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Absolute vs. relative pitches

From: Eluze Weehaeli
Subject: Absolute vs. relative pitches
Date: Wed, 13 Aug 2008 10:59:44 +0200
User-agent: Opera Mail/9.51 (Win32)

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 |}

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 }

Choosing different intervals - critical for the octave changing signs to apply - you could make a practical exercise for interval recognition!


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