Am 23.09.2012 13:01, schrieb James:
Hello,
On 23 September 2012 09:34, Janek Warchoł <janek.lilyp...@gmail.com> wrote:
On Fri, Sep 21, 2012 at 3:37 PM, David Kastrup <d...@gnu.org> wrote:
Janek Warchoł <janek.lilyp...@gmail.com> writes:
However, the idea of creating another shortcut (p seems to be a good
name) appeals to me. I would design p to repeat chords as well as
pitches.
When writing <c e> c q p, what does p repeat and why?
Is there a reason (I guess this mainly aimed at those that use 'q' (I
don't)) why another \repeat [variable] wouldn't be better in the long
term?
What I mean is that we have
\repeat unfold x
and
\repeat volta x
why not for example
\repeat chord x {music expression}
This construct doesn't allow for mixing single notes with
chords.
There are instruments and music styles which greatly
benefit from having 'q' available, whereas others don't.
I write a lot of music for guitar (and recently, I had to
typeset music for accordion, too) and there is a
great advantage in both typing *and* readability
between
e,8\5 < b,\4 e\3 g\2 b\1 > b,,\6 < b,\4 e\3 g\2 b\1 > e,8\5 < b,\4 e\3
g\2 b\1 > b,,\6 < b,\4 e\3 g\2 b\1 >
and
e,8\5 < b,\4 e\3 g\2 b\1 > b,,\6 q e,\5 q b,,\6 q
(assuming you have switched on \tabChordRepetition).
[...](I find reading other's lilypond sources that use 'q'
significantly akin to reading technical documentation where every 4th
word is an acronym or abbreviation).
I'd just say the opposite; in my example above, any change in the
chord is not as easily spotted when you write out everyting:
e,8\5 < b,\4 e\3 g\2 b\1 > b,,\6 < b,\4 e\3 g\2 b\1 > e,8\5 < b,\4 e\3
g\2 b\1 > b,,\6 < b,\4 d\3 fis\2 b\1 >
e,8\5 < b,\4 e\3 g\2 b\1 > b,,\6 < b,\4 e\3 g\2 b\1 > e,8\5 < b,\4 e\3
g\2 b\1 > b,,\6 < b,\4 e\3 g\2 b\1 >
as opposed to
e,8\5 < b,\4 e\3 g\2 b\1 > b,,\6 q e,\5 q b,,\6 < b,\4 d\3 fis\2 b\1 >
e,8\5 < b,\4 e\3 g\2 b\1 > b,,\6 q e,\5 q b,,\6 q
In the lower example, you see at first glance that the last chord
in the first measure changes.
Regards,
Marc
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