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21

I'm pretty sure LilyPond can do what you want. It's not the easiest thing to use but since you've already used a text-based system it might not be too bad. Here are some examples and this is also relevant in this case. MuseScore is another free option, which is easier to use and might also be able to do this. EDIT: Here's a lilypond version: And code: ...


13

It means exactly the same as the following (edited by me) The original version is just a way of showing that you play in groups of three. I don't think it helps!


12

You're right it's just a dotted eighth note and a sixteenth note. The bar across the top is called a beam and it is typically used to group smaller notes by beats. For example that pattern in 4/4 would take up one of the four quarters note beats. Grouping them together clearly shows they make one beat in 4/4.


9

The one six note phrase is correct, but instead of putting a 3 over the phrase you would put 6 because you are playing 6 notes instead of 8 (just like on a standard triplet you play 3 notes instead of 2). This site shows a few good examples of grouped 16th note triples in examples 2, 6 - 9 with example 2 shown below. The idea is you want to keep the ...


9

Select the entire area you want unbeamed. In the "Beam Properties" palette, select the unbeamed eighth-note. Starting score Select the region to unbeam On the "Beam Properties" palette, click the "No beam" icon End result


8

I believe that that's just to do with the typesetting and not at all to do with anything technical. If anything, then I think that it may be to help you group those 8 notes together and think about them as a group.


8

This particular notation is called cross-staff beaming. Perhaps nastily, it's often done without rests near each such beamed group, so consider yourself lucky that you get rests. Playing-wise, whether the rests are there or not doesn't matter, so make sure you go RH-LH-RH in the circled group in Bar 2 and RH-rest-LH in the circled group in Bar 3.


8

How prevent Grouping automatically notes? Click on "time signatures" in palettes, select "more" and "create time signature". This opens a window where you can select how the notes should be grouped. Edit grouping and click "Add". Then close the window and apply your newly created time signature.


7

This to me looks like eighth note triplets. The idea would be to play 3 eight notes where two should be. To notate this you would beam the three notes together and put a 3 over them to signify it is a triplet. Presuming the numbers in your score are scale degrees, it would look something like this: If you were counting this you would count: 1 - trip - let ...


7

MuseScore 1.3 will not create the sub beam like in the first measure. The rest should be doable. If you are not afraid of using a development version, you can try a development version of MuseScore 2.0. I did the following with the current dev version.


7

Your example seems somewhat artifical, since 5/8 is a strange meter. Typically fractional beams occur in combination with dotted notes and in that case the beam extends towards the dotted note to make connection to this note visible, which adds up to a multiple of 1/8 notes. I verified that in Elaine Goulds "Behind Bars". There an additional strange case is ...


7

That's an easy one: It makes no difference. If there were two voices on this staff, upward and downward stems might be used to distinguish them, e.g. to show whether the two voices cross or merely intersect briefly. But as it is, stem direction has no meaning and is chosen solely for aesthetic reasons.


6

With vocal music, beams are traditionally following the lyric syllables. This is not uniformly so these days and does not match the beaming used for non-vocal instruments. Beaming direction is used for distinguishing voices when several are present. The manuscript (and consequently the Urtext) of the preludio in Bach's Partita III for solo violin shows ...


6

The present answer is actually very good, but one fatal flaw has resulted in its downvote, so I thought I'd offer a full answer. The best version is: The reason this is the best is because—as you guessed!—it clearly shows each quarter-note beat; note that each beamed group corresponds to exactly one quarter-note pulse. Even if this means using ties, do it! ...


6

I suppose this is what you mean: That is standard. I have played music with that notation and I have also composed music myself with that notation. If you mean something else you better include an image of what you mean.


6

Tilting beams to indicate changing tempo is not standard practice. It might be warranted for a composition with a plethora of gradual tempo changes, but it discards the many well thought out rules for beaming (dozens of pages in Gardner Read's "Music Notation"), and thus harms readability. For a piece with that many tempo changes, better to renotate it as ...


6

upper staff: r.h. lower staff: l.h. beams are cross over the staffs, rests are additional with the notes and complementary per staff, the reading of this notation is absolutely logical, like you were playing the Konga l.h/r.h. Advice: try to notate a rhythm for a percussion instrument like l-r-l-r or r-l-r-l and any combination and permutation, and when one ...


5

A Voice can change Staff (the respective Staff has to exist at that point of time, if necessary by using \skip as appropriate). Try \new PianoStaff << \new Staff = "treble" { \new Voice { \repeat unfold 8 { \change Staff = "treble" c''16 \change Staff = "bass" c,16 } } } \new Staff = "bass" \with { \...


5

In a single line of notes - one voice, it's only to tidy up the presentation. Notes which are on the middle line and above generally have stems down, notes below, stems up. In your example, the first is slightly easier to read. There's also the thought that in 4/4 and 6/8, bars could be split in half, again easier to read, so if, for example,(4/4) there was ...


5

This kind of beaming often indicates that that very passage in Violin II has a displaced accent when compared to the other instruments: while they follow the time signature changes, from 2/4 to 3/4 and back to 3/4, the second violin keeps a metric accent likewise to 3/4 throughout all the selected excerpt. The beaming serves to guide the player through the ...


5

There have been various fashions over the years. There seems no justification for syllabic beaming in a modern edition. I sometimes, semi-jocularly, wonder if the practice might be responsible for singers' notorious inability to count! This is what Gould has to say...


5

Yes, it’s a way to signify another level of phrase grouping. Just as your beaming within a bar can indicate groupings of beamed notes beneath the level indicated by the slur, this shows that the composer or editor wanted to indicate this grouping that extends across bar lines. The beaming itself is already a kind of editorial decision because each quaver ...


5

You need to restore the default stem direction with \revert Stem.direction because the notes are in a voice that has set the stem direction to DOWN. Use this: \version "2.19.83" \score { \new PianoStaff << \new Staff = "up" { << { \relative c' { \clef bass <g b d>2 <g b> } } \\ ...


5

The only "rule" is that the notation should be as clear as possible. In the Debussy example, it's very clear that there's one monophonic line that meanders across both staffs (and therefore, both hands). Omitting the rests helps clarify the line a little bit. You might also see examples where a second voice within one staff starts midway through the bar, but ...


5

#4 is most correct. The LH stems should be up instead of down. If space between systems is tight, #5 is the second best alternative for the LH only. The only correct RH is #4. The reasons why for every choice is readability. Brief clef and octave changes are much harder to read. Keeping the right hand on the upper staff and left hand on the lower staff is ...


4

I did this in Sibelius: It's not an exact copy, but perhaps the possibilities are good enough for you. I had to create a lot of (implicit?) triplets and hide their markings to get it this way. Sibelius istn't free though, in case that was a requirement. (I am not affiliated with Sibelius, but I enjoy the software very much.) Edit: He, I just noticed that ...


4

Looking at the phrase mark itself, it would appear that it is because of phrasing. Although it's not that clear where the phrase mark in bar 3 goes, being at the end of a line. I guess it goes on to be a phrase over 4 bars - bar 3 to the start of bar 6.


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