On 07/01, Jan-Peter Voigt wrote: > Hi Mason, > > thank you for the hint what has to be explained more concisely in the > docs that are still waiting for there incarnation. > > In you examples activation of the editions is done with > `\addEdition first`. To only apply edition `second` you can omit > `\addEdition first` or comment that out. > The command `\editionMod first ...` does not need `\addEdition first` to > compile.
I see. I incorrectly assumed that \addEdition declares a set of edition-mods,
but it makes much more sense that it applies them. Thanks for clarifying.
> Now the idea of the edition-engraver is to separate layout-mods and
> editorial stuff from the content. So in a real project one or more files
> containing the bare music definitions, e.g. `wind.fluteI = \relative {
> c''8 b a ... }`, are included in a file starting the typesetting for a
> specific edition.
> All editionMods (for all editions) may be placed in another
> include-file. Now in the file to typeset the specific edition either
> `\addEdition first` for each needed collection of mods is added or in
> one command `\setEditions first.second`.
> So any edition receives is typeset from its own source file. Those files
> are quite short containing the paper, layout and edition settings and
> the actual score-creating command.
>
> IIRC I once created one file to create multiple PDFs with different
> editions activated and different paper sizes, but that is really tricky.
With the piece I'm currently working, on I'm attempting something similar using
a bash script that iterates through every paper/tablet size, constructs \paper,
prepends \version, appends \score, and tells lilypond to compile. Now I can
also have it include a file containing the appropriate \addEdition statements.
Thanks for creating this very valuable tool. Lilypond is already far more
powerful than any other scorewriter, but edition-engraver takes it to a whole
other level.
Mason
> And in production I always use different files for separate editions.
>
> HTH
> Jan-Peter
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