My recent experience creating choir scores for the first time, one of them with difference words a given stanza in a repeated part (see attachments), makes me think it would help to have off-the-shelf *commented* samples of some size and complexity, as a complement to the existing snippets.
The comments would describe how the LP code is structured and the reasons for some decisions that were made, as well as the LP programming tricks used if any.
The recent discussions on this list about the meaning of « new \voice » illustrates what I’m aiming at tackling.
I would contribute with pleasure to such an effort. Of course, code review by (very) experienced users would be needed.
I was personally puzzled by the fact that « \skip n » was first not being handled it seemed, then by the fact that the number in it is ignored by \lyricsto, even though it must be present.
Also, Glinka’s trio was a tough one, my first achievement with LP in fact… (the « posts » are breathing signals programmed in Postscript that can be seen long before you reach them). It can be used to explain some LP techniques.
JM
Le 3 déc. 2013 à 17:59:33, Noeck <address@hidden> a écrit :
Some criticism has been made about the length of the manual. I started
with an IBM PS2 (1982) using a non-graphical interface Microsoft
Word. The manual, if my addled memory is correct was somewhere around
300+ pages.
Aaaaand cut.
"Wrangling down that attacking Rottweiler was actually not all that
hard. It boils down to the same grips and holds we used to employ for
killing lions when I was young."
:D
Yes, those are the people using LP and I am proud of you. But there are
many more interested in music engraving with a different history.
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Bien à vous,
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Jacques Menu
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