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Re: Absolute vs. relative pitches
From: |
Trevor Daniels |
Subject: |
Re: Absolute vs. relative pitches |
Date: |
Wed, 13 Aug 2008 11:41:07 +0100 |
Eluze Weehaeli wrote Wednesday, August 13, 2008 9:59 AM
May I report a personal impression I had reading the "Learning Manual":
In the chapeter "2.5.4 Absolute note names" people are scared off using
absolute pitches. What for? The given example of Mozart can easily be
written with few octave characters - 2 commas - in absolute mode:
{ \key a \major \time 6/8
\transpose c c'' { cis 8. d 16 cis 8 e 4 e 8 | b,8. cis 16 b,8 d 4 d 8
|}
}
This is a neat technique if the notes lie largely
in the same octave, but \transpose is not introduced
in the Learning Manual, so it can't be used there
without adding a fairly detailed section explaining
it first.
Perhaps it could be mentioned in the Notation Reference
though.
The Learning Manual is for learning users. They will
usually begin with a simple melody and relative mode
-is- easier for this, once you realize all you have to
do is count staff spaces.
On the other hand - did you try to write the second example of "Absolute
octave entry" in the user's guide in relative mode? Tell us - how many
corrections?
\relative c' { \clef treble c 4 c' e, g, d'' d, d, c \clef bass c, c, e'
g' d,, d' d' c }
Yes, but this is an artificial example to illustrate the principle
of absolute mode. Using \relative for this would be harder, you're
quite right.
Choosing different intervals - critical for the octave changing signs to
apply - you could make a practical exercise for interval recognition!
Eluze
Trevor