Hi all,

I always wondered why Lilypond was defined as a program (
http://www.lilypond.org/) for me it is more (should be) a descriptive
language, that several programs can interpret.
As Lilypond is above all an engraving program, I don’t think we should work
on composing tools. Let this kind of features to other software like Denemo
and co.

Cheers,
Calixte.

2015-04-22 12:21 GMT+02:00 James Harkins <jamshar...@qq.com>:

> On April 22, 2015 12:30:18 PM Shane Brandes <sh...@grayskies.net> wrote:
>
>  Lilypond is not a terribly great tool for composition purposes. Not
>> that I don't use it for that but when I do the whole piece is already
>> in my head and I am not usually prone to making large changes in
>> structure. As  noted previously that tends to be a cumbersome process.
>> Also somewhat cumbersome is adding agogic marks with any rapidity. But
>> despite these deficiencies, I would not go to another software unless
>> it demonstrated a truly superior output coupled with a openly
>> accessible files format.
>>
>
> For myself, I make much the same calculation. But, one subject of this
> conversation is why more people aren't adopting LP, and one reason is
> exactly that it's hard to use as a composition tool.
>
> Even after a few years of using LP, it's still kind of a mindf... erm,
> mind-blower that notes appear close together in the score but they may be
> written in widely separated locations in the LP code. I'm used to
> programming and it's slightly bizarre even to me. For a musician who just
> wants to lay out a nice string arrangement, "viola bar 37 is on line 254,
> but cello bar 37 is on line 401???" What I'm saying is not just about
> usability. It's that LP's input structure goes against the way music lives
> in our heads -- meaning that LP's user base can include only those who are
> willing to adapt to an unfamiliar way of thinking for the sake of the
> better output.
>
> hjh
>
>
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>
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