"Dmytro O. Redchuk" <brownian....@gmail.com> writes:
> On Fri 26 Aug 2011, 11:59 David Kastrup wrote:
>> Your complaint about my code focused on the consequences of doing the
>> crescendo in a separate voice. Which I did not do.
> I am sorry.
>
>> So could you focus your critique on << c1 { s4 s2\< s4\! } >> (or
>> whatever the exact timing was) rather than on your multi-voice strawman?
> No, I could not.
>
> I don't like this way of adjusting hairpins. Nothing more.
>
> Probably, if I _would_ be musician, I would not like (too!) this way
> because of those strange "spacing rests" (what is "spacing rest" in
> music after all?),
Perhaps they are not named well.
The documentation states:
A spacer rest implicitly causes `Staff' and `Voice' contexts to be
created if none exist, just like notes and rests do:
[graphics]
`\skip' simply skips musical time; it creates no output of any kind.
That implies that s would be different in that respect. Which is
misleading at best: s may require a voice context (and create it if it
isn't there) and affects its default duration, but does not create
output of any kind itself either.
{ s1 s s }
produces exactly the same output as
\context Voice { \skip 1 \skip 1 \skip 1 }
So maybe the "spacer rest" terminology is not doing anybody a favor.
Would you have felt more comfortable if my example had used "\skip"
instead of "spacer rests"?
--
David Kastrup
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