Re: Questions about the edition engraver

[Kieren MacMillan]

Hi Joram,

> Is this the right place to ask?

Yes… especially if Jan-Peter picks up the thread.  =)

> So far I have this structure (simplified) and ~30 \editionMods:
> \score {
>  \new PianoStaff <<
>    \new Staff = "md"
>    \with { \consists \editionEngraver edition }
>    \new Voice \RHand
>    \new Staff = "mg"
>    \with { \consists \editionEngraver edition }
>    \new Voice \LHand
>>> 
>  \layout {
>    \context {
>      \Score
>      \consists \editionEngraver my.test % set this to your "global"
> tag-path
>       % what is this?
>    }
>    \context {
>      \Voice
>      \consists \editionEngraver ##f
>    }
>  }
> }

I would personally do something more like

\score {
 \new PianoStaff <<
   \new Staff = “md" \new Voice \RHand
   \new Staff = “mg" \new Voice \LHand
 >>
 \layout {
   \context {
     \Score
     \consists \editionEngraver full-score
   }
   \context {
     \Staff
     \consists \editionEngraver ##f
   }
   \context {
     \Voice
     \consists \editionEngraver ##f
   }
 }
}

where “full-score” is descriptive of the edition you’re outputting in this 
score block.

> 1. Can I use the same tweak at several points in time?

Yes, for example

   \editionModList full-score full-score.Score.A \break #’(4 8 12 16)

would put line breaks every four measures.

> 2. What do the letters mean in edition.Staff.A?

The [alphabetical] order of such contexts, from the top. So in your example, 
Staff.B would correspond to your “mg”.

n.b. I have requested of Jan-Peter that the edition-engraver allow id- or 
name-based addressing, so you could use "full-score.Staff.mg" or even just 
“full-score.mg”; I don’t know the current status of that request.

> 3. How can I address a temporary voice in some measure?
>   a) One with << · \\ · >>?
>   b) One with << · \new Voice { · } >>?

That I can’t answer.  =\

> 4. What does the word 'edition' after the \editionEngraver mean?
>   Can I choose this name?

Yes. And you should, as in my example above.

> Why would I need more than one?

Well, for example, I engraved a big score last year in which I used three 
editions:

    MyPiece-score = tweaks for the full score
    MyPiece-strings = tweaks that were used in all string parts
    MyPiece-part-bass = tweaks that were specific to the instrumental part for 
the string bass

Then I \consisted into each appropriate score block the 1, 2, or 3 editions 
that were relevant.

> 5. Can I put tweaks with the edition engraver?
>   Like coloring the second of three note heads in a chord?
>   { <c \tweak #'color #red e g> }

Yes.

> 6. Would you consider \voiceOne etc. content or layout?

Content.

> \noBeam?

Depends. If it truly is to be universally applied, then content; otherwise 
layout.

>   \tempo?

Content.

> \bar?

Almost always content. (One recent counterexample from my own works: a song 
from a musical which segues into the next cue; in the Piano/Conductor score 
it’s a thin-thin double bar, but in a standalone Piano/Vocal Selections book, 
it’s a thin-thick “final” double bar.)

> 7. Would you write a Dynamics context using spacer rests or entirely
>   using the edition engraver? { s1\p | s | s\ff … } or { s1*55 } and
>   the rest is done by the edition engraver? Is that possible at all?

I think it’s possible… but I consider it content.
I definitely heavily tweak my dynamics (placement, padding, etc.) using the 
edition-engraver, but I don’t *create* them there.

> 8. And unrelated to the edition engraver: What do you prefer:
>   a8\noBeam a16 a   or   a8 a16[ a] ?
>   In both cases the measure is filled up with 16th notes (12 more).

I’ll have to think about that one.

Hope this helps!
Kieren.
________________________________

Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: address@hidden