2008/6/9 Michael Pozhidaev <[EMAIL PROTECTED]>: > Hello, everybody!
Greetings, and welcome on the list! > There is one thing I cannot understand . In many examples > notes are not written in "\new Staff" block directly, > but placed in something like > upper = \relative c'' { > \clef treble > \key c \major > \time 4/4 > a4 b c d > } This is what we call a "variable". It is completely equivalent to type: \new Staff { a b c d } or to type: variable = { a b c d } \new Staff { \variable } > What is the advantage of such approach? I am asking, The advantage is that in complex scores, you can modify the structure of your piece more easily with variables. It's generally preferable to have all your variables defined at the beginning of your file, and then a small \score block, like in the example you're talking about, rather than only a huge \score block with all the notes inside. > because in "Piano centered dynamics" example melody and dynamics are written > separately. > In long composition it can be difficult to > think about a correct place for dynamics. This is a different issue; in this example, a special context, called "Dynamics" is created (like an invisible staff) between the two staves, so that requires to enter the dynamics as a standalone "voice", in its own variable. > Are there problems to write melody and dynamics together? And why using > special blocks > for melody in most cases is more convenient? You can, of course, include the dynamics into your melody variables. It's just that some pianists prefer to have the dynamic "centered" between the right hand and the left hand, to see more clearly that the dynamics apply to both hands (I have personally given up with this approach: like you, I find it too difficult). Cheers, Valentin _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user