Re: calling all opera/musical engravers

[Jan-Peter Voigt]

Hi Kieren,

I did a lot of choral pieces. In November there was a public performance
of "Der einhundertvierte Psalm" of "Engelhard Barthe" (1906-1977,
musician at St.Katharinen in Hamburg, Germany, until destruction in
world war II) in Hamburg, where I produced (co-working with Barthe's
family) all performance material using lilypond. And I created a book
with songs of "Friedrich Ferdinand Leo" (1867-1948) for voice and piano
and I created a book with a-cappella works of "Thomas Dittmann"
(1931-1998), musician at St.Katharinen, Hamburg, Germany from 1957 to 1994.

1. For anything, wich is mainly music, lilypond-book doesn't make to
much sense (IMO!) So, I wouldn't start to engrave an opera (or musical
or oratory like the mentioned psalm) using lilypond book. I started to
transcribe a book of Dittmann about organ improvisation, where I am
using lilypond-book.

2. I collected a lot of shortcut-helper-functions wich are loaded
automatically with my lalily-framework
( https://github.com/jpvoigt/lalily ... should now work well with
2.17.96). And lalily has its own way of organizing templates, paper,
layout and header. This way several parts of a book or a piece with
multiple movements can be collected by lilypond.

3. there are some, but how to name them?

4. there is always a workaround ... wait, one thing would be to use
different music-fonts ... or better, to make it easier (I know of
lily-jazz and gonville)

Just some thoughts.

Best, Jan-Peter


Am 16.12.2013 22:59, schrieb Kieren MacMillan:
> Hello all!
> 
> 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.
> 
> Specifically:
> 1. Is lilypond-book the only sane way to do it?
> 2. What functions/extensions/tricks did you use to bend Lily to your will?
> 3. What pitfalls are to be watched for (and hopefully avoided)?
> 4. What limitations cannot [currently] be overcome?
> 
> Thanks,
> Kieren.
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