Hi Evan,
How about using tags:
http://lilypond.org/doc/v2.19/Documentation/notation/different-editions-from-one-source.html#using-tags
HTH.
Cheers,
Pierre
Le sam. 22 juin 2019 à 09:01, Evan Driscoll <eva...@gmail.com> a écrit :
> I've got a couple variants of the same question.
>
> Suppose I have a few measures that are reused exactly multiple times. If
> they are adjacent, I can use '\repeat unfold' and only write it once. If
> they're not, I can put them into a music variable and use that.
>
> But what can I do if they are... *almost* the same? For example, there are
> expressive marks I want to appear in only one of the occurrences, or a page
> break I only want one of. Or maybe there are "minor" modifications
> musically. I'll give a couple examples below of the kinds of things I'm
> thinking of from a piece I'm typesetting now (the piano+cello arrangement
> by Saint-Saens of his Danse Macabre), but ask my questions first.
>
> 1. Is there some abstraction that's worth doing that will simplify or
> shorten my code? (I seem to remember seeing some suggestion for example to
> put dynamics and other expressive marks separate from the actual music, but
> I can't find where I saw that, don't know if it's appropriate in my
> situation, and don't really know how to do it.)
>
> 2. How much effort is worthwhile to put in to avoid duplication like this?
> (There are some drawbacks to using music variables as well, such as the
> point-and-click output feature points you at the variable instead of the
> variable's invocation. Which is of course perfectly reasonable, but the
> fact that there *are* two locations of potential interest is itself a
> drawback.)
>
> 3. Am I just worrying about this too much? I come from a coding background
> where "don't repeat yourself" is a pretty strong mantra, and maybe it just
> doesn't work as well in this circumstance.
>
> For what it's worth, 90% of the time when I'm writing something with
> Lilypond, it's a single instrument, and I can't envision doing anything as
> remotely complex as a big orchestral score or whatever. There's a small-ish
> chance I'll do the piano part for this, and that would be the first time
> I've done a piano part, and that'll be a huge step up in complexity.
>
> Thanks,
> Evan
>
> Examples:
>
> Here's something I have in the current draft until I stop being lazy and
> duplicate the measures and edit the second copy:
> \repeat unfold 2 {
> fs,, a d fs a d |
> bf^\markup{\italic "stringendo"} g d bf g d |
> }
> I want the stringendo to appear just the first occurrence.
>
> Earlier in the piece, I have
> r4 <af, ef' c' af'>4 <c' af'> |
>
> % PAGE 1 LINE 10
> \break
> \repeat unfold 3 { r4 <af, ef' c' af'>4 <c' af'> | }
> where I could have done '\repeat unfold 4' and save a copy/paste, except
> I needed the \break in there.
>
>
> As a different kind of thing, there's this theme:
> d4 | g2 g4 | f2 f4 | e2 e4 | ef2 ef4 | d g bf | a fs d | fs2
> e4 | d
> and it appears three times. First time (actually pair of times, but I'm
> not counting immediate repeats) it shows up exactly as above. Second time,
> it's played in a different key (easy enough) with double stops where you
> keep going with the initial G (g4 | <g g'>2 q4 | <g f'>2 q4 | <g e'>2 q4 |
> ...). Third time, it's played in yet another key in octaves (a'4 |
> <d, d'>2-> q4 | <c c'>2-> q4 | <b b'>2-> q4 | ...)
>
>
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