Re: Understanding how \tag works in \relative pitched music

[caagr98]

Huh, can't say I've heard of \fixed. I always use \transpose c c'', 
which seems to have the same effect. It looks stupid in the code, though.

And yeah, absolute mode is a lot easier than relative. If I want to 
duplicate a measure, I prefer just duplicating it instead of having to 
adjust the octave.

On 08/05/17 14:02, Kieren MacMillan wrote:
> Hi Guy,
>
> > Which suggests that \tag used with \relative will never work.
>
> Whether or not your conclusion is technically accurate — others will be more 
> qualified to confirm or correct — the unpredictability of \relative with \tag 
> (which I used to use heavily, before finding the edition-engraver) was one of 
> the principal reasons I abandoned the use of \relative in all my music some 
> years ago, after almost a decade of using it exclusively. There are many, many 
> other reasons I'm glad I switched to absolute (and \fixed), but this was a main 
> one.
>
> You might consider doing the same? Editors like Frescobaldi make it easy to 
> switch code back and forth between relative and absolute — even so, I've never 
> found a reason to go back to relative once I've converted any [legacy] code to 
> absolute. (On rare occasions, I'll use \fixed.). I can say with great 
> confidence that a measurable chunk of my frustration with Lilypond disappeared 
> along with \relative.
>
> Cheers,
> Kieren.
> ________________________________
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: address@hidden
>
>
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