Re: Global Variable vs Edition Engraver

[Jan-Peter Voigt]

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: address@hidden