I guess you all have looked at the scores by Nicolas Sceaux at http://nicolas.sceaux.free.fr/ already? They are very well structured.
On 17 May 2013 09:18, Shevek <s...@saultobin.com> wrote: > I do all of my composing in Lilypond, and have completed numerous large > ensemble projects of significant length. I'd estimate I've written around > 20,000 lines of Lilypond and Scheme code in the last two years. My > preferred > file structure continues to evolve, but it is basically the following: > > Project folder: > * project_score.ly > * project_parts.ly > * project.ly > * project_lib.ily > > /home/me/.lily/: > * macros.ily > * orchestral_style.ily > * macros/ > > It's pretty self-explanatory. I include \version and \language in every > Lilypond file, without exception. I define all of my music variables in > project.ly, including global. I prefer this to having a file for each > instrument, because it makes keeping track of versions easier; I suppose if > I used a version management system, that wouldn't be a problem, but at the > moment I just put ascending numbers at the end of the file name :p. I use a > standardized naming convention for variable names, quote names, and context > names. I always define \global first, then I go in score order, say > \fluteI, > \fluteII, etc. I do not use music variables for motives or themes: I > explicitly write all of my music from beginning to end, and I use > \transpose > and \transposition to write all instruments in concert pitch. > > At the end of project.ly, I \addQuote for \fluteI, \fluteII, all the way > through the variables in score order. That allows me to use \cueDuring when > I make instrumental parts. I make copious use of \tag and \removeWithTag, > for example to include enharmonic key changes in transposing parts, for > overrides that are only to be used in score or in parts, and to exclude > nested contexts like chord symbols or divisi staves from \addQuote. > > In larger projects, editing project.ly can get cumbersome if each variable > is 1,000 lines long; suppose I want to change a note in measure 67 in > \fluteII and \violinI? To make editing easier, I break the variables up > into > \fluteIsectionA, \fluteIsectionB, etc. The project.ly file then starts > with > all of the sectionA variables in score order, then all the sectionB > variables in score order, etc. In such projects, I use an additional file > called project_form.ly, which \include's project.ly, and which defines the > variables \fluteI, \fluteII, etc., using the sectional variables. I > wouldn't > recommend using this kind of scheme except in very large projects, because > things get hairy when one instrument has a crescendo over the break between > sections. It is better to write all of the music for each instrument in a > single variable. > > I use \bookpart to keep the \score expressions for all of my instrumental > parts in one file. This also has the advantage that I get a single PDF of > all of the parts. I begin this file with a global \layout block, which > allows me to easily apply overrides to all the parts at once. > > I have a multi-layered system for reusing snippets and style information. > The most basic level is, of course, overrides in the project.ly, > project_score.ly, or project_parts.ly files. The next layer is the > project_lib.ily file, which includes the \header block for the project, the > title and front-matter markup, a \layout block of project-specific but > project-wide overrides, and any snippets or macros that I only want to use > in this project. When I use a snippet from LSR for the first time, I almost > always copy and paste it into a project_lib.ily file. Macros that I > frequently redefine for different projects, like \mute (will it be "mute" > or > "senza"?) also go in project_lib.ily. > > Anything that I want to reuse between projects goes in the .lily folder, > which I have added to my Lilypond path. macros.ily includes short snippets > and miscellaneous macros, such as common \once\override's and a list of > common markup expressions. It also \include's all of the files in the > .lily/macros folder. The files in the macros folder are longer snippets or > collections of snippets related to a common task, such as jazz notation. > The > other files in .lily are stylesheet files like orchestral_style.ily or > chamber_style.ily, which contain \layout blocks with most of the overrides > I > use, custom contexts, etc. I am fairly conservative about adding or > removing > things from my stylesheets, since they each apply to many projects. > Instead, > I can contradict the stylesheet with overrides in project_lib.ily, as long > as I \include "project_lib.ily" after I \include "orchestral_style.ily." > > > > -- > View this message in context: > http://lilypond.1069038.n5.nabble.com/An-idea-for-a-systematic-development-of-a-large-score-tp146017p146032.html > Sent from the User mailing list archive at Nabble.com. > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > -- Sven Axelsson ++++++++++[>++++++++++>+++++++++++>++++++++++>++++++ >++++<<<<<-]>++++.+.++++.>+++++.>+.<<-.>>+.>++++.<<. +++.>-.<<++.>>----.<++.>>>++++++.<<<<.>>++++.<----.
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