Hi Gabriel, > As you can see, Álvarez made a new \score block for each plainchant > interpolation (at the top of pages 1, 3, and 4), so there are six \score > blocks in this engraving file (not including those for the incipits). But > from my perspective (whether I wear my “performer/singer” hat, my “conductor” > hat, or my “engraver” hat), this is really one score.* If I were engraving > this piece today, I would use \pseudoIndents.
Yes! And it makes such a difference for code maintainability, code reuse [across different editions], etc. > *One practical side effect of the splitting up of this music into different > \score blocks: The ambitus (ambits) on page 1 are misleading. For example, > Cantus II has a wider pitch range than one would think based on looking at > page 1. So does Tenor (that voice has a much wider true range than the one > shown on the first page!) Exactly. The fact that Lilypond currently forces this kind of thing to be done across multiple scores is definitely a “defect", in my opinion — though I use that word knowing that it will (and should, technically) be labelled “enhancement” in the tracker. ;) Best, Kieren. __________________________________________________ My work day may look different than your work day. Please do not feel obligated to read or respond to this email outside of your normal working hours.
