Paul Scott <waterho...@ultrasw.com> writes: >> 3. The *single* serious argument against absolute music — that it >> requires extra typing [of apostrophes and commas] — is essentially >> eliminated by using an IDE like Frescobaldi: using MIDI input means >> I avoid typing note code (including octavation symbols) almost >> entirely, and the transposition functions let me instantaneously >> re-octavate large sections of code if that’s ever required (which it >> basically never is). I believe we should be encouraging users to use >> tools like Frescobaldi — because I believe their coding lives would >> be made easier in *so* many ways — and the “crutch” of \relative >> means there’s less incentive to do so in the early stages of the >> learning curve (which is exactly when habits, good or bad, tend to >> be formed). > > I am a copyist, not a composer. I currently don’t have a MIDI > keyboard. I enter everything through Emacs without a mouse for pitch, > therefore haven’t considered tools like Frescobaldi so far. > I have been using \relative for many years and am aware of the problems. > > Because of this discussion I have just started using \absolute for > bass clef parts and I just noticed \fixed which I will start > experimenting with. Any other suggestions for my situation as > described above? > > I will consider getting a small MIDI keyboard which would probably > lead to experimenting with Frescobaldi.
Ah, but Emacs' MIDI input mode deals better with chorded notes. -- David Kastrup