Re: Score feedback request

[Urs Liska]

??? I don't know why my message has already been sent while the editor 
window is still open ... So I'll continue here

Hi Aura,

I don't think this question is really off-topic, it's just more rare 
that people ask about _what_ they do with LilyPond instead of _how_.

Am 06.09.2014 10:37, schrieb Joram:
> Hi Aura,
>
> my reply is not complete and mentions only a few things I noticed:
>
> In general it looks good and looks like the output represents what you 
> wanted (which is incredible to me if you can't see it).
>
> The most visible issue is that the piano pedal marks are not only 
> under the piano staff as usual (below the staff group) but also under 
> the right hand of the piano staff (between the two piano staffs). This 
> makes it unnecessarily crowded.
>
> The same holds for dynamics which appear three times: once for the 
> voice and two times for piano. While this makes sense from a logical 
> point of view, it at least one time too much compared to all scores I 
> know. I would put it either only between the piano staffs (and on the 
> voice only if it differs) or once for the voice and once between the 
> piano staffs.
>
> The sections (A, B) are always marked twice: once correctly at the 
> double bar line and once half a note before. The third double bar line 
> has no such name - perhaps that is so by intention or it could be 
> named C.
>
> Cheers,
> Joram

I agree with what Joram writes and can make some additional remarks - 
some about Joram's comments and some of my own.

In traditional Lied notation dynamics are placed between the piano staves.
I have a hard time finding it in the manual, but what you'd so is create 
the dynamics in a separate music variable (for example "dynamics") and 
then write "\new Dynamics \dynamics" between the two piano staves in the 
\score block.
Some composers do write dynamics to the vocal staff too, but in most 
cases that is only done when they differ. That is a singer expects to 
read the dynamics from the piano.

I think there should be a reminder accidental before the b flats in 
measure 6 and the corresponding measure, at least in the bass line.

You should remove the \voiceOne from the left hand staff definition. 
This command makes the voice behave correctly when there is a second 
voice - which you don't have. In particular this makes all stems point 
upwards and shift the rest upwards. You could write \oneVoice instead, 
but in a case like yours (only one voice present at all) you can simply 
leave that out.

These are the notation-related comments, but I have one more related to 
the piano writing:
The right hand in measures 11-12 and the correspondence at the end is 
somewhat unidiomatic. Well, it _is_ playable without problems, and there 
_is_ piano music where this would be natural, but it's suddenly much 
more complex and difficult than the rest of the piece. It _may_ be 
intended and it _can_ be that it is just the right thing in your 
composition, but I somehow have the impression it is more by accident here.

HTH
Urs