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These all looked way too big.

This aligns the text for barre spanners to the *middle* of the line
instead of the bottom, where it interferes less with the serifs of the
text (e.g. if the barre position ends in an I, this means the serif at
the bottom of the I no longer bleeds into the spanner line).  This also
makes the barre spanner line dotted instead of solid, which to my eyes
looks better and is more consistent with e.g. 8va lines.

This adds our website's URL and a little asclepius glyph in the footer
on the outside side of every page (i.e. it follows the same side as page
numbers).  Some spacing was moved around to accommodate.

The fingerings made things a little too cramped around this segno mark.
This moves the "a tempo" up a bit to match the height of the "rit..."
it's responding to, which also gives the fingerings underneath it a
little more room to breathe.

This seems like a pretty good compromise for lots of factors.  I think
it's easily readable and unambiguous.  It might not be 100% ideal but I
think it's the best I can do now given the limitations of lilypond.

I wanted to avoid overlapping the fingerings and staff lines too much,
so most of the fingerings moved above the staff, or where there are two
voices or just two simultaneous notes sometimes, above and/or below the
staff.  I appreciate using the white space a bit better like this,
avoiding any tricks like making the fingering notation a different color
to make it legible inside busy a busy staff.

This adds one fingering, a -3 in 39.  I think I avoided it before
because it's not *strictly* necessary -- since it's on a quarter note,
no matter how you land it, you have plenty of time to switch fingerings
going into the next phrase.  I like this way, though, and I think it
clarifies the transition elegantly.

Also this cleans up punctuation on sentence fragments.

This seems pretty decent.

Not sure if these are right, or laid out in a way that makes sense.

Most of these were pretty superfluous, and one was just a weird
suggestion.

Changed the way I thought about the piece as I went, so not entirely
sure these will work at speed, but I like them as an aspiration, for
now.

Dunno why I didn't do this way earlier.

Down an octave is right.

Codex says this is the best way to play it in the bass there.

I like to start each measure with an explicit duration, but only add
more if necessary, till the next measure.

I like a space between all notes, even tied ones, just 'cause it gives a
nice cadence to the line, makes it easier to mentally parse for me.

I like the special bars being part of the "song" structure, not the
notes themselves I guess.

This also 1) makes the relative note of each part consistent (relative
to c' in voice 1, c in voice 2 always), 2) adds octave checks so changes
are less fraught, and 3) fixes a couple broken octaves that already
crept in.

In the docks, too.

If ...I and ...II is how the common*.ly files are gonna go, let's just
do that everywhere.

(Where possible.)  Mentally easier to parse like this.

I don't think that's what we've wanted for a long time (as discussed).

It was way too ridiculous to play how it was, and this still sounds
great.

Just splitting up the parts so they're a little more interleaved in the
source here.  Makes it easier for me to find stuff.

Not song notes, notes to us that some of the notes (!) are wrong.

Feels a little premature to worry about formatting YET, now that we're
done with the draft anyway and don't need a regular line length to make
it easy to look at.

This makes use of the common files to shorten the boilerplate in the
score itself.

My old eyes still like 4 space indents.

I was digging the full spelled out name, lower case, no punctuation,
with underscores, for the official repo.

Eeexcellent work.