Re: absolute pitch entry: accept an offset octave (issue 235010043 by address@hidden)

[dak]

On 2015/05/03 08:20:03, Trevor Daniels wrote:
> I'm in favour of a change like this, but I'd prefer
> the syntax and options to parallel those of
> \relative.  That is, an optional prefix pitch to indicate
> the starting octave, and taking the starting octave from
> the first contained note if the prefix is omitted.  That
> would then become an attractive alternative to \relative.

It would seem that our proposals are on one page regarding \absolute c''
{ c ...

However, I _think_ that your comment would suggest \absolute f'' { f ...
to be the same
as \absolute { f'' ... whereas I suggested making \absolute f'' { f ...
the same as \absolute { bes'' ...

Now there _is_ a difference between \relative c and \relative f.  With
what I guess from your proposal, \absolute c and \absolute f would be
the same.  And so would be \absolute b.

Now I actually like the idea of using \absolute bes' for entering a
trumpet in audible pitch using an input scale of { c d e f g ... }.
That's a concept different from \transpose c' bes' { ... } or \transpose
c bes' which primarily suggest a connection between _printed_ pitch and
audible pitch (like \transposition does) rather than _input_ pitch and
printed pitch.

I do realize that \relative only ever touches the octave, and it seems
to make little sense to have \absolute f turn { c, d, e, f g a b c d e
f' ... } into one continous scale even though it would only touch the
octave (like relative) and allow using as few octave marks as possible
for a given tessitura.  But while that would also be a consistent
possibility, I don't think having e be a higher pitch than f is going to
win us a lot of sympathies.  I prefer the transposing interpretation.

https://codereview.appspot.com/235010043/