Re: Understanding how \tag works in \relative pitched music

David Wright writes: [...] >> >> Now make-relative is a convenient but quite heavy-handed macro. >> >> There are situations where it fails, and then it does so >> >> spectacularly. >> >> >> >> The reason is that it allows creating a more natural "user >> >>

Re: Understanding how \tag works in \relative pitched music

On Mon 07 Aug 2017 at 22:33:12 (+0200), David Kastrup wrote: > David Wright writes: > > > Neither do I. But the post I was commenting on was constructing an > > Aunt Sally argument, "the unpredictability of \relative with \tag" > > as a reason to make the change. > >

Re: Understanding how \tag works in \relative pitched music

David Wright writes: > Neither do I. But the post I was commenting on was constructing an > Aunt Sally argument, "the unpredictability of \relative with \tag" > as a reason to make the change. Maybe "unpredictability" was not the best expression. It's clear that

Re: Understanding how \tag works in \relative pitched music

On Mon 07 Aug 2017 at 08:43:31 (+0200), David Kastrup wrote: > David Wright writes: > > > On Sun 06 Aug 2017 at 22:51:57 (+0200), David Kastrup wrote: > >> David Wright writes: > >> > >> > (\fixed could have been implemented differently, ie

Re: Understanding how \tag works in \relative pitched music

David Wright writes: > On Sun 06 Aug 2017 at 22:51:57 (+0200), David Kastrup wrote: >> David Wright writes: >> >> > (\fixed could have been implemented differently, ie without >> > collapsing the meaning of c' through b' as its first

Re: Understanding how \tag works in \relative pitched music

On Sun 06 Aug 2017 at 22:51:57 (+0200), David Kastrup wrote: > David Wright writes: > > > (\fixed could have been implemented differently, ie without > > collapsing the meaning of c' through b' as its first argument. > > This might make it more useful for parts having

Re: Understanding how \tag works in \relative pitched music

David Wright writes: > (\fixed could have been implemented differently, ie without > collapsing the meaning of c' through b' as its first argument. > This might make it more useful for parts having a limited range > centered close to c.) How so? The reason we

Re: Understanding how \tag works in \relative pitched music

On Sat 05 Aug 2017 at 09:07:48 (-0400), Kieren MacMillan wrote: > Hi, > > > Huh, can't say I've heard of \fixed. > > It may have been a relatively [ha!] recent addition…? > See > AFAICT \fixed is not in 2.18.2 but is

Re: Understanding how \tag works in \relative pitched music

caag...@gmail.com writes: > Huh, can't say I've heard of \fixed. I always use \transpose c c'', > which seems to have the same effect. It looks stupid in the code, > though. The effect is not the same. \transpose c c'' \absolute ... is the same as \transpose c c'' ... while \fixed c''

Re: Understanding how \tag works in \relative pitched music

My thanks to all who responded. There were three suggestions offered to "fix" my incorrect code and I confirm that all three produce the expected output. Guy On 8/5/2017 10:40 AM, David Wright wrote: On Fri 04 Aug 2017 at 23:51:49 (-0500), Guy Stalnaker wrote: So it's an Order of Operations

Re: Understanding how \tag works in \relative pitched music

On Fri 04 Aug 2017 at 23:51:49 (-0500), Guy Stalnaker wrote: > So it's an Order of Operations issue. Unfortunately, your capitalisation indicates you haven't really understood the implications of what I wrote. > Pitches entered using \relative are > first converted to absolute then the selection

Re: Understanding how \tag works in \relative pitched music

Hi, > Huh, can't say I've heard of \fixed. It may have been a relatively [ha!] recent addition…? See > I always use \transpose c c'', which seems to have the same effect. It looks > stupid in the code, though. A quick

Re: Understanding how \tag works in \relative pitched music

Huh, can't say I've heard of \fixed. I always use \transpose c c'', which seems to have the same effect. It looks stupid in the code, though. And yeah, absolute mode is a lot easier than relative. If I want to duplicate a measure, I prefer just duplicating it instead of having to adjust the

Re: Understanding how \tag works in \relative pitched music

Hi Guy, > Which suggests that \tag used with \relative will never work. Whether or not your conclusion is technically accurate — others will be more qualified to confirm or correct — the unpredictability of \relative with \tag (which I used to use heavily, before finding the edition-engraver)

Re: Understanding how \tag works in \relative pitched music

2017-08-05 6:51 GMT+02:00 Guy Stalnaker : > So it's an Order of Operations issue. Pitches entered using \relative are > first converted to absolute then the selection using \tag conditional. > > Which suggests that \tag used with \relative will never work. > > Thanks. > > On

Re: Understanding how \tag works in \relative pitched music

So it's an Order of Operations issue. Pitches entered using \relative are first converted to absolute then the selection using \tag conditional. Which suggests that \tag used with \relative will never work. Thanks. On Aug 4, 2017 10:45 PM, "David Wright" wrote: > On

Re: Understanding how \tag works in \relative pitched music

On Fri 04 Aug 2017 at 15:41:34 (-0500), Guy Stalnaker wrote: > All, > > Why is this output being created? I would expect to get exactly the same > pitches on all three staffs, but since not, my expectations are obviously > wrong. > > %% SNIPPET %% > ​straightMusic = \relative c' { > a2

Re: Understanding how \tag works in \relative pitched music

Maybe someone more well-versed with the inner workings of lilypond might correct me here, but as I understand it, the pitches depend on the sequence of notes in the input, regardless of any tags that might be attached to some of them. Conversely, when \keepWithTag (or any of the related commands)

Understanding how \tag works in \relative pitched music

All, Why is this output being created? I would expect to get exactly the same pitches on all three staffs, but since not, my expectations are obviously wrong. %% SNIPPET %% ​straightMusic = \relative c' { a2 _\markup { no tag, relative pitch } cis4 e | fis1 | } clarinetOneMusic = \relative