Re: Global Variable vs Edition Engraver

[Kieren MacMillan]

Hello,

My choice to move barlines to the EE is based on the fact that I have many 
large-scale works — operas, musicals, and the like — made up of small movements 
which may join together in different ways. For example, "Waiting", the 
11-o'clock number from "Fairy Tale Ending", continues attacca into underscore 
for the following scene when it’s sung in the musical, but [obviously] ends 
with a double-bar when it’s sung as a standalone tune; so I use the EE to add a 
thin double-bar to the scores and parts for the musical, and a double-bar to 
standalone scores (e.g., the "Piano/Vocal Selections" version).

Rehearsal marks (i.e., letters) have recently moved for essentially the same 
reason: piano/vocal selections rarely (if ever) include rehearsal letters. But 
there are other rehearsal marks (D.C., etc.) which need to be included in all 
versions, so they are in the global variable.

Essentially, every time I’m forced to use the \tag mechanism to bifurcate 
output is a likely candidate for EE usage.

Cheers,
Kieren.

> On Jul 9, 2018, at 6:20 PM, Craig Dabelstein <address@hidden> wrote:
> 
> Hi gents,
> 
> Thanks for your advice. Jan-Peter, I do something similar with a global 
> "timeline" or structure with barlines, key signatures, repeats, rehearsal 
> marks. I was just wondering if I was behind the times and not keeping up with 
> the EE. I'm just trying to make my code as concise as possible.
> 
> Thanks guys,
> Craig
________________________________

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