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| From: | Calixte Faure |
| Subject: | Re: Do we really offer the future? |
| Date: | Wed, 22 Apr 2015 12:52:08 +0200 |
On April 22, 2015 12:30:18 PM Shane Brandes <address@hidden> 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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