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

[Kieren MacMillan]

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