On Monday May 24 2004 06:34, Arvid Grøtting wrote:
> Mats Bengtsson <[EMAIL PROTECTED]> writes:
> > - It's also a good habit to write one bar per line in the input
> > file.
>
> This is often cited as a good habit, but it's one I always break these
> days.
>
> Me, I prefer writing one line of the original manuscript per line in
> the input file; that way, I get a considerably more compact file.
>
> If I feel a need to break a line (in the input file) because it gets
> too long, I indent a bit more than I usually do, to find the
> manuscript line breaks easily.
>
> Also, I tend to define a command "\brk" to aid in proofreading, thus:
>
> brk = \notes{ \break }
>
> When I'm done, I usually redefine that command, though; e.g.:
>
> brk = \notes { \mark "/" } % [1]
>
> I use this to break or mark at the line breaks in the original.
>
> Anything very wrong with this way of doing things?
>
>
> [1] this mark allows performers to find their way even if being told
> to look, e.g., on "the beginning of the third system" of a page.
>
> (I also add a comment for each page break in each voice, and often a
> rehearsal mark with the page number, if the original manuscript
> doesn't have rehearsal marks.)
>
> All of this assumes, of course, identical sheet music for all voices;
> this is usually the case for a male choir anyway, and I mostly typeset
> music for a male choir.
I haven't had to hold consistency to the original layout yet. I usually do one
measure per line with an extra blank line per original line break. Then I
also add a %pagebreak comment either with space above and below it, or in an
untabbed form. It depends on the music for deciding which ones I use and How
much.
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