Hi Nathan,
> I also stopped using \relative a few years ago (I think it was in response to
> one of your posts here).
Aw, shucks… ;)
> No regrets here.
Whew.
> it gets in the way when engraving anything with chords or polyphony. Also, if
> you break your music into sections and assign them to variables, you have to
> either 1) work out how octaves interact when juxtaposing these sections or 2)
> use a hybrid of absolute mode for structure and relative mode for note entry.
Yes. These are two of the many drawbacks of using \relative mode.
> The main downside to absolute mode is that wrapping stretches of music in
> \transpose is inconvenient, creating distracting structures in the code that
> don't reflect the music. As an example, try typesetting a line that ascends
> over several octaves without an abundance of apostrophes and commas in the
> source.
It’s a *little* awkward, but \fixed helps:
%%%% SNIPPET BEGINS
\version "2.19.50"
lark = {
\fixed c' { c4 g c' g' }
\fixed c''' { c4 g c' g' }
\fixed c''''' { c4 g c' g' }
}
\score { \lark }
%%%% SNIPPET ENDS
Cheers,
Kieren.
________________________________
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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