Re: Best Practices for file structures, score and parts

[N. Andrew Walsh]

Hi Malte,

well, if I go by your setup, I could theoretically move the six \score blocks into my master file, so long as I rename the instruments for each movement (and then eventually for each mass as well, if I wanted to combine all six masses into one document), and then make a parts.ly file to make the parts. That seems the simplest approach to get what I want.

This is the kind of thing I really hope gets into the eventual Lily course manual: how to set up a file structure for larger ensemble works, with diagrams and case examples for, say, duo, chamber ensemble, orchestra, opera, and large-scale collaborative works requiring distributed note-entry on a git server. 

Thanks for the help. I'll get to (sigh) restructuring all my files and renaming all the Voices.

Cheers,

A

On Fri, Oct 2, 2015 at 12:18 PM, Malte Meyn <address@hidden> wrote:

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:

Is there a better way to structure the files? How do I extract the
instrument variables into separate part files? Can I just \include all the
separate movement files, and then add the Voice variables in sequence? In
other words: each movement is a separate file, but in each file the
instruments have the same name for their variable. How do I set up part
files so that each part has all the movements, from all the masses, in
order and correctly transposed and everything?

This gets back to what I was asking the thread about a few months ago: what
is the "best practice" (good heavens I hate that term; corporate
management-babble totally ruined what is otherwise a perfectly defensible
concept) for putting together a work such as this, with multiple individual
pieces, each in multiple movements, for an ensemble of nontrivial size? If
each instrument (11 total), in each movement (five in a normal mass,
right?), in each mass (six total) is a separate file, I'm looking at a file
structure of over 300 individual files. That seems … excessive.

This many files are good for collaborating (see Urs’ project “Das trunkne Lied”) but when you’re alone you could rely on LilyPond’s/Frescobaldi’s point-and-click functionality. For a symphony I have the following files:

global.ily: contains things like title, including custom headers (f. e. for a different music font), and other global settings (like the markFormatter)

I.ily to IV.ily: contain the music of the movements I to IV (in concert pitch):
Iglobal = { \key … }
IfluteI = \relative { … } \addQuote "IfluteI" \IfluteI
IfluteII = \relative …
They include global.ily.

score.ly: contains paper and layout settings for the full score, also partcombine and transpose/transposition; has a \score block for every movement. This includes I.ily to IV.ily. Outputs score.pdf.

parts.ly: this contains a \book block (with custom \bookOutputName) for every instrument. Includes I.ily to IV.ily. Outputs fluteI.pdf, …, doublebass.pdf.

midiI.ly to midiIV.ly: like score.ly but without layout, instrumentNames, transposition, StaffGroups, partcombine and all that ‘unnecessary stuff’. Could’ve used only one file with several \book blocks.

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