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
