Whenever I am copying two or more parts for the same music whether they are in the same score or separate parts I write a global (I once thought the global I saw in earlier docs was a special word in Lily) definition which gives me at least the time form of the music, for example:
global = { time 3/4 \skip 4*3*32 \mark "A" \repeat volta 2 { \skip 4*3*32 } }
That means I only have to type all of that information once no matter how may parts/voices there are. It also means once I get the "global" right I don't to worry about mistakes like leaving out bars, etc. out of individual parts. I realize that producing the full score first as a composer would do eliminates some of that kind of error if the part extraction is done correctly. OTOH it doesn't eliminate some of the redundant typing. And now how easy is it to produce the individual parts? Because of its structure Lily certainly does help a lot here. But then there is all the other markup etc. that needs to appear at least at the top of the score and also in each of the individual parts.
Using this technique works pretty well until a particular voice/part has a long multimeasure rest and then combining \global with \RemoveEmptyStaffContext breaks down which is why I posted about "Frenched parts." But as you can see this is also a general efficiency question.
I have been involved in a couple of threads on these pointing out that there were not yet solutions to these common situations. What do you composers do about these structure and efficiency situations? Am I missing some basic LilyPond techniques?
No criticism intended here just possible ideas. I think Lily is great!
Thanks,
Paul Scott
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