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

[Valentin Villenave]

On Mon, May 4, 2015 at 12:25 PM,  <address@hidden> wrote:
> This kind of addition would likely get
> the most useful feedback from people *teaching* LilyPond.  We don't have
> a lot of those unless you count "batch teachers", namely documentation
> writers.

Paco would be the obvious person to ask. (Hi Paco!)

Speaking as someone who regularly gives LilyPond initiation seminars
for adults and childrens, the hardest part is explaining to them why
\relative mode is not on by default. (So, no matter how, \absolute
would not come until later on, and \absolute [^c] even later.)
That being said, I definitely see the value of an explicit \absolute
mode and I really like what you’re proposing, but in this case we’d
definitely need to strongly advise people to use \absolute only with
some c pitch.

You said:

>> I find it awkward when \absolute c'' and \absolute g'' mean exactly
>> the same thing.  But it's not like I could not live with it.

Well, OTOH: \relative c' { f g a b } and \relative d' { f g a b } _do_
mean the same thing. The second one will not be transposed one tone
higher.

\transpose as a separate command will always be the easiest thing to
explain, however. (It’s also one of the simplest yet most impressive
features for newcomers.)

Cheers,
Valentin.