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 <[email protected]> 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. > > > _______________________________________________ > lilypond-user mailing list > [email protected] > https://lists.gnu.org/mailman/listinfo/lilypond-user >
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