Re: splitting .ly files into chunks

[Felipe Massia Pereira]

I think he could comment out the \includes he does not want to hear. A
better way to do it would be pre-process the file someway. So one could
use conditional compilation. Like this

#ifndef PART
#define PART1
#define PART2
#define PART3
#endif

\notes {
#ifdef PART1
\include part1.ly
#endif
#ifdef PART2
\include part2.ly
#endif
...


This file could be processed with 'cpp' as 

$ cpp master-file.ly -DPART -DPART1 > part1.ly
$ cpp master-file.ly > all_parts.ly

This was not tested but should work. If scheme has similar conditional
building, I think it's better use it instead, so the user does not need
to use cpp (in the case above I cant pass master-file to lilypond
directly).

[]s
-- 
Felipe Massia Pereira   <http://www.ic.unicamp.br/~ra000493>
CS MSc Student @ IC-UNICAMP

On Thu, 13 Jun 2002, David Raleigh Arnold wrote:

> 
> On Thu, 13 Jun 2002 16:04:11 Colin Cotter wrote:
> > Hello ladies and gentlemen,
> > I am using lilypond as a composing tool -I tend to think in terms of 
> > manuscript so it is quicker to type stuff in than use sequencer
> > software. 
> > My question is this: I am writing a piano piece with multiple parts
> > which 
> > I am including into the main body of the .ly file by writing e.g.
> > \alto,
> > \tenor for the different parts. Can anyone give me any tips on how to 
> > break the music into managable parts so I can listen to small chunks
> > in 
> > midi instead of sitting through the whole piece each time? The
> > analogue 
> > would be when I use \include in a LaTeX file and rem out all the
> > \include 
> > bits I don't want to see in the DVI at that particular time.
> > COlin
> 
> You \included the answer in your question!
> 
> \notes { \etc etc
> \include "masterpiece1-8-pt1.ly"
> \include "masterpiece9-16-pt1.ly"
> }
> Rename the parts you don't want to hear, but touch the original
> name becaues lilypond insists on the existence of included
> files, but it is ok if they are empty.
> 
> I've written a utility (sly) to greatly facilitate this, but I have
> to fix it so it can be used in/with an emacs-xemacs buffer.  I
> strongly advocate getting the notes out of the .ly file.
> Here are 22 bars--lines of Bach's 1st Lute Suite Prelude transcr. for
> guitar--very simple in two parts.  The *s are placeholders for
> the notes in the beginning of the measure (in the part).
> The " |" is not a barline, it is a field separator:
> 
> d16  d'  f'  a'   f'  d'    f'  d'   a    d'   f    d'   |  d    a   f  
> *4  r4  *8  *
> d16  d'  f'  a'   f'  d'    f'  d'   a    d'   f    d'   |  d  a 
>  f   *4  r4  *8  *
> d16  d'  g'  bf'  g'  d'    g'  d'   bf   d'   g    d'   |  d  bf
>  g   *4  r4  *8  *
> d16  d'  g'  bf'  g'  d'    g'  d'   bf   d'   g    d'   |  d  bf
>  g   *4  r4  *8  *
> d16  cs' e'  g'   e'  cs'   e'  cs'  bf   cs'  g    cs'  |  d  bf
>  g   *4  r4  *8  *
> d16  cs' e'  g'   e'  cs'   e'  cs'  bf   cs'  g    cs'  |  d  bf
>  g   *4  r4  *8  *
> d    a    d'   f'    d'   a    d'    a    f   a   d   a   |  d    f    d
>   *4  r4  *8  *
> c    a    d'   f'    d'   a    d'    a    f   a   d   a   |  c    f    d
>   *4  r4  *8  *
> bf,  a    d'   f'    d'   a    d'    a    f   a   d   a   |  bf,  f    d
>   *4  r4  *8  *
> a,   a    d'   f'    d'   a    d'    a    f   a   d   a   |  a,   f    d
>   *4  r4  *8  *
> gs,  b    d'   f'    d'   b    d'    b    f   b   d   b   |  gs,  f    d
>   *4  r4  *8  *
> gs,  b    d'   f'    d'   b    d'    b    gs  b   e   b   |  gs,  gs   e
>   *4  r4  *8  *
> a,   b    c'   e'    c'   b    c'    b    e   b   c   b   |  a,   e    c
>   *4  r4  *8  *
> a,   a    c'   e'    c'   a    c'    a    c   a   a,  a   |  a,   c   
> a,  *4  r4  *8  *
> f,   c'   e'   a'    e'   c'   e'    c'   a   c'  f   c'  |  f,   a    f
>   *4  r4  *8  *
> d    b    f'   a'    f'   b    f'    b    d   b   b,  b   |  d    d   
> b,  *4  r4  *8  *
> e,   b    d'   gs'   d'   b    d'    b    e   b   b,  b   |  e,   e   
> b,  *4  r4  *8  *
> e,   b    d'   gs'   d'   b    d'    b    e   b   b,  b   |  e,   e   
> b,  *4  r4  *8  *
> e,   c'   e'   a'    e'   c'   e'    c'   e   c'  c   c'  |  e,   e    c
>   *4  r4  *8  *
> e,   d'   gs'  b'    gs'  d'   gs'   d'   f   d'  d   d'  |  e,   f    d
>   *4  r4  *8  *
> e,   e'   a'   c''   a'   e'   a'    e'   a   e'  e   e'  |  e,   a    e
>   *4  r4  *8  *
> e,   e'   gs'  d''   gs'  e'   gs'   e'   b   e'  gs  e'  |  e,   b   
> gs  *4  r4  *8  *
> 
> I only had to type six pitches for each 15 in the score.  How sweet it
> is.  I used
> "rectangular editing" which everyone else calls column copying.  A
> keyboard macro
> would have been better, and I will finish the piece with one of those
> one day. 
> 
> ------------------------------------------------------------
> Information is not knowledge.           Belief is not truth.
> Indoctrination is not teaching.   Tradition is not evidence.
>          David Raleigh Arnold   address@hidden
> 
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