On Sun, 24 Apr 2005 21:28:29 +0100
Bernard wrote:
>
> I guess its partly a matter of what you use Lilypond for. If you are
> basically encoding music that has already been written then It may well
> be easiest to use relative entry. However I have a large number of
> lilypond scores that are "works in progress" - pieces I am writing.
> These are revised/edited quite heavily and I find this almost impossible
> if the score uses relative notation.
>
> /Bernard
>
> > I have and I wouldn't want to go back to absolute entry. At least until
> > we find out what Nicolas' editor does.
> >
> > Paul Scott
> >
Thank you for all remarks here. I think it is time for a couple of
examples: Bruce J Keeler entered the Mutopia-project Chopin op.52
which is a complex and beautiful example. Suffice it to say that
he uses relative. He uses spacing to help read the rhythm.
topPart = \notes \relative c'' {
\tc
<<
{
\voiceOne
\phrasingSlurUp
\dynamicUp
%% 1
< g g' >8\( ^\andante < g g' > < g g' > < g g' >
The later, much more difficult passages are also written very
beatifully and clearly.
However, I need to go to c'' above in order to get the reference.
So writing this way pleases me more:
<g'g''>8(^\andante <g'g''><g'g''>
This is a very innocent example, not much to talk about. However,
look at the left hand:
\relative c' {
[...]
f,,16 ( c'' a c d, c' )
[...]
}
would become:
\absolute {
[...]
f,16( c' a c' d c') [...]
}
Now you can see that the three c' are the same in one look,
like when you read printed music, you read a block at a time.
Well anyway I wouldn't like playing from the Lilypond-source:-)
----
I suggested the solfeggio - notation because I think some kids would
be delighted to write do re mi.
And as far as I can see one could do it almost without programming new
features in Lilypond. There is an italian (or french?) entry-language,
isn't there? And there is \transpose, so maybe something like this would do:
\version "2.5.X"
\include "italiano.ly"
\transpose do la' {
\key do \major
do re mi fa | sol la si do' |
do re mi fa | solb la sib do' |
}
I still think I would recommend noteedit for the kids! However,
this demonstration of Lilypond's strengths isn't far off, is it?
And Nicolas Sceaux gave the code for "autoAlteration". Which was
astounding! Impressive! And it works (with 2.5.19 and up)!
So people who want larger pieces like the Chopin Ballad op.52
could with use absolute-pitch, and sometimes with less typing.
However, the Ballad was actually set using \relative pitch
and is very clear set, so that reading is not so hard after all
except for left hand passages with many ups-and-downs.
Regards
--
Donald Axel
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