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10

I've stumbled up on the answer to my own question. Either of the following should work: \set restNumberThreshold = #1000 % Some large number \override MultiMeasureRestNumber #'stencil = ##f The first is a bit hackish and not very robust (it sets the number of rests required to display the number extremely high), but the second may have unintended ...


7

Yes, whole and half rests should always be pointing into the third space on the staff. As Dr Mayhem notes, it's standardized for ease of reading. They don't mean anything different if you place them elsewhere, but there's no point in moving them elsewhere unless you want to confuse people :P. Your experienced acquaintance should recognize that it takes no ...


6

The rests belong on specific lines to conform to the standards that most sight-readers would expect, but to expand on the case of different voices on a staff... If you are asking one of the two parts on a staff to drop out for a few measures (rather than to be in unison with the other part), it's normal to indicate this by having whole bar rests either ...


6

The problem with 6/4 is that it implies a metric grouping in the bass and drums of 3+3 or 6 on its own. I notice that you are defining your tempo as q.=160 when you do this, however. That part is actually correct, and you should make your metric decision based on how you hear the tempo. The 160 bpm that you are hearing are occurring four to the bar. You can ...


6

Leaving out the number is an approach I have never seen in classical orchestral scores. Typically the last tutti note has a fermata, followed by a one-bar rest also having a fermata above the text "Cadenza". Of course, this leaves open, when to start again, which is the reason, why classical cadenzas end with a trill to be easily recognized. In smaller ...


6

In newer versions of LilyPond \override MultiMeasureRestNumber #'stencil = ##f can be expressed as \override MultiMeasureRestNumber.stencil = ##f or even shorter as \omit MultiMeasureRestNumber All of that does exactly the same. It's just syntactic sugar.


4

Try song = { \repeat volta 2 { a1 } \alternative { { a } { b } } \bar "|." } harmonies = \chordmode { a1 b c } \score { << \new Staff = "melody" \with { \accepts ChordNames } << \new ChordNames { \set chordChanges = ##t \set noChordSymbol = ##f \override ...


3

1) The time signature is 4/4. 2) The tempo seems to be 160. 3) I would say that in my opinion the notes are sixteenth triplets.


1

It's not really going to matter where they are written, as they have no note associated, however if I was sight reading a fast piece I would want them to be in the standard place to speed up my reading and hopefully prevent confusion.



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