Dear Kieren and all,
Il 16/12/2013 22:59, Kieren MacMillan ha scritto:
I would love to hear from anyone who has engraved a full opera or musical (with
at least vocal score plus full score) in Lilypond.
I engraved the critical edition of Traetta's /Enea nel Lazio/ in full
score. It's a 18th century Italian opera seria: surely less challengin
to engrave than more recent compositions.
1. Is lilypond-book the only sane way to do it?
Due to the strict articulation in recitatives and arias typical of this
musical form, I found convenient writing a separated file for every
piece and include all the ones relative to a single act in a "container"
file.
I put my customized settings (overrides and so on) and the layout
instructions in two separated files, included in the other ones.
2. What functions/extensions/tricks did you use to bend Lily to your will?
I created some modified articulation and dynamic marks for distinguish
the elements added by me frome the ones of the original score; I created
a sign of "long fermata"; I adjusted a little the appoggiatura slurs in
order to avoid collisions with stem and ledgers of the relative note;
and I implemented Harm's workaround for display the hyphens of syllables
positioned at the beginning of a new line,
http://code.google.com/p/lilypond/issues/detail?id=1722
3. What pitfalls are to be watched for (and hopefully avoided)?
Creating too large and/or complex files! My score was about 430 pages,
and I had to split it in four parts - one for every act and an appendix
- to compiling without congest my computer.
4. What limitations cannot [currently] be overcome?
In some circumstances, it would be useful having the opportunity to
adjust the spacing "on the fly": i.e., altering the distances between
two staves from a given point to another. But I can understand this is a
very hard issue, and that a somewhat analogue result can be obtained
starting and stopping the staves.
Thanks to all of you!
Luca
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