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

[dak]

Paul Morris <address@hidden> writes:

> > On May 6, 2015, at 10:48 AM, Carl Sorensen <address@hidden>
wrote:

> > So, I think I'm in favor of the proposal, but with a name change away
from
> > \absolute.

> I agree about a name change since absolute doesn't really describe
> this entry mode very well.

> What if \absolute were changed to something less, well, absolute?
> Something along these lines, just to brainstorm a bit:

> \fixed
> \constant
> \consistent
> \regular
> \anchored
> \nonrelative
> \invariable
> \steady
> \uniform

Most of those (apart from \nonrelative) are not really an obvious
alternative pair to \relative.  If we take an extra form, \octave seems
like a pretty well-fitting name as long as its argument is mandatory.

That would leave us with

\relative [optional pitch] { ...
\absolute [no pitch] { ...
\octave [obligatory pitch] { ...

If we write about this, we then have "relative pitch entry", "absolute
pitch entry", "octave-shifted pitch entry".

Now here is a monkey wrench I see in connection with the currently
proposed code: any of \relative and \absolute can be nested in one
another without affecting the other: the outer input mode will just skip
over any of the inner modes as if it wasn't there.

The current code proposal for \absolute x' or \octave x' does not have
that property.  Fixing that is reasonably straightforward: first you
transpose all the music, then you do an extract-typed-music on all music
of relative-octave-music type and transpose them right back.

Once we do that, we have a proper independent input mode of its own, and
we no longer have something strictly equivalent to a \transpose command.

I'd still prefer just merging the \octave functionality into \absolute
and have just two modes to explain.

https://codereview.appspot.com/235010043/