On 2015/05/03 09:02:51, dak wrote:
However, I _think_ that your comment would suggest \absolute f'' { f
... to be
the same
as \absolute { f'' ...
Correct
whereas I suggested making \absolute f'' { f ... the same
as \absolute { bes'' ...
Now there _is_ a difference between \relative c and \relative f. With
what I
guess from your proposal, \absolute c and \absolute f would be the
same. And so
would be \absolute b.
Yes, in Keith's and my model \relative sets a starting pitch, \absolute
would set a starting octave only, and pitches thereafter are relative to
the octave of the previous note. So the input notes are always in a
clearly defined octave. Perhaps a better name for this mode of entry
would be \relativeOctave. I'll use this later to be clear what I mean.
Now I actually like the idea of using \absolute bes' for entering a
trumpet in
audible pitch using an input scale of { c d e f g ... }. That's a
concept
different from \transpose c' bes' { ... } or \transpose c bes' which
primarily
suggest a connection between _printed_ pitch and audible pitch (like
\transposition does) rather than _input_ pitch and printed pitch.
A nice idea (your original suggestion was too cute indeed to register as
meaning this to my old brain ;) But it does rather muddy the concept of
an absolute pitch, which is enshrined in >10 years of manuals.
I do realize that \relative only ever touches the octave, and it seems
to make
little sense to have \absolute f turn { c, d, e, f g a b c d e f' ...
} into one
continous scale even though it would only touch the octave (like
relative) and
allow using as few octave marks as possible for a given tessitura.
No, a continuous scale would be \relativeOctave { c, d e f g a b c' d e
f ... }. The c' resets the octave. This doesn't work so well for a
melody oscillating a tone or two above and below a c, of course, but it
does avoid multiple ''' and ,,,.
But while
that would also be a consistent possibility, I don't think having e be
a higher
pitch than f is going to win us a lot of sympathies.
No, e would never be higher than f in \relativeOctave.
I prefer the transposing interpretation.
I wouldn't oppose it. Indeed, the two possibilities could exist
together, depending on the presence or absence of a prefix pitch.
\absolute bes' { ... } transposes the input; \absolute { ... } works
like \relativeOctave.
Just some thoughts. We need some other views I think.
Trevor
https://codereview.appspot.com/235010043/
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