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 <lilyp...@maltemeyn.de> 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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