Re: why Kieren is a \relative evangelist [was “Re: Nested transposition"]

[David Kastrup]

Paul Scott <waterhorse@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