# Tag Info

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 ...

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 ...

5

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 ...

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 ...

4

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.

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.

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