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Date: Mon, 18 May 2020 20:21:32 +0100
Subject: Re: Suggestion to make sharps and flats persistent
On 18/05/2020 17:33, Kieren MacMillan wrote:
> We (well… modulo me LOL) don’t get this worked up about how \relative makes cut-and-paste a nightmare. Why start now?;)
Those of us who only use \relative (just me?) don't have any problems
with cut-n-paste. Or is it just that my workflow is more likely to use
"\repeat unfold"?
I've got no problem with \keyed, but there is a fly in the ointment here
... \keyed a \minor { a b c d e f g a g f e d c b a }
Now is that a g-natural or g-sharp? Likewise the f.
Cheers,
Wol
The problems with \relative come when you copy *only the notes* from within a \relative _expression_ and paste them into another, and omit the context .
Use of \relative is always fine if you realize that you need to explicitly define it every time you break it up.
So, if you have 16 measures to reuse, you structure it:
beforeReused = \relative c' { ...}
toReuse = \relative c'' { ... }
afterReuse = \relative c'{ ... }
mySong = {
\beforeReused
\toReuse
\afterReuse
\toReuse
}
And, if you decide to also put raw notes in mySong = \relative c' { }, the other sections you put in will NOT affect the octave of the notes in mySong. I would still advise against that. But at least it reduces problems that come from pasting in only notes, which includes both those notes being in the wrong octave, and messing up the octaves of material following the notes you paste in.
Likewise for non-sequential music, such music with endings. That is, in lazy use of \relative, the octave at the beginning of a 2nd ending will not come from what precedes it musically (the section in \repeat), but by what comes before it on the page, which is the 1st ending. Again, you just need to use \relative as necessary:
\repeat volta 2 { ... }
\alternative {
\relative { ... }
\relative { ... }
}
On the other matter, that this thread is actually about, the only "problem" with the \keyed suggestion by Kieren, is that you have to define names for the accidentals.
The case of minor keys is simply one illustration of this.
If G# is in your key signature, and you are using "g" to represent G#, then how do you represent G natural? gn? Sure, there could be some syntax for it.
Personally, I don't see the benefit. With more complicated and transposing music, remembering when I need to say gs vs g or g vs gn would become annoying quickly.
Cheers,
Elaine Alt
415 . 341 .4954 "Confusion is highly underrated"
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