On 19 Nov 2016 8:20 a.m., "Tobin Chodos" <[email protected]> wrote: > > hi all, > > this is a general question for composers using lilypond. at what point in your process do you generally start engraving? Like most composers coming from the consumer notation softwares, I'm accustomed to working in pencil first, but not to completely separating the engraving and composition tasks. Curious about composer perspectives about this with lilypond. are there strategies for working with a lilypond file while still composing? > > Thanks. > > Tobin > > _______________________________________________ > lilypond-user mailing list > [email protected] > https://lists.gnu.org/mailman/listinfo/lilypond-user >
Like the others, I prefer to keep composing and typesetting separate. Composing is (or should be) too difficult to be simultaneously wrestling with any technology more complicated than a pencil (and maybe a piano). Occasionally like Trevor i will print out a cantus firmus with blank staves, mainly because of thinks are in canon, cf mistakes are difficult to fix! Listening to MIDI is essential for proofing. So many scores on the internet have errors that one listen-through would pick up. I have a script that finds consecutives. But in the end, once I have found the errors, I'll fix them on paper, partly because it can be done away from the computer. Vaughan
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