Variables are perhaps most useful for combining lengthy sections
of music and/or annotation in various ways, while tags are more
useful for selecting one from several alternative shorter sections
-of music. Whichever method is used, separating the notation from
+of music. You can also employ tags for splicing pieced of music
+together at several places.
+
+Whichever method is used, separating the notation from
the structure of the score will make it easier to change the
structure while leaving the notation untouched.
@funindex \tag
@funindex \keepWithTag
@funindex \removeWithTag
+@funindex \pushToTag
+@funindex \appendToTag
@cindex tag
@cindex keep tagged music
@cindex remove tagged music
+@cindex splice into tagged music
The @code{\tag #'@var{partA}} command marks a music expression
with the name @var{partA}.
the first filter will remove all tagged sections except the one
named, and the second filter will remove even that tagged section.
+Sometimes you want to splice some music at a particular place in an
+existing music expression. You can use @code{\pushToTag} and
+@code{\appendToTag} for adding material at the front or end of the
+@code{elements} of an existing music construct. Not every music
+construct has @code{elements}, but sequential and simultaneous music are
+safe bets:
+
+@lilypond[verbatim,quote]
+test = { \tag #'here { \tag #'here <<c''>> } }
+
+{
+ \pushToTag #'here \pushToTag #'here
+ \pushToTag #'here \test g' e' c'
+ \appendToTag #'here \appendToTag #'here
+ \appendToTag #'here \test g' e' c'
+}
+@end lilypond
+
+Both commands get a tag, the tagged expression, and finally the material
+you want to splice in at every given tag. The commands make sure to
+copy everything that they change so that the original @code{\test}
+retains its meaning.
@seealso
Learning Manual: