct octave. In this case, I don't spot the error until I do a round of proofreading. Does anyone have any tips they've found for avoiding this kind of error or catching it earlier? What I'm trying now is to get into a habit of compiling and checking against the manuscript more frequently, but this slows me down, so I'd also be interested in general strategies for avoiding octave errors in the first place. What would be terrific is some sort of "octave check" where at the end of a line I can enter a pitch in absolute notation which is checked against the most recent pitch in relative notation and throw an error if the octave is wrong, similar to \barNumberCheck. Mason ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: workflow advice: avoiding wrong octave errors?
"Octave checks" occurred to me while I was writing. I should have thought to RTFM before sending... http://lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#octave-checks Mason On 08/23, ma...@masonhock.com wrote: > I typically make few errors while inputting music. The two most common > exceptions are incorrect note durations and placing a note in the wrong > octave. The former generally is not a problem, because bar checks catch > the error and tell me where to look. However, the latter slips by more > easily. > > If after compiling I notice that a voice is in the wrong octave, I know > to then go looking for the error, but with no equivalent to bar checks, > it takes longer to find the error. Worse is when I have made two octave > errors in opposite directions, causing the voice to end up in the > correct octave. In this case, I don't spot the error until I do a round > of proofreading. > > Does anyone have any tips they've found for avoiding this kind of error > or catching it earlier? What I'm trying now is to get into a habit of > compiling and checking against the manuscript more frequently, but this > slows me down, so I'd also be interested in general strategies for > avoiding octave errors in the first place. What would be terrific is > some sort of "octave check" where at the end of a line I can enter a > pitch in absolute notation which is checked against the most recent > pitch in relative notation and throw an error if the octave is wrong, > similar to \barNumberCheck. > > Mason signature.asc Description: PGP signature ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
