Federico Bruni wrote:
In a normal piece, I have to scroll a lot when I enter music, because
each voice is separated.
That's why I hoped I could use \parallelMusic instead..
Do it, and try to somehow get around it's rough edges.
Although it has it's shortcomings, I can really recommend it, from my
personal experience. (Which is with piano music, though.)
On the other hand: /if/ work is spent on it some time in the future, you
might end up with scores requiring manual tweaking to convert to the new
function. Thus, the less you rely on it doing a particular approach on
language features inside it, the better.
I know Alexander Kobel and Nicolas Sceaux are working on
\parallelMusic, so I hope they are going to enlight me about the use
of \parallelMusic and what can we expect from it in the future.
Actually, neither of the two of us is working on it.
Nicolas is working hard on the new chord repetition shortcut, whose
proper implementation in relative mode /possibly/ can give some insight
on how to extend \parallelMusic to better work inside \relative, but
AFAIK he did not express any particular interest in \parallelMusic.
I only made the minor modification to have it work with || instead of |
as a voice separator (on the list, a few days ago). And Valentin
convinced me to polish an example of how I use \parallelMusic for the
LSR, but it's not yet in a state in which I want to set it free in the wild.
What we can expect from it in the future? Well, probably only that it
does not become worse...
\parallelMusic is a fairly simple, but extremely useful scheme hack, as
-Eluze wrote. It features virtually nothing but checking whether the
voice segments have the same length, and I don't really expect this to
change soon. For the time being, I hope you don't have \repeats all over
the place, and I'd suggest instantiating a \parallelMusic construct for
every volta and alternative.
Cheers,
Alexander
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