On 07/05/15 16:19, Paul Morris wrote:
>> On May 7, 2015, at 10:43 AM, Paul Morris <p...@paulwmorris.com> wrote:
>>
>> \relative [optional pitch] { ...
>> \absolute [no pitch] { ...
>> \octave [obligatory pitch] { …
>>
>> The downside with this is that \absolute is really just a subset of the
>> functionality of \octave, but they have different names. \octave c {… is
>> the same as \absolute {…
>
> Here's another possibility with just two modes:
>
> \relative [optional pitch] {…}
> \octave [obligatory pitch] {…}
>
> And then just use \octave c {…} instead of \absolute {…}.
>
> In most cases one would simply use plain {…} for absolute-entry and would
> only need to use \octave c {…} when embedding inside \relative {…}.
>
> (Hmmm… I think I prefer this approach over the others.)
>
My first reaction on seeing all this was "why are we using a pitch?"
Doesn't lily store notes internally as a duplet of an octave and a
pitch? (forgive me if I'm wrong, that's what I remember from my dabbling).
So I'd be inclined to have just the two modes ...
\relative [optional pitch] {...}
[\absolute [optional octave offset]] {...}
and obviously then \absolute would be optional too unless you're using
the octave offset. So when I'm entering my music in the bass clef I
would possibly do something like
\absolute -1 { c d' e' b }
which simply shifts everything down one octave. That then also saves any
explanation about what [obligatory pitch] means. Does it have to be a
new reference C? What happens if you said, for example, e'? Does that
get understood by lily as c' - shift everything an octave? Or does it
mean "the note above e' absolute is entered as f', the note below is
entered as d"? Specifying the shift as a number makes it clear that it's
relative to the default c', and that's it.
Cheers,
Wol
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