Re: general question for composers

[David Bellows]

I'm a composer in the classical tradition. Sheet music is everything.
And I compose directly into Lilypond. I don't have access to any
instruments and don't want to lug around manuscript paper. I also
don't want to spend time writing all the music out by hand and then
writing it out *again* in Lilypond. Just do it once (plus all the
editing, of course). It's just me and my laptop and Lilypond (and a
few other things but you get the idea).

On Sat, Nov 19, 2016 at 9:37 PM, Vaughan McAlley <address@hidden> wrote:
> On 19 Nov 2016 8:20 a.m., "Tobin Chodos" <address@hidden> wrote:
>>
>> hi all,
>>
>> this is a general question for composers using lilypond.  at what point in
>> your process do you generally start engraving?  Like most composers coming
>> from the consumer notation softwares, I'm accustomed to working in pencil
>> first, but not to completely separating the engraving and composition tasks.
>> Curious about composer perspectives about this with lilypond.  are there
>> strategies for working with a lilypond file while still composing?
>>
>> Thanks.
>>
>> Tobin
>>
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>>
>
> Like the others, I prefer to keep composing and typesetting separate.
> Composing is (or should be) too difficult to be simultaneously wrestling
> with any technology more complicated than a pencil (and maybe a piano).
> Occasionally like Trevor i will print out a cantus firmus with blank staves,
> mainly because of thinks are in canon, cf mistakes are difficult to fix!
>
> Listening to MIDI is essential for proofing. So many scores on the internet
> have errors that one listen-through would pick up. I have a script that
> finds consecutives. But in the end, once I have found the errors, I'll fix
> them on paper, partly because it can be done away from the computer.
>
> Vaughan
>
>
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