Hi Joram,
> Is this the right place to ask?
Yes… especially if Jan-Peter picks up the thread. =)
> So far I have this structure (simplified) and ~30 \editionMods:
> \score {
> \new PianoStaff <<
> \new Staff = "md"
> \with { \consists \editionEngraver edition }
> \new Voice \RHand
> \new Staff = "mg"
> \with { \consists \editionEngraver edition }
> \new Voice \LHand
>>>
> \layout {
> \context {
> \Score
> \consists \editionEngraver my.test % set this to your "global"
> tag-path
> % what is this?
> }
> \context {
> \Voice
> \consists \editionEngraver ##f
> }
> }
> }
I would personally do something more like
\score {
\new PianoStaff <<
\new Staff = “md" \new Voice \RHand
\new Staff = “mg" \new Voice \LHand
>>
\layout {
\context {
\Score
\consists \editionEngraver full-score
}
\context {
\Staff
\consists \editionEngraver ##f
}
\context {
\Voice
\consists \editionEngraver ##f
}
}
}
where “full-score” is descriptive of the edition you’re outputting in this
score block.
> 1. Can I use the same tweak at several points in time?
Yes, for example
\editionModList full-score full-score.Score.A \break #’(4 8 12 16)
would put line breaks every four measures.
> 2. What do the letters mean in edition.Staff.A?
The [alphabetical] order of such contexts, from the top. So in your example,
Staff.B would correspond to your “mg”.
n.b. I have requested of Jan-Peter that the edition-engraver allow id- or
name-based addressing, so you could use "full-score.Staff.mg" or even just
“full-score.mg”; I don’t know the current status of that request.
> 3. How can I address a temporary voice in some measure?
> a) One with << · \\ · >>?
> b) One with << · \new Voice { · } >>?
That I can’t answer. =\
> 4. What does the word 'edition' after the \editionEngraver mean?
> Can I choose this name?
Yes. And you should, as in my example above.
> Why would I need more than one?
Well, for example, I engraved a big score last year in which I used three
editions:
MyPiece-score = tweaks for the full score
MyPiece-strings = tweaks that were used in all string parts
MyPiece-part-bass = tweaks that were specific to the instrumental part for
the string bass
Then I \consisted into each appropriate score block the 1, 2, or 3 editions
that were relevant.
> 5. Can I put tweaks with the edition engraver?
> Like coloring the second of three note heads in a chord?
> { <c \tweak #'color #red e g> }
Yes.
> 6. Would you consider \voiceOne etc. content or layout?
Content.
> \noBeam?
Depends. If it truly is to be universally applied, then content; otherwise
layout.
> \tempo?
Content.
> \bar?
Almost always content. (One recent counterexample from my own works: a song
from a musical which segues into the next cue; in the Piano/Conductor score
it’s a thin-thin double bar, but in a standalone Piano/Vocal Selections book,
it’s a thin-thick “final” double bar.)
> 7. Would you write a Dynamics context using spacer rests or entirely
> using the edition engraver? { s1\p | s | s\ff … } or { s1*55 } and
> the rest is done by the edition engraver? Is that possible at all?
I think it’s possible… but I consider it content.
I definitely heavily tweak my dynamics (placement, padding, etc.) using the
edition-engraver, but I don’t *create* them there.
> 8. And unrelated to the edition engraver: What do you prefer:
> a8\noBeam a16 a or a8 a16[ a] ?
> In both cases the measure is filled up with 16th notes (12 more).
I’ll have to think about that one.
Hope this helps!
Kieren.
________________________________
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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