Re: Best Practices for file structures, score and parts

[karl]

Andrew:
> So, I'm in the process of transcribing some masses from part-books, and I'm
> trying to figure out the best way to set up the file/variable/include
> structure so that I have a minimum of clutter.
> 
> There are six masses, with two brass (alternating between trumpet, horn,
> and tacet), tympani, two violins, cello (which is just a double of basso
> continuo, confusing me as to exactly how many celli there actually should
> be), SATB voice parts (solo and tutti/chorus passages), and an organ
> doubling basso continuo.
> 
> What I'd been doing previously is have each movement of the mass in its own
> file, containing the following rough structure:
> 
> each instrument is a block at the top, formatted thus:
> 
> ClarinoOneMusic = \new Voice \relative c'' {
...
> }
> 
> then a silent voice added to the top staff for tempo/meter changes, special
> barlines, etc, like this:
> 
> systembreaks = \new Voice {
>    \tempo \markup {\sans \medium \fontsize #4 "Adagio" }
>    s2.*6 \break
...
>    \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||" \break %%
> End first part

(there seems to be a final } missing)

> then a big \score block putting all the Voice variables together, starting
> like this:
> 
> \score {
...
> }
> 
> This is in each of five files that are \included in a master file
> specifying title, composer, etc, and setting them in order.
...
> 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?
...

I currently use the same structure as you, though I have the score 
block in a seperate file, see e.g.:

 http://turkos.aspodata.se/git/musik/WAMozart/requiem/

for movement "I", I have files I.ily (containing the music) and I.ly:
=======
\version "2.19.0"

%{
\header {
  title = "Introitus"
  subtitle = "Requiem"
  composer = "W.A. Mozart"
}
%}
\include "score_glb.ily"
\include "I.ily"
PB = {
  s1*20 \break
  s1*5  \break
  s1*8  \break
}
\include "score_ps.ily"
\include "score_midi.ily"
=======

for *.ly, the score block is the same, so I reuse it with the
\include "score_ps.ily" and by using a I.ly file I can other "I.ly" 
files with e.g. different line and page breaks, different \page 
settings etc.

///

In an older project:

 http://turkos.aspodata.se/git/musik/HPurcell/dido/

I used part and voice specific variables, and used a perl script to 
generate the score block.

///

Currently I prefer my requiem way of setting up the files.
I still have to think how to use the same music.ily and to be able
to use it in different context: a simple a4 sheet of music, a choir 
booklet, mix and match booklet with different music extracts of a
vareity of composers, etc.

So, how do I cope with:
 different pages sizes
 with or without \header
 at different staff-sizes
 as collection, on that day we sing theese songs - here is the booklet

and that preferable generated on the fly.

Regards,
/Karl Hammar

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