6/13/2023 0 Comments Lilypond comments![]() William, depends on what you mean by “editing existing music.” You’re right about polymeter and such it’s a bit difficult. Initial score entry is great, but I dread anything more than trivial edits to existing music. And at present the editing paradigm remains something to dread. Keep on keeping on! But for some things it still hasn’t reached the tipping point of getting the job done for me. ![]() Lilypond has no problem with adding a staff for ‘garbage disposal in C’.Īs I said at the outset, I think Dorico is really on the right track. Their paradigm may be annoying but it’s transparent: every time I edit bar 7 and return it to it’s original length bars 8-666 are good. (I’ll be playing it myself).ĭorico is open before me and – how the hell do I set this up? I’ve found a YouTube (not Steinberg) video how to set up a blank staff – maybe 8 steps per staff (?) and not at all apparent how to adapt this to my requirements. Related, at the moment I want to score a piece for organ for which I need THREE staves for the manuals instead of the usual two (still need pedals.) Each staff with its own meter. For example, I play the ‘glass armonica’ – an instrument invented by Benjamin Franklin and for which Mozart and Beethoven composed. I think the Dorico paradigm is mostly there, but I’m thinking there remain details that are just f-ing me up.Īlso, at present Dorico does not support adding an ‘unknown’ instrument – if it’s not in their list of existing instruments, you’re in for a lot of work. That hardly seems like ‘intuitive’ or ‘discoverable’ to me. Obviously!! And if you find it easy, I’m sincerely happy for you! But there you are – in spite of working through all of Dorico’s online video tutorials, and more on YouTube as well, and I have a better than average grasp of all this technology, and working with Dorico for over a month now, I still apparently don’t grasp the paradigm for how editing existing music is supposed to work. I’ll stipulate my difficulties are because I “don’t grasp the interface”. (I note in passing that the online tutorials seem to emphasize initial score entry, not editing existing music.) You would think that when I’m done editing bar 7 and return it to its original length, bars 8-666 would return to normal, but that hasn’t been my experience - after editing bar 7 I am finding I am having to go through and fix bars 8-666. With Dorico when I edit bar 7, I am also affecting bars 8-666. What is GOOD about the Finale paradigm is that if I’m editing bar 7, I’m only editing bar 7. In my experience their paradigm for initial score entry was quite reasonable, but editing existing music was a nightmare. Those are preposterously hard to do in Finale. As a musician, I have performed on the glass armonica with the Blue Man Group and at the Kennedy Center, and have a fair number of commissioned works to my credit. I have built hardware MIDI devices from the chip level. I’m a Linux/Windows Systems Engineer C/C++ for many decades. Before that I wrote a program in C to do my own scoring, which worked passably well, but gave me a profound appreciation for how ridiculously hard it is to engrave music generally. I’ve been using Finale since Windows 3.1. Mostly because I think Dorico is on the right track. But in the chorus of ‘how wonderful Dorico is’, and there’s a lot of truth to that, I would still like to voice some dissent. Well, no, Lilypond is not generally easier than Dorico – for most things.
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