Hi gents, Thanks for your advice. Jan-Peter, I do something similar with a global "timeline" or structure with barlines, key signatures, repeats, rehearsal marks. I was just wondering if I was behind the times and not keeping up with the EE. I'm just trying to make my code as concise as possible.
Thanks guys, Craig On Mon, 9 Jul 2018 at 17:36, Jan-Peter Voigt <jp.vo...@gmx.de> wrote: > Hi Craig, Kieren, > > I actually use kind of a global variable for the global time line. So > all repeat signs, time-signatures *and* key-signatures there. Before I > implemented the EE I started with a template-engine where the tamplates > take care of creating the simultaneous music ( << \getMusic meta > \getMusic instrument >> ): > https://github.com/openlilylib/lalily-templates > > It takes care of transposing instruments per score. I guess I have to > deal very seldom with changing instruments inside a movement compared to > you. Though it should be possible with an auto-transposer that tracks > for changing transpositions. That way the change of the instrument is > only a matter of setting properties and therefore would be EE compatible: > (I don't remember the state of this snippet ...) > > https://github.com/openlilylib/snippets/tree/master/editorial-tools/auto-transpose > > Btw, if I am transcribing a piece rehearsal marks found in the original > are placed in that global variable. For other pieces where I insert > rehearsal marks as an editorial addition I use the EE. > > Best, > Jan-Peter > > > > Am 09.07.2018 um 05:24 schrieb Kieren MacMillan: > > Hi Craig, > > > >> As I get more confident with using the Edition Engraver I was wondering > if you had some advice on when to use a global variable and when to use the > EE, especially with scores that use transposing instruments. > > > > Boy, this is something I’m also struggling with as I level up. I've been > using the EE since Jan-Peter let it out of his private stash (aka "Day > One"), and I'm still moving stuff over to the EE pile on an ongoing basis. > Most recently, I've moved all rehearsal marks and barlines to my EE code; > the move before that was clefs. > > > >> ATM I put all my concert key signatures, barlines, repeats etc in a > global variable that has to be combined with the notes of every instrument > in the staff; e.g. > >> > >> << > >> \global > >> \fluteNotes > >>>> > >> > >> Can the EE be used to replace the global variable by inserting repeats, > double bar lines etc. > > > > Short answer: Yes. > > > > Long answer: It really depends on the scope of the project, and your > workflow/toolchain. If you’re putting together a one-page lead sheet for a > jazz song, I'm not sure you need the overhead; if you’re putting together > an opera with upwards of a dozen different score targets, etc., then it’s > almost certainly worth putting *most* things in the EE. > > > >> How would a key signature work with transposing instruments. > > > > That’s something I haven’t come back to since David K and I talked > through some options a few years ago. In the musical theatre world, where > pit musicians (esp. wind players) can have 6 or more transposing > instruments of different kinds and transpositions in a single book, this is > a huge question that I still need to answer definitively. > > > > Not sure that helps (?), except maybe to let you know you’re not alone > on the front lines. =) > > > > Best, > > K. > > ________________________________ > > > > Kieren MacMillan, composer > > ‣ website: www.kierenmacmillan.info > > ‣ email: i...@kierenmacmillan.info > > > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > -- *Craig Dabelstein* Maxime's Music craig.dabelst...@gmail.com *http://maximesmusic.com <http://maximesmusic.com>*
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