By Gregory T. Brown
How do you write really stylish code with Ruby? Ruby top Practices is for programmers who are looking to use Ruby as skilled Rubyists do. Written by way of the developer of the Ruby undertaking Prawn, this concise publication explains the right way to layout attractive APIs and domain-specific languages with Ruby, in addition to how one can paintings with sensible programming principles and methods which may simplify your code and make you extra efficient. You'll easy methods to write code that's readable, expressive, and lots more and plenty more.
Ruby most sensible Practices might help you:
* comprehend the key powers unlocked by way of Ruby's code blocks
* the right way to bend Ruby code with out breaking it, akin to blending in modules at the fly
* become aware of the bits and bobs of checking out and debugging, and the way to layout for testability
* discover ways to write quicker code through conserving issues simple
* strengthen concepts for textual content processing and dossier administration, together with general expressions
* know how and why issues can move wrong
* lessen cultural obstacles by way of leveraging Ruby's multilingual capabilities
This e-book additionally provide you with complete chapters on using code via checks, designing APIs, and undertaking upkeep. methods to utilize this wealthy, attractive language with Ruby top Practices.
Read Online or Download Ruby Best Practices PDF
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Extra resources for Ruby Best Practices
The C "major seventh" chord doesn't even have a major seventh! Left-hand voicings give you a lot more flexibility. You're not tied to playing the root, and your left hand is higher up on the keyboard, playing chords that include ninths and thirteenths. Don't worry about the lack of a root in the chord. When playing in a rhythm section, the bass player will often play the root on the first beat of a given chord, and jazz pianists even use these voicings when playing solo piano. Figure 7-1 41 CHAPTER SEVEN Figure 7-2 There are many left-hand voicings, but I'll begin with the basic ones.
Also, the root, C, is in the voicing, but not on the bottom where you'd normally expect a root to be. Some pianists play seventh, ninth, third, and fifth for the I chord (figure 7-5). This option is OK, but use it with care. By itself it sounds more like a G6 chord than a CA chord. If you precede it with a G7 chord, it will sound like a CA chord. If you precede it with some other chord, however, it could sound too much like G6. If you or your bass player play C, the root, underneath, the chord will sound like CA.
That's true of unaltered dominant chords, but once you start altering notes on dominant chords, the boundaries of what defines a dominant seventh chord become more flexible, and strange (and beautiful) sounds will happen. Figure 8-10 shows two voicings for a C7+9 chord, third or seventh in the little finger. Dominant seventh +9 chords usually have a fifth but no thirteenth in the voicing, as in both of these examples. The second voicing, with the seventh in the little finger, is seldom played because the voicing with the third in the little finger sounds so much stronger.